Splash 10 Passionate Brushstrokes Review

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Splash 10 Passionate Brushstrokes ReviewBook ten already! I wonder if the folks at North Light thought Splash would last from January 1991 to May 2008 for the latest edition. Especially when you consider the number of books out there. Put 'watercolor painting' into Amazon's advance search and more than 8,000 titles pop up, try 'watercolor instruction' for more than 800!
I mentioned in my review of book nine that I thought the contents rather subdued in comparison with previous editions and ten does rather continue that impression. I must admit that I have no idea about the criteria for inclusion in this series but selection is probably based on what is available and maybe there just aren't many eye-stopping paintings around. I'm thinking here of Deborah Rubin's tram painting in book eight or Hosey Hutson's beautiful painting of the side of a barn made up from 7-UP signs in book six.
So what does this latest book have to offer. There is certainly no reduction in quality from the ninety-nine artists included and the range of styles is as wide as previous books. Dan Burt's included again (he's also in book seven and eight) with his amazingly flamboyant casual brushstrokes and so is Soon Warren's glass bowl with flowers done in an almost photorealist technique. Ted Nuttall (also in book eight) contributes a lovely portrait rather reminiscent of Charles Reid's style: an apparent casualness of color and brushstrokes that makes it look so easy but is in fact the epitome of creativity and professionalism. John Salminen lives in the Minnesota woods and so is intrigued by big cities. He has two paintings that nicely capture the feel of a metropolis, his starting point are his own city photos. As with previous editions all the artists write about their techniques and inspiration.
Book ten is the same size as the others, printed on good paper with a 175 screen. The paintings are divided into seven sections with the usual favorites: landscapes, still life, flowers (with some really good exhibits) and people. I always thought the design of the series rather good, clean and uncluttered but this book has a rather annoying design conceit: there are three examples of display type printed on the paintings. This seems to me a totally unnecessary idea, empty areas of a painting are there for a reason and not to be considered as an optional place to add text. I've not noticed this in previous books.
Despite the fact that this tenth book (like the ninth) doesn't quite come up to the creative exuberance of the previous eight it still has plenty of wonderful watercolors to inspire you and the series still continues the very high painting selection one has come to expect.
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