American Artist Watercolor Magazine celebrated its 25th year of publication with their "25th Anniversary of Watercolor Issue" in September 2011. Following the numerical theme, the issue introduced "25 Artists to Watch," who were garnering attention in the art world. One of the artists featured was Shiho. Her accomplishments with and knowledge of watercolor painting earned her this
prestigious feature. Included in the piece was information about where Shiho grew up, what she
studied in New York, what she thinks about when she creates art, her methods of making art, and her favorite artists.
The following is from the aforementioned American Artist Watercolor Magazine: "This issue marks the 25th Anniversary of Watercolor. To celebrate, we present 25 tips, 25 painting locations, and 25 tools that today's top water media painters say they can't do without. "We also take a look at the innovations of early practitioners and trace the masterful use of watercolor throughout history. "Our list of 25 workshops, classes, and locations presents upcoming opportunities to help improve your painting skills at venues across the country. We hope that the diverse collection of artists, tips, and profiles in this issue keeps you painting for years to come—after all, many have helped paved the way so that we could do so. Happy anniversary!"
"25 Artists to Watch"
"Working with a wide range of subject matter, techniques, and materials, these artists demonstrate possibilities for working with gouache, acrylic, and transparent watercolor that will have skeptics reassessing and inspire fellow artists to pick up a brush."
Shiho was featured in an introduction of Blick and Faber-Castell art supply products printed in American Artist magazine.
Using Blick's colored pencils and markers, and Faber-Castell's watercolor pencils, Shiho created artwork to show readers what kind of creations are possible with these products. In the article, Shiho introduced how to use these products, in addition to their special characteristics and color palette. This issue was published in June of 2011.
When I am confronted with a watercolor work, I begin with brushes to make a canvas- the watercolor paint solutes and permeates through white background, creating the warm and soft effect I designated it to be. Working with Faber Castell then begins and my expectation on using is My expectation on using the color pencils is on the effects they add to my painting- Upon completing a work I want to see the painting come out to the viewer and leave a delicate impact out of the mild texture of watercolor. To create such affect I rely on the pencils because one of the great things about them is that after the pencil colors dry on the surface the color comes out stronger than it is on the wetted surface. The pencils give stronger contrast and edges to the painting and they complete the work.
There are different ways in which I use the pencils in the painting process. The hard surface of the color pencils are sometime thickly smudged, or lightly dry-coated on the surface depending on the amount of water used and the effect I want to create. There is a tension in the pencilwork for it dries fast with water but within the process also is a greater control on the hand holding the pencil. Unlike using brushes, pencil colors don’t change before and after the surface dries so for the painter, the process is more flexible on rendering color components and image I pursued to paint. Another aspect about the colorpencils is on the control on the diffusiability. one of the techniques I use is going over the pencil strokes with wetted brush, which also gives greater control of the degree to which the water diffuses with color. The result could be clear edges, high contrast, soft layers with greater delicacy or mixed colors that a brush alone doesn’t really render. Out of still life subjects such as flowers and animal figures in my work the stillness evades particularly due to the effect given by the color pencils. The result is not really a still life, but a picture of livelihood and motion. If you come closer to the paintings one can see the ways in which thin layers of watercolor base and pencil strokes are combined and at large, present an animated nature.