Moyer layers transparent watercolor straight from the tube in thin washes, letting the layers mix optically. I apply warm colors first and then cool colors, she says. I then heighten value contrasts by mixing a dark, dull color that will relate to the color scheme of the painting. I apply this wherever needed. The final painting step is to make any additional color changes that are necessary to make the painting work.
In addition to her layering process, Moyer uses any means available to depict water, including dry brush, salt and frisket, scraping and lifting paint. Drybrush is a great way to represent the soft, shaded texture of the underside of a crashing wave, she says. I also use drybrush on rocks to create both the texture of the rocks and of the water hitting the rocks. To create the spray of sea foam, Moyer may spatter frisket on with a toothbrush before she paints.
Much of my work is symbolic. To me, water is a symbol for eternity, while light symbolizes the presence of the creator, says Moyer. Throughout the 80s, I worked on four series, Water Vision, Water Flesh, Haiku and Water Light, that explored a variety of subjects using water and reflections. Each of the series gave me the opportunity to explore different aspects of the combination of light and water. Today, not all of my work includes water, but whatever subject I portray remains constant in using nature to affirm the sacredness of life.