Here are the answers to some questions I often get asked about my watercolors:

Are they digital prints?

No, my images are unique watercolors, hand-painted on stretched hot-press watercolor paper. I use mostly drybrush technique, along with washes of staining pigments. When you look very closely you can see the drying lines, paint blooms, and subtle granulations characteristic of the medium, but from a few steps further back the paintings look uniquely different than traditional watercolors.

How are your paintings different than traditional watercolors?

Well, at close range, they are not so very different. Have a look at this detail view of one my smaller paintings:

Most watercolor artists use textured paper and sedimentary colors. The relatively large pigment particles of these types of colors settle into each crevice of the paper texture to produce an interesting granulation pattern on a large scale -- this is a classic watercolor effect. But my preference is to use hot-press watercolor paper, which has a very smooth surface, and staining colors, the fine-grained pigments of which tend not to produce such noticeable textures, as you can see above. The use of a black pigment (iron oxide) in watercolor is also a little unusual. People are often surprised when seeing my work for the first time to learn that they are in fact watercolors.

Why are the edges of your paintings so sharp and crisp?

The borders of each painting are masked with drafting tape at the beginning of the process. This produces a sharp edge when the tape is removed, although occasionally there is a slight seepage, which adds a little extra handmade character.

Why do you sign your work backwards?

I wrote backwards all the time when I was younger... As a left-hander it just felt more natural. When I started incorporating handwritten text into my paintings years ago, I began signing the work using my homegrown backward script so that the signature wouldn’t compete with the text as a visual element to be read. Each painting is also signed on the reverse.

Don't watercolor paintings inevitably fade over time?

Not mine. It's true that watercolors in previous centuries were often painted with colors made from vegetable dyes and other materials that were prone to fading. Some artist still use these "old master" colors out of respect for tradition. But I use only the most permanent modern pigments such as phthalocyanines, quinacridones, and benzimidazolone. These have the very best light-fastness ratings and should last for many centuries. My watercolors are at least as archival as oil paintings. You should still keep them out of direct sunlight, which can damage any artwork.

How should I care for an original watercolor painting?

My paintings can be enjoyed by many generations if you observe a few simple precautions. Keep them under glass, and hang them (and any other artworks) away from direct sunlight, moisture, and smoke or other atmospheric pollutants. Severe fluctuations in temperature and humidity can also be detrimental. Select your hanging location with care to protect your investment.

Do you paint from photos?

Mainly yes. Most of my subjects are insects, which are not cooperative when it comes to standing still for long periods. I am also interested in the documentary character of photographic images, even when the images are obviously fictional. My images are narrative, and the story seems more believable when the images have some photographic qualities.

Do you use opaque pigments?

As a rule, no. The white you see in the highlights and reflections is merely the white of the unpainted paper. The greatest clarity in watercolor is achieved by the use of transparent pigments and by letting the white of the paper show through.

Where do you get your subjects?

A surprising number of them fly in the open door of my studio. Some of the butterflies and moths I raised from caterpillars in my studio. All of my living subjects are released unharmed after a photo session. The pinned insects I collected way back when I was in high school.

What kind of paints/brushes/paper do you use?

Many people are surprised to learn that I use just six colors: phthalocyanine blue, phthalocyanine green, quinacridone magenta, benzimidazolone yellow, Payne's gray, and lunar black. I prefer Winsor & Newton or Daniel Smith paints, in tube form, and stretched Arches hot-press watercolor paper. I have only one small sable brush for details -- more often I use large squirrel quills and cheap student brushes. You can see a demonstration of my painting methods on my blog, if you are curious to learn more about the nuts and bolts of the process.

Are you the same Paul Pitsker I knew way back when?

Yes. Please feel free to contact me if you want to say hello.

Do you sell prints of your work?

No, sorry, not at this time.

Which of your paintings are still available?

You can see a complete catalog of recent work here. Paintings shown without red dots are available.

Why are there no prices on your website?

Art galleries prefer not to have their prices posted online, but all your questions can be answered easily via email or phone. If you have any questions about available artworks, please feel free to contact me, or please contact any of the galleries that represent my work (below).

Can I avoid paying a gallery commission by buying a painting directly from you?

No, sorry -- even a studio sale would be handled by a gallery. I am very pleased to have a great relationship with some outstanding dealers, and they would be happy to answer your questions about available work:

Left Coast Galleries	Studio City, CA		818-760-7010

Or please feel free to contact me directly with any questions at all. Thanks for your interest.