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One Watercolor a Day by Veronica Lawlor

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GALLERY
THE GARDEN,
watercolor, pencil, and
Caran d’Ache crayons
One of a series of five called,
“The Secret Garden.”
Photo by Roseanna Peña
Eddie Peña
An early lover of comic books, Eddie takes sequential storytelling to a
sophisticated level with knowledge of schools, culture, and the great masters
of drawing. “Comics like the Hulk were my favorite, and instilled a love of
art in me as a young man. I now find myself looking more to artists like Dürer
and Brangwyn for inspiration when I go on location to draw, and when I
create storyboards for film, television, and animation.”
Eddie continues sharing his knowledge of art with students as a Professor
at Hostos Community College. He has been involved with programs such as
F.R.E.E.D.O.M. (Free Rising with Education to Economic Development
Opportunities and Mentorship), a program designed for out-of-school youth
ranging from ages seventeen to twenty-one. He also worked with the New
York City Parks Foundation, the only independent nonprofit that offers park
programs throughout the five boroughs of New York for young people. Eddie
finds joy in nurturing the young artist in each person.
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G ALLERY 123
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“It’s not because things are difcult that we dare not venture.
It’s because we dare not venture that they are difcult.”
—Seneca
Risk: A situation involving exposure to danger. (Oxford
English Dictionary)
“Risk taking is a necessary component in an artist’s life.
Without risk, there is an extremely low chance of signicant
discovery in oneself and one’s work. Insecurity is one of the
most paralyzing diseases and greatest threat to risk.
Experimenting with new tools, marks, lines, and media is
what keeps me excited and anxious to work on a daily basis.
Playing and never being afraid to replicate what you have
created nurtures a healthy condence needed to take
calculated risks and separate you from others on the playing
eld. The continual practice of risk taking builds immunity
to insecurity. Draw and paint things you never would, use
materials that you nd intimidating because you never know
what you will nd.” —Eddie
wAr M SP r I ng,
abstract watercolor and crayon
painting depicting a day in spring
MeTAMorPHo SIS,
Abstract watercolor
painting describing cellular change in the body
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Dominick Santise
An artist who combines the poetic and the prosaic, illustrator Dominick
Santise is also an experienced production man, a classically elegant designer,
and an expressive draughtsman, animator, and photographer. His storyboards
are varied and exciting in their problem solving and their choice of medium,
both in the studio and on location. His clients are diverse, among them are
Inc. magazine,
. His 2005 reportage of the
American Museum of Natural History’s dinosaur exhibit was featured in New
Scientist magazine. Recently, Dominick has turned his personal time and
attention to the subjects of agriculture and the environment, starting the
artisanal ceramic plate project Terra Messor and contributing to the blog
theenvironmentalobstacle.org.
Dominick is the author/illustrator of several stories, including Beneath the
Tree, and has been working on images for the book Spring Tea Party, written
by his late grandmother. He lives in the mid–Hudson Valley with his wife and
daughters.
GALLERY
T REES , watercolor
Photo by Dominick Santise
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FALL, watercolor, sepia ink
CHARTRES C ATH EDRAL,
watercolor
“When words fail, the pen and brush go to
the paper. The journey has been bright
thus far; I long to continue—to draw, to
paint, to find. New worlds created from
the movement of the hands. To share the
stories and speak of the moments that
would otherwise pass us by if not for the
simple compulsion to mark a piece of
paper with line and color. Each day’s
experience builds on the thousands
before.” —Dominick
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