RONNIE RECTOR
“Things won are done; joy's soul lies in the doing.” - William Shakespeare
About me
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I am an award-winning and published artist living in the Lake Tahoe basin (Nevada side) with my husband, our dogs, a cat and a bunny. Our daughter is actively pursuing her Masters Degree at San Diego State, and graduated cum laude from University of Nevada Reno (proud Mooma here). My specialty is watercolors, although I will bust out the oils for occasional paint-out events. I teach watercolor techniques at various local venues; I also work full time for our local water and sewer agency as a public works contracts administrator. So yes, I'm a little busy. I am a member of the Sierra Watercolor Society (Secretary 2012-2014; Newsletter 2015-2017, President in 2018-2019 and 2022), the Latimer Art Club (which just celebrated their 100th anniversary), Nevada |
Artists' Association, National Watercolor Society, and the Sacramento WASH club. I also acquired signature status with the California Watercolor Association in 2020, and am now an Associate Member of Women Artists of the West (WAOW). I have been published in SPLASH 18 and 22, several Richeson 75 exhibit books, a few issues of Watercolour Magazine, Edible Reno Tahoe Summer 2020 and in the 2020 Cheap Joe's Customer Catalog! I was one of six artists selected to paint from the rooftop of the Nevada Museum of Art in honor of the Latimer Art Club's 100th anniversary. Videos exist of this amazing morning; my painting was filmed being worked on in rapid succession. That was fun! |
new artwork
La Danse - 30"X22"The fight is over. I'm calling this one DONE, and entered it into an upcoming exhibit. Fingers crossed it gets juried in.
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Dragon Alley - 16"X20"From a Mother/Daughter weekend in San Francisco. Lion dancers were just up the street and the firecrackers became so loud that we dashed into a very high-end kimono store to escape the noise.
Good times! |
monochrome work
I love to paint Gothic images; you never know what you'll find while picking out the various shapes and values; like the little devil at the middle bottom of Notre Dame II and his tiny penis. (HA! You're now going "Wait...WHAT??") And the lobster at the left. I had to research this one. Why is there a lobster? Turns out that in trying to convert us pagans, the Church worked at being inclusionary and incorporated horoscopy in their carvings. That lobster is how they depicted Cancer, the Crab. Wait until you read up on St. Denis; his tale is absolutely fascinating, and his basilica in the town of the same name, just outside Paris, is truly worth the trip.
notre dame 1 - St. DenisA scene from the left portal to Notre Dame. Sold.
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Notre Dame II - St. GenevieveA scene from the right portal to Notre Dame. Sold.
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montmartre remembranceThis painting is of a tomb in Montmartre's cemetery, and was done with three separate colors, as I tried to mimic the same results of Moonglow. My photo of this particular tomb included a bad reflection over the statue's head, but no worries...her hands were so beautiful and made for a soulful image to paint.
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Portraits
The First Lady Presents...On February 11, 2021, I was selected as the inaugural artist for “The First Lady Presents…” event. It was to be a quarterly selection, with my artwork hanging in the Governor’s mansion for 3 months, where visitors touring the mansion would be able to see it, then the next artist would come in. Well, we all know what happened when COVID hit. On September 20, 2021, they were finally able to start the program again and hold a reception, for me and four new local artists.
The program changed to a monthly selection, in partnership with the Nevada State Museum, providing a “fun and insightful comparison of an artifact in the museum collection with the artwork of a contemporary Nevadan artist.” The photo is “Summer Rein” with First Lady and Governor Sisolak, during the reception. My husband and I chatted with them for quite a bit. Dave had no idea he was talking to the Governor until later in the evening. |
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Horses and other critters
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Watercolor batik on rice paper
This is one of the techniques I teach, involving crock pots of hot wax, rice paper and a hot iron. Great fun!
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Mid-century modern and architectural pieces
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This is only one of my crystal ice buckets of brushes. I have three. You can never have too many brushes! |
Brushes
It used to be the dream of every watercolor artist to acquire a set of “Kolinsky Sable” brushes, which are made from the back end of a Siberian weasel trapped for its fur, because the hair’s a bit longer there and more absorbent. They were considered the Gold Standard of watercolor brushes. But since they’re made from cute little woodland creatures, they’re also very costly, inhumane and, with modern technology being what it is, today's synthetic brushes perform amazingly well.
If you’ve taken one of my classes, you know I’m a big fan of the Silver Brush Company’s “Black Velvet” brushes, especially their 1” oval wash. This is a big brush made of a blend of squirrel (yah...I know) and synthetic bristles. It holds a lot of paint/water. It also comes to an impressive point when wet, so you can quickly fill large areas with paint, then use the point to drag it into the tight spots.
I also really like Princeton’s Aqua Elite brushes, which are 100% synthetic, hold a lot of water/paint and come to extra-fine points. These come in all shapes and sizes, and are great for large washes, tight spots, details and line work.
As for what sizes to get, unless you’re planning on only painting miniatures, my recommendation is to always use a bigger brushes – 12 and 16 rounds, the 1” oval wash, a 2” flat wash. Going bigger keeps you more 'loose' in your brush strokes and helps curb the beginner's tendency to keep going back into the wet paint – which can really ruin your work.
Paper
Personally, I believe paper is the most important item in your kit to achieve the best results in watercolor painting. The better the paper, the better the results. Even when just playing around with watercolors, you’ll be much happier starting out on Arches, Fabriano or Kilimanjaro watercolor paper than a student grade paper. Hannemuhle and Fluid are also very good papers, although Hannemuhle is still tough to find in the U.S.
The best way to get paper is to buy a “full size” sheet (22”x30”) from your local fine art store and gently fold/tear it into smaller sizes. A “half size” sheet will be 15”x22”, a “quarter size” is 11”x15”, and so on. So when an exhibit prospectus tells you they accept only half size paintings or larger, now you know.
Weights: Watercolor papers come in many different weights: 90 lb., 140 lb., 300 lb. There are even some brands that sell 240 lb. The larger the "lb.," the stronger/thicker the paper will be and the less you'll have to worry about it warping when it dries. Each weight also results in differences to your paint once it dries, with 300 lb. allowing for really definitive granulation of color.
Textures: Paper also comes in different textures, known as Hot Press, Cold Press and Rough.
Cheap Joe's carries Watercolor Paper Sampler Packs. These are a great way to try out all the different manufacturers, weights and textures to see which ones really appeal to your artistic style!
Here’s a tip: If you stalk a local watercolor society or co-op art gallery, chances are they’ll hold a supplies sale about once a year, where members bring in things they didn't need after all (how's that possible?), and sell them cheaply. These are usually open to the general public, but check their website for dates, times, and contact info if you have questions. You’re welcome!
It used to be the dream of every watercolor artist to acquire a set of “Kolinsky Sable” brushes, which are made from the back end of a Siberian weasel trapped for its fur, because the hair’s a bit longer there and more absorbent. They were considered the Gold Standard of watercolor brushes. But since they’re made from cute little woodland creatures, they’re also very costly, inhumane and, with modern technology being what it is, today's synthetic brushes perform amazingly well.
If you’ve taken one of my classes, you know I’m a big fan of the Silver Brush Company’s “Black Velvet” brushes, especially their 1” oval wash. This is a big brush made of a blend of squirrel (yah...I know) and synthetic bristles. It holds a lot of paint/water. It also comes to an impressive point when wet, so you can quickly fill large areas with paint, then use the point to drag it into the tight spots.
I also really like Princeton’s Aqua Elite brushes, which are 100% synthetic, hold a lot of water/paint and come to extra-fine points. These come in all shapes and sizes, and are great for large washes, tight spots, details and line work.
As for what sizes to get, unless you’re planning on only painting miniatures, my recommendation is to always use a bigger brushes – 12 and 16 rounds, the 1” oval wash, a 2” flat wash. Going bigger keeps you more 'loose' in your brush strokes and helps curb the beginner's tendency to keep going back into the wet paint – which can really ruin your work.
Paper
Personally, I believe paper is the most important item in your kit to achieve the best results in watercolor painting. The better the paper, the better the results. Even when just playing around with watercolors, you’ll be much happier starting out on Arches, Fabriano or Kilimanjaro watercolor paper than a student grade paper. Hannemuhle and Fluid are also very good papers, although Hannemuhle is still tough to find in the U.S.
The best way to get paper is to buy a “full size” sheet (22”x30”) from your local fine art store and gently fold/tear it into smaller sizes. A “half size” sheet will be 15”x22”, a “quarter size” is 11”x15”, and so on. So when an exhibit prospectus tells you they accept only half size paintings or larger, now you know.
Weights: Watercolor papers come in many different weights: 90 lb., 140 lb., 300 lb. There are even some brands that sell 240 lb. The larger the "lb.," the stronger/thicker the paper will be and the less you'll have to worry about it warping when it dries. Each weight also results in differences to your paint once it dries, with 300 lb. allowing for really definitive granulation of color.
Textures: Paper also comes in different textures, known as Hot Press, Cold Press and Rough.
- Hot Press paper feels very smoooooth to the touch, dries slower, and is less absorbent, making it a great choice for painting very detailed works. I hate it.
- Cold Press has a nice bumpy surface, is more absorbent, and has a longer drying time, which allows colors to really play together as they dry. Dry brushing also works very well on Cold Press paper, but we'll get to textural techniques later.
- And Rough Press is exactly that: A bumpier surface than Cold Press.
Cheap Joe's carries Watercolor Paper Sampler Packs. These are a great way to try out all the different manufacturers, weights and textures to see which ones really appeal to your artistic style!
Here’s a tip: If you stalk a local watercolor society or co-op art gallery, chances are they’ll hold a supplies sale about once a year, where members bring in things they didn't need after all (how's that possible?), and sell them cheaply. These are usually open to the general public, but check their website for dates, times, and contact info if you have questions. You’re welcome!
Get in Touch
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See something on the site you like, or just want to drop me a note? Please! I'd love to hear from you.
Thank you,
Ronnie |
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