Artist

to
Artist:
Jeanne
Dobie This renowned artist and teacher
offers advice on using color and
learning from every experience,
professional and otherwise.

Watercolor: You are noted for your effective use of

color, and especially for your instructional book,
Making Color Sing. How did you arrive at your per-
sonal approach to selecting a palette and using color?
Jeanne Dobie: As a mother and wife with five chil-
dren, I did not have time to paint as many paintings
as my art friends. I decided to concentrate instead
upon improving my art and becoming a better artist.
I set up challenges for myself, such as painting only
half of the paper and making the other, untouched
half describe the painted half and creating various Twilight
light patterns from the same subject. 2007, watercolor, 20 x 29.
Most of all, I enjoyed pursuing ways to make col- greens” by the students). I like to see paintings where Collection the artist. Here,
Dobie tweaked the jewellike
ors glow, or vibrate. I thought of colors as having per- the color is personal and does not smack the viewer as colors to intensify the late
sonalities like people: they can do some things well being right out of a tube. afternoon sun effects.

and other things not as well. In my classes I gave col- Additionally, I was conducting overseas workshops I
ors memorable terms to help students identify them called “Paint-escapes,” and I wanted to reduce the
and to think of how they were using them, such as palette to a basic workable group of colors. The pig-
“octanic” (my word for high-powered) color, “stain ments had to intermix cleanly with one another.
and remain” colors, “set-your-teeth-on-edge” accents, Therefore, a warm and a cool of each color was neces-
and greens mixed without blue (nicknamed “Jeanne’s sary. They also needed to be able to capture a wide range

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 ABOVE

of atmospheres of different countries (delicate shadows on tried to give them one as a constant companion, and to Good Morning,
Provence!
whitewashed buildings in Portugal or stained glass darks of refer to for future growth. 2004, watercolor, 21 x 29.
fiords in Norway). I called my palette a pure pigment W: In your workshops, what problems—in terms of using Collection the artist.
palette. Students found it almost impossible to mix mud! color—do you see most often and what is your advice? LEFT

W: Why do you think readers have responded so strongly to JD: Too often a student wants an easy formula. The easier Three Tourists
your book? the formula, the less you use your mind. The less you use 2004, watercolor, 20 x 29.
Collection the artist.
JD: Making Color Sing is about creating a personal interpre- your mind, the less creative your painting becomes.
tation of the world. My book is a guide to putting your Mixing with my pure pigment palette yields different mix- OPPOSITE PAGE

Aegean Shadows
ideas together via color into well-constructed paintings. tures each time. Because it is almost impossible to mix the
1993, watercolor, 21 x 29.
Color, I believe, can be as important as composition when same color the same shade each time, the painting Collection Carol Allen.
designing a painting. Color is the emotional response to a becomes full of a variety of color automatically. The sun-drenched effects of
subject. Composition is the analytical response. When you Another problem occurs with the student who adheres this painting and Colors of
an Island Evening exemplify
combine the two, you have an unbeatable painting! to a triad or formula. If there is a special jewellike color in Dobie’s work when she lived
To me, creativity lies not in a watercolor technique but a subject, why not let it sing instead of compromising it in the Florida Keys, where
she was strongly influenced
in the mind of the artist. How you orchestrate shapes, val- into a compatible triad color. Formulas produce safe, but by the bright sunlight.
ues, and colors into a painting is your creativity. ho-hum paintings.
Artists who cannot attend an art school can give them- For the timid students, my advice is to take an old paint-
selves an equivalent education with a good book, and I ing with dead colors and repaint it using the pure pigment

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BELOW OPPOSITE PAGE ABOVE OPPOSITE PAGE BELOW

Katrina Papilion Winter Ice Palace

2007, watercolor, 21 x 29. 2005, watercolor, 21 x 29. 2005, watercolor, 21 x 29. Collection
Collection the artist. In this Collection Mr. and Mrs. Mr. and Mrs. Matthew Robinson. This
piece Dobie wanted to express Richard Seidel. Dobie scene is purely imaginary, based on
the explosive power of a violent describes this as a “vision” Dobie’s daughter’s descriptions of an
storm. Notice how the painting that conveys the iceberg in Newfoundland and the artist’s
compositional elements radiate concept of rebirth. memories of icebergs in Norway, where
from the center. she often led workshops.

palette and enjoy comparing the two paintings. Or use the I enjoy the challenge of trying to elevate it into an artwork by Actually, I am never satisfied with my paintings.
glazing method, which will cover the paper and establish having some sort of concept in mind, accenting the atmos- Recently I’ve been putting scenes together that I envision—
your light pattern for a solid beginning. phere, redesigning the light pattern to be more eye-catching, that do not actually exist. One viewer told me that he
To all students, don’t fear disasters. If you are constantly using color like musical notes throughout a scene, and so on. enjoyed attending an annual exhibition each year just to
painting good paintings one after another, you may not be In other words, I like to add a concept to my painting that will see what I was doing, because my paintings were not pre-
growing. Question yourself if you are staying within your transcend the ordinary scene and make it extraordinary. dictable but usually something new or different.
own boundaries. I’m never at a loss for ideas. I get so many in my sleep W: Describe your basic approach to developing a painting.
W: What advice can you offer about selecting a workshop that I finally put a pad under my pillow to jot them down JD: Each painting is a new adventure, so I do not want to
instructor? so I can go on sleeping. Often I’m surprised in the morn- be locked into a style or way of painting. My approach
JD: Ultimately, you need to work on your own. Select an ing at the result. reflects my “basic training” as a mother ferrying children
instructor who will not infringe on your way of painting, W: How has your subject matter evolved over the years? around, passing by a great scene, and having to formulate
one who will give you the knowledge and tools to continue JD: My early paintings were designed with strong light pat- it in my mind as I timed swim meets and sat through play
to develop as an artist long after the workshop has ended. terns. Later, living in the Florida Keys, I was enchanted by practice and sporting events. Thanks to my children, I
W: What are the primary sources of inspiration for your the light effects and reflected light, especially in shadow developed a mental sketchbook so I knew how I would
paintings? areas. The large area of sea surrounding the tiny islands paint the scene when I had time to return to it.
JD: The interactions of colors or shapes, as well as color vibra- acts like a giant mirror and bounces light everywhere. Soon Because time was so precious, I went directly for the
tions, always catch my eye. The scene is usually ordinary, but all my paintings, wherever painted, were sun-drenched. essence, developing a glow or unusual color combination

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 or whatever was most important to me. If I ran out of
time, I had captured the all-important component.
The less critical sky and trees could be added later. If
the effect wasn’t successful, I hadn’t wasted time
painting all around my interest and saving it for last,
which was the method taught at the time.
W: What is the role of the white paper in achieving
the effects you desire?
JD: It is of tremendous importance. I think of whites
as light. Although I save my whites, I work at making
them glow. Often I will “blush” the white areas first
to set up a reaction with the rest of the painting. The
blush is so subtle, it is barely noticed. The final effect
is especially luminous in the watercolor medium.
W: What are the most important factors in preserv-
BELOW
ing a sense of freshness and spontaneity?
Colors of an
Island Evening JD: Frankly, I’m too busy thinking of concerns other
1995, watercolor, than technique when I’m composing a painting. I’m
15 x 22. Collection thinking of how to extract an arresting underlying
Stephen Jameson. The
artist used a glazing shape pattern and tweaking colors to make some sing
method to lend this or float. Here, however, are two easy tips for keeping
painting a soft
atmospheric effect. colors fresh. First, overstate your colors. You can
OPPOSITE PAGE ABOVE
lighten a color more easily than you can by repaint-
American Quilt ing it over and over again. Second, avoid adjusting
2004, watercolor, colors until the paper is covered. If you adjust a color
29 x 21. Collection the en route, you may find at the end of painting that it
artist. Dobie’s concept
here was to create needs to be restated again.
subtle color vibrations W: You’ve been involved in watercolor societies for a
within the fields, similar
to those found in number of years. How has your participation in these
patchwork quilts. groups enhanced your career?
OPPOSITE PAGE BELOW JD: Like many artists, I work in isolation, and the
Illusion societies provide exposure to artists that I admire and
2002, watercolor,
21 x 29. Collection the
to their work. An active artist needs to be aware of
artist. what is happening in the art world. I thrive on the

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 stimulation and enjoy also sharing my interpretation
of the world with others.
W: Which professional experiences have had the
most impact on your development as an artist?
JD: My career really began when Steve Doherty, the
editor of American Artist and Watercolor, asked me to
share my light-pattern lesson with readers. Word
spread to Watson-Guptill Publications, and editors
there asked me to write a book. During the five years I
spent writing Making Color Sing, I found that working
out the best progression from simple lessons to more
complex lessons only strengthened my instruction.
Around the same time I began organizing “Paint-
escapes,” workshops in which artists could pursue
color and design in depth, and I gained valuable
knowledge through conducting these painting trips
around the world. Becoming a signature member of
the American Watercolor Society and the National
Watercolor Society and other national societies was
another milestone, and contributed to my selection as
juror for many national exhibitions. Although a lot has
happened in the form of medals and awards, and they
are all sincerely appreciated, the ultimate high for me Island Tapestry
2004, watercolor,
is simply the act of painting in God’s great outdoors. ■ 21 x 29. Collection
the artist.

About the Artist

Jeanne Dobie’s work
hangs in numerous collec-
tions, including the Frye Art
Museum, in Seattle, and has
appeared in many books
and magazines. Dobie
attended the University of
Arts, in Philadelphia, and
served on the faculty of the
Moore College of Art, also
in Philadelphia. Her book,
Making Color Sing, has sold
more than 100,000 copies,
and she was recognized as
one of the “20 Great
Teachers” in the fall 2006
issue of Watercolor. She has taught workshops both in the U.S.
and abroad and has produced an instructional DVD. The winner of
numerous prestigious awards, Dobie is a member of the American
Watercolor Society and the National Watercolor Society, among
other professional organizations. She was recently named to the
Pennsylvania Honor Roll of Women. To learn more or to contact
the artist, visit www.jeannedobie.com.

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