“Richard Scott’s use of watercolor conveys a painterly quality; it’s not tint-y or tentative,” says Carolyn Lord. “Even though the paint is quite fluid, he controls his values and reveals just enough edges and shapes to support the drawing and composition.”
Richard is featured in Watercolor Artist’s “Ones to Watch” feature article (December 2013 issue). Here, we share a fun Q&A with him. Enjoy!
Sierra Madre, California
You have a plane ticket to anywhere in the world to paint—where will you go?
Do you squeeze the paint tube from the bottom to the cap or go right for the middle?
From the bottom to the cap.
What’s the one thing you can’t live without, and why?
There’s no art material that I couldn’t live without.
If you won the lottery, how would you blow it?
I wouldn’t blow it.
It’s the end of the world as we know it. What’s the one painting you’ve yet to create?
The next painting.
What’s your earliest art memory?
Figure work (stick figures) and abstract expressionism (crayon scribbles).
What’s the best (and/or worst) advice you’ve received?
Best advice: spend most of your painting time working out the composition.
Worst advice: use this and that color to paint skies or trees (or any other formulaic approach to color mixing).
Give us your bio, in six words.
Trying to improve with each painting.
What are your plans for the next three months?
Publish a book on sketching, remodel a bathroom, and paint.
What’s one rule that you think should be broken?
Any rule or formula on composition, such as the golden mean, or the rule of thirds. To my mind, compositions should spring from what you want to express about the subject matter, not from a formula.
Do you have a ritual that gets you primed for painting, say, listening to obnoxious tween pop?
My only ritual is to start each session with a clean palette and clean, organized tools.
You’re free to steal one artwork from any museum. What would it be?
“Portrait of Miss Sapojnikoff” (oil on canvas; San Diego Museum of Art) by Nicolai Fechin. Stunning design, color, surface texture, and craftsmanship. Reproductions of this painting do not compare to the real thing. Sadly, this painting is usually not displayed.
Name one influential person in your artistic life.
Artist and friend William Wray. More than anyone else, he has helped me to improve my artwork, continually encouraged me, and connected me with other superb artists and teachers.
Anything else you’d like to add?
I’m lucky to be an artist.
Get your copy of Watercolor Artist (December 2013) to read the full article about “Ones to Watch” and click here to subscribe so that you never miss an issue.