by Dale L Popovich IWS SPACES ARE LIMITED There’s something timeless about the way water moves through the wilderness—how it carves its way over stone, glistens under a canopy of leaves, and echoes through the quiet hush of pine forests. It’s a language all its own. And if you listen closely, you can almost hear it speaking—inviting you to slow down, to pay attention, and maybe, to paint. I’ve followed that voice along one of Wisconsin’s hidden gems: the Northern Waterfall Loop. It’s a road trip filled with winding forest roads, mossy trails, and more than a dozen breathtaking waterfalls—each one different, each one unforgettable. Some roar with the power of spring runoff; others trickle gently over ancient granite, barely making a sound. But all of them offer something that every watercolor artist craves: movement, light, and mood. This June, I’m bringing that inspiration to life in my 4-day watercolor workshop at Dillman’s Bay Resort—a peaceful retreat nestled among towering pines on the shores of White Sand Lake in Lac du Flambeau, Wisconsin. Rivers, Rapids & Waterfalls in Watercolor June 1–6, 2025 (4 Teaching Days) Dillman's Bay Resort Lac du Flambeau, WI This workshop is more than just an opportunity to learn watercolor techniques. It's a creative escape into nature—an invitation to immerse yourself in Wisconsin's Northwoods' sights, sounds, and spirit. I'll share some of my favorite scenes from the Northern Waterfall Loop—locations I've photographed and sketched along the way. These aren't just generic waterfalls pulled from a Google search. They're places I've stood, listened to, and painted. Places where the water told me a story—and now, I want to help you tell yours. WHAT YOU WILL LEARN During our four days together, we'll dive deep into the techniques needed to capture the life and energy of moving water. Whether it's the glassy surface of a still pool, the sparkle of sunlight on a riffle, or the powerful drop of a rushing cascade, you'll learn how to translate those qualities into expressive, confident brushwork. Here's what you can expect:
Whether you're a seasoned plein air painter or just starting to feel comfortable with watercolor, there's something here for everyone. A PLACE TH RECHARGE There's no better setting for this workshop than Dillman's Bay Resort. Located on a peaceful peninsula jutting into White Sand Lake, it's a place where the outside world fades away. You'll wake to the call of loons, paint beneath a canopy of trees, and end your day with a lakeside sunset that begs to be captured in watercolor. Dillman's offers cozy lakeside lodging and an atmosphere that's equal parts rustic charm and creative community. You'll have time to paint and breathe—to walk the woods, dip your toes in the lake, or share stories and laughs with fellow artists around the fire. And if you're bringing a non-painting companion, there's plenty for them to enjoy, too—from hiking, fishing, golfing, or paddling to simply relaxing with a book on the dock. WHY RIVER, RAPIDS & WATERFALLS? Water is some of nature's most expressive form. It in constant motion, ever-changing, yet timeless. For an artist, they offer a perfect balance of structure and spontaneity—challenging to capture but deeply rewarding. Painting water teaches you to observe light, simplify complex shapes, and build dynamic compositions. But it also teaches you patience. You learn to let the water—and the watercolor—move as it wants to, flowing freely and beautifully across the page. In this workshop, you'll discover that the key to painting moving water isn't control—it's understanding. It's learning when to lead and when to follow. When to hold your brush still—and when to let it dance. FROM THE FALLS TO YOUR PAPER Over the years, I've developed a deep love for the water of the Northwoods. Some of my favorites include:
Each one offers a unique voice—and in our workshop, you'll learn to listen to that voice and translate it into a painting that reflects your experience. A CREATIVE ESCAPE TOO We rush through life—checking boxes, answering emails, planning what's next. But something happens when you step into the forest, stand beside a water, and take out your sketchbook. ✅ You slow down. ✅ You observe. ✅ You breathe. And in that quiet, something opens up. That's what this workshop is really about. Not just painting water but also letting them remind you why you fell in love with art in the first place. READY TO JOIN ME? If this sounds like the creative retreat your soul has longed for, I'd be honored to paint alongside you this June. SPACES ARE LIMITED And this workshop tends to fill quickly—so I encourage you to reserve your spot soon. Let the Northwoods stir your imagination. Let the water guide your brush. Let's paint something unforgettable—together. ![]() About DALE L POPOVICH Dale is an American professional watercolor artist and educator with over 46+ years of experience. Known for capturing the quiet beauty of the Midwest landscape, Dale teaches workshops and classes nationwide and deeply believes in nature's power to inspire creativity.
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![]() Direction as a Key to Mood The structure of a watercolor landscape—its lines, shapes, and movement—guides the viewer’s emotions. When elements such as rivers, trees, and pathways flow from left to right, they naturally echo the way we read and progress through life. Conversely, when they lean right to left, they can introduce a sense of reflection, nostalgia, or even resistance. The act of flipping a photo for watercolor allows the artist to manipulate these emotional undercurrents, determining whether the piece speaks of journeying forward or looking back—an essential tip among watercolor composition tips. The Psychology of Movement in a Landscape Western traditions condition us to view left-to-right movement as progress and optimism. Right-to-left movement, by contrast, can introduce a pensive, even wistful quality. Imagine a path winding to the right—its gentle curve invites the viewer to step into the watercolor landscape, to move forward with ease. Now flip it, and the same path becomes a retreat, an inward reflection. This subtle shift carries weight, influencing the emotional impact in painting and how the viewer connects with the scene on a deeper level. The Role of Light and Shadow Light, in its grand orchestration, dictates mood as much as composition does. Consider a watercolor landscape where morning light pours in from the left—this suggests the start of something, the crispness of a new day. Flip it, and that same light now signals evening, the close of a chapter, the fading of energy. A painting’s emotion is deeply tied to these subtle shifts in lighting direction. In watercolor, where luminosity is achieved through restraint and transparency, even the faintest adjustment in light alters the atmosphere—a key insight for how to improve watercolor mood. How Flipping Your Photo for Watercolor Painting Strengthens Your Composition For the artist, flipping a photo for watercolor is not merely a new viewpoint—it is an invaluable tool for refining structure. Turning a photo on its head, so to speak, grants you a fresh vantage point on watercolor composition tips. It lays bare the bones of the picture—how shapes are weighted, how lines flow, how colors distribute themselves across the design. What felt settled may suddenly seem off-kilter, and what was uncertain may now feel resolved. More than that, flipping an image shakes loose our attachment to it. When we stare too long at a piece, we risk growing blind to its shortcomings. The eye grows too accustomed, too forgiving. But reverse it, and it becomes unfamiliar again—anew to scrutiny, open to honest critique. It is in this seeing with fresh eyes that an artist can judge with clarity and correct with confidence. By reversing an image, weaknesses in balance, harmony, or movement become more evident—a technique especially helpful for beginner watercolor techniques. The painter may find that an initially strong composition falters when flipped, revealing areas in need of adjustment. This practice fosters clarity, ensuring the emotional impact in painting is fully realized. ![]()
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:Examples of Flipping Photo for Watercolor Painting in Practice Waterfalls: as it tumbles in the original photograph, snakes its way from left to right—a restless, silvery thread that whispers of adventure. It pulls the eye along its course, a call to wander, to chase the unknown around the next bend, alive with the rush of discovery. But flip it, and the tale transforms! Now, in your watercolor landscape, it flows right to left, a quiet homeward drift, as if the water itself has wearied of its roaming and seeks the solace of the familiar. The cascade becomes a solitary return, its voice softened, its movement a sigh rather than a shout. In this mirrored dance, the painter’s hand finds truth: one way stirs the soul to venture, the other bids it rest. That’s the power of direction—simple, yet it carves the heart of the picture. ![]() The Farmhouse: as it stands in the original photograph, reveals a subtle tussle of forces. That cluster of saplings on the right—brash little sentinels—digs in its heels and halts the eye, a stubborn barricade against the natural drift beyond the picture’s edge. It’s a jolt, a stop-sign, and the rhythm stumbles there. But flip the scene, and oh, what a shift! Now those trees, gathered on the left, become gentle ushers, their lines swaying like a quiet breeze, guiding the eye with a tender insistence toward the heart of the matter—the house itself. The farmhouse sits there, steady and unassuming, an anchor that hushes the chatter of the composition. It’s no longer a mere building; it’s the soul of the silence, drawing you in, settling the restless wander of the gaze. That’s the secret, you see—movement must serve stillness, or the picture loses its poetry. The Woodland Path: In the original photo it greets us with light sifting through from the left—a soft, radiant whisper of dawn’s tender vow. It spills across the scene like a quiet awakening, stirring the leaves and beckoning the spirit forward with the freshness of morning’s hope. But turn it about, flip the canvas, and behold how the mood shifts! Now the light pours from the right, bathing the path in the mellow glow of an afternoon’s embrace—a warmth that settles rather than stirs, a gentle pull toward contemplation. It’s the same woodland, the same threading trail, yet this simple reversal bends the emotion, as if the sun itself has walked the day’s arc. In painting, such a tweak is no mere trick; it’s the hand of feeling, shaping the story the eye longs to linger upon. Citations for Further Reading
A painter must be more than a mere recorder of facts—he must understand the very essence of his subject. The watercolor landscape, like the human spirit, holds depths of emotion and movement that are often unseen but deeply felt. To aid in this pursuit, the following readings may provide valuable insight into the relationship between composition, perception, and the expressive power of art -- CLICK ON THE LINKS BELOW:
An artist who understands these principles wields greater control over his work, shaping not just what the eye sees, but what the heart feels. ![]() Final Thoughts To paint a watercolor landscape is not merely to replicate nature but to interpret it—to distill its essence into a language of form, light, and tone. By flipping a photo for watercolor, the painter does more than rearrange shapes; they control the undercurrents of emotion and movement within their work—a cornerstone of watercolor composition tips. This simple yet profound adjustment, accessible even in beginner watercolor techniques, allows an artist to move beyond imitation and into the realm of expression. Thus, the next time you prepare to paint, take a moment to reverse your reference. Let the altered perspective guide your choices, and in doing so, strengthen your ability to shape the watercolor landscape’s silent, stirring voice and master how to improve watercolor mood. The scene before you is not just earth, sky, and water—it is a narrative, and you, as the artist, are its teller. ![]() This past Wednesday, November 13th, I had the joy of leading a Fall demo for the Annapolis Watercolor Club, and let me tell you, it was such a meaningful experience. They’re celebrating their Golden Anniversary this coming year, and their request for a painting filled with autumn golds couldn’t have been more fitting. There’s something so inspiring about blending the season’s richness with the significance of their milestone. ![]() I sent them a reference packet in addvance so if the members could paint along with me. This includes:
![]() I’m delighted to announce that I have been invited back to host an engaging two-day Zoom workshop for their members this coming January 2025. This will be my second time working with this incredible group, and I couldn’t be more excited about the opportunity to reconnect and collaborate on something extraordinary. I’m also pleased to share that this workshop will be open to my wonderful patrons, making it an excellent chance for all of us to come together. I’m busy fine-tuning all the details to ensure an enriching experience for everyone involved. Be sure to check back in a few weeks for updates, as I’ll share more information soon. I can hardly wait to gather again, this time from the cozy comfort of our individual spaces, as we immerse ourselves in the beauty of art and cultivate a strong sense of community. How to Get Confidence Mixing Greens for LandscapeFEBRUARY 13 AND 27, 2021 ![]() THIS IS A PAID EVENT: The Watercolor Society of Indiana asked me to conduct a virtual workshop for their organization. Due to COVID, this organization has turned its focus on meeting with its members on Zoom. The next adventure will be offering workshops. I’m honored to have been asked to kick this off for them. Here’s a link to the paid event. Need more info read below. Private message me with questions. Hope to see you there. ![]() THE DEMO - DAY 1, Feb 13 THE REFERENCE PACKET You will receive a reference packet for our Zoom workshop. This packet includes one of my photos from my personal collection. In addition, I will supply you a pencil sketch on watercolor paper you will recreate on your own paper. Finally, page 3 includes:
![]() I will talk about how to build a painting. The main emphasis will be on gaining confidence and demystify mixing and using greens. Secondly, is the process. I will explain the block in the method of painting. Working from large to small areas, painting from background to foreground, developing your values from light to dark, and finally working your colors more intensely at the beginning to grind down to a slow process as you work through the painting. There are several things that I will continue to remind you during the demonstration. A few of these are keeping your edges as soft as you can for as long as you can. Understanding various uses of the brush including applications of the toothbrush in applying and removing color. The Photo Marilee, my wife, and I suffer from wanderlust! With empty memory cards, a thermos of steaming hot coffee, and a full tank of gas we headed out to discover new sceneries. In northern Wisconsin during the spring, there are numerous intense colors of green in the forest – yellow-greens to blue-greens where the sparkling sun meets the fog rises from the early morning forest floor. This special swampy area opened into a meadow in the distance. It was a bit mystical to me. There was an ancient fire road directly across the way that led to hiking trails curving through the marshland. As we explored we passed small stagnant ponds and disfigured trees that almost seemed to wave at us as we passed by. This was a perfect spot calling to be painted. THE VIDEO This demonstration will be recorded so you can recreate what I painted. You will receive an email approximately three to four days after the demo with a video link. This video is yours along as YouTube is around. In addition, you will receive a Start-to-Finish packet that includes photos of each step along the painting process. If you have any questions before the critique please send me an email and I will answer them. THE CRITIQUE – DAY 2-Feb 27 Once you have completed your painting email it to me by Noon Friday, February 26, 2021. Here's What to Expect:
I started this demo off with Indigo paper which is around 240 lb. It has a handmade feeling with a nice rough texture to it. It’s a softer paper, so you have to be careful when lifting—you have to use a soft brush. This full-day workshop was crafted into three demonstrations. I wanted to share the differences of watercolor papers and how to chose your subject material that best suits the watercolor paper. As far as paints I explained to my students what you get out of a limited palette versus a full color. The first two demos took around 45 minutes. Finally, I like to have paint-a-longs because the student catches on faster by watching and then doing rather than just observing. This way I can guide them through the painting and help them through the process. ![]() MORNING Demo #1: I started this demo off with Indigo paper which is around 240 lb. It has a handmade feeling with a nice rough texture to it. It’s a softer paper, so you have to be careful when lifting—you have to use a soft brush.
- Raw sienna - Ultramarine blue The limited color approach showed the students using this color palette they could create the illusion of full color. Demo #2: I switched over to 300 lb Arches hot press. It is a smoother and slicker paper. Lifting the paint is easier with this paper. This was a full-color study (note: full color is denoted by six color or more.) Adding just two more colors showed just a hint more variety of colors and helped accentuated temperature changes. Full color:
AFTERNOON The Paint-A-Long: The afternoon demo was on 300 lb Arches cold press. This paper has a rougher surface and can take a good scrubbing. I felt the subject matter lends itself to it – the roughness would add an extra dimension. Finally, I firmly believe in the paint-a-long when teaching students. It’s a step-by-step instruction of how to build a painting. I selected a snow scene to help my students understand how temperature worked with the white of the snow.
Checkout the great job my students accomplished in just one afternoon. Thank you Next Picture Show for inviting me to your beautiful gallery.
![]() Just recently my wife turned me onto a great podcast called Artist Helping Artist. The host, Leslie Saeta and her co-host Margaret Sheldon discuss a specific topic that addresses how to sell more art on-line, along with guest artists, gallerists, and others sharing their knowledge of the business side of art. Marilee said these two ladies are so on trend with social media and marketing. I personally enjoyed their talks with famous artist like Doug Diehl and Stapleton Kearns. In fact Stapleton Kearns will be judging the Indiana Heritage Art Show in Nashville, IN this year. One warning once you start listening you won't be able to stop! ![]() Last week Leslie and Margaret share their feelings about John F Carlson book Carlson's Guide to Landscape Painting.. As you all know hands down this is my favorite art books of all time. Even though I am a watercolorist and Carlson worked in oils I feel it has valuable information about drawing, painting, perspective, atmosphere and so much more. On their show, they mention some of the key ideas from the book... they hope that this will cause their audience (and mine) to reread it or purchase it for your art book collection. It's amazing a book that is nearly 100 years old still holds up. The podcast is about an hour so listen to it while you are driving or taking a little time for yourself. CLICK HERE TO LISTEN. The book is easy to find –you can buy a soft cover, spiral bound or for a Kindle at book at AMAZON. If you own an iPad, like I do you can purchase for an iBook at APPLE'S ITUNE STORE. Yesterday, Saturday, February 17 In conjunction with our Faculty Show at the historical Palette & Chisel Academy of Fine Arts in Chicago I along with other instructors offered free demonstrations. I demonstrated a watercolor and this demo was broadcasted on Facebook Live. Don't forget to LIKE OBSERVER ARTIST WATERCOLORIST DALE L POPOVICH IWS on Facebook.
If you missed this amazing event mark your calendar for early next February 2019. Here’s all the demos that took place at the P&C. February 17, 2018 Main Gallery 10 - 12 pm: Larry Paulsen - Drawing Facial Features 1 - 4 pm: William Schneider - Portrait Painting Second Floor 10:30 am - 12 pm: Dale L Popovich - Watercolor February 24, 2018 Main Gallery 10:30 am - 12 pm: Helen Oh - Still Life in Oils 1 - 4 pm: Michael Van Zeyl - Still Life in Oils Second Floor 9 am - 3 pm: Steve Puttrich - Watercolor 10 am - 12:30 pm: Lenin Delsol - Portrait Painting FACULTY SHOW Exhibition: February 9 - 26 Palette & Chisel Academy of Fine Arts Address: 1012 N Dearborn St, Chicago, IL 60610 Phone: (312) 642-4400 paletteandchisel.org 1012 N. Dearborn • Chicago IL 60610 • P (312)642-4400 • F (312)642-4317 • [email protected] Office Hours Monday-Thursday • 10:30am-6:30pm • Friday 10:30am-5:00pm • www.paletteandchisel.org MAP ![]() I had a great turnout for the LOLA Land 'O Lakes Arts All-Day Workshop. I was amazed at the turnout because the day was quite chilly, -15. But then I remembered the folks up north are of hardy stock. Weather doesn't stop them. The class was made up of beginners and intermediates. LOLA has quite a great reputation to offer quality class for all ages thanks to WENDY POWALISZ, Programming Director. Wendy said there had been great interest in a drawing class with a focus on simple perspective. So I created a specially tailored workshop just for them called Learn How to Draw Structures Fast and Easy, Then Paint in Full-Color Watercolor. First half of the day I demonstrated and shared basic linear perspective theory with simple structures. They also learn two-point perspective and recreated what I shared with them by creating simple drawings. In the second half of the day the class applied the knowledge in a transparent watercolor painting. During this session they developed a snow scene using the two-point perspective from the morning. They gained an understanding of working from foreground to background, large to small and temperature changes in the snow scene. The day flew by, lost of questions were asked and my final watercolor demo painting was raffled off. Thanks LOLA for another great workshop. From there I went back to our cabin, talked about my day with Marilee and took my best girl out for dinner. Life is good. |
Dale L Popovich IWSDale is an award-winning watercolorist and teacher passionate about capturing the raw beauty of the American landscape with the fluid stroke of a brush. As you will see, the works selected in his portfolio represent the depth of his holistic approach to painting. You can also learn with this talented and experienced teacher through his workshops, Palette & Chisel, and Popovich Studio classes. Archives
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