Pemaquid in Progress

 

Composition Sketch in progress- Pemaquid 

This compositional sketch is the result of the roughs below and two on location watercolor studies.  It is intentionally not detailed.  I enjoy the design process.  I never used to take the time to experiment with different compositions - I just wanted to dive into painting (Truth be told, I still struggle with that).  But I consistently started running into composition issues which were so labor intensive to correct.  

In this case, I'll also re-position the boat further back and alter the angle of its profile so it leads back into the cemetery.  These are small rapidly executed studies, including the watercolor on index card below.   There will be much more foliage, as was in reality, in the final paintings.  Shadows in the foreground were also part of this composition.  I will also try a winter scene with shadows as an important part of the composition. 

 

Watercolor Study on Index Card 4" x 6"

One of the effects along the coast and tidal rivers that I find particularly interesting are the vignettes of color of the ocean between trees.  I'm also working to study more of the dramatic skies that we have here in Maine.  The skies effects are so fleeting - yet beautiful and dramatic.  I also enjoy working in Monochrome - to focus initially on value and composition without having to give a thought toward color is freeing.  Working on the different color variations is an entirely different - yet no less exciting process. 

Stay tuned.

10 Annual Joy of Art Opening Reception

Julie and I aattended a woderful opening reception at the Crooker Gallery, Thopsham Public Library in Topsham Maine this afternoon.  It's always enjoyable to meet other artists and supporters of the arts and to see the many different expressions from different artists.  This Gallery and event is where I took my first steps to show my work outside the family (four years ago) and the staff was as warm, encouraging, and as welcoming as ever.

I entered two pieces in this juried exhibition.  A watercolor (Moonlight, Ice Out, Androscoggin) and an acrylic (Midcoast Marsh).

My watercolor, "Moonlight, Ice Out, Androscoggin" won first prize in the watercolor division.

I was speaking with another artist about her landscape painting, which I particularly admired, when a couple stopped by to listen to the conversation.  We spoke of the joys and challenges of painting on location and how it informs our work.  

The couple asked me what paintings I had entered in the show.   They then asked me to talk to them about my Midcoast Marsh painting.  I was able to describe to them the location which was the inspiration for the painting and about  my process for choosing and executing a subject.

"Would you consider parting with it?" and with that the painting was sold!  I'll write more about that soon.  It was so rewarding to hear the couple share their memories that my painting had stirred up of growing up in and around marshes and that Midcoast Marsh would have a home in thier cottage.

Thanks again to the Friends of the Topsham Public Library for this wonderful opportunity.

Lands End

As I was leaving Bailey Island I was struck by the contrasts in the fading light with the fog rolling in after sunset.  The water was capturing and reflecting all the light it could, creating striking silhouettes of figures as well as the house.  

I've always enjoyed monochrome painting and experimenting with different values.  My early reserach into Charles La Salle and his circle of friends and colleagues from the "golden age" of illustration I was struck by their mastery of charcoal.  "If a picture doesn't work in black and white - color won't save it."  Blunt but accurate I think.  Color can mask a bit, but won't hide a weak composition.  I also experimented with drybrush technique on this painting.  I recieved so much encouragement and advice from the late Bob Harris who was a very successsful illustrator and portraitist.  I still can hear his voice and chuckle about him talking about knowing when a painting is done before it is "finished."

I learned quite a bit from this sketch and will do some additional compositional sketches with paint before executing a large scale charcoal and then a finished painting.  I've settled on this working method over many years.  I quite like it because I enjoy working in different media on different scales and it allows me to combine my love of outdoor painting (Plein Air) with the creative challenges of design and composition.    I can also have many subjects going at once in different stages of development.

Sometimes I paint outdoors just to get outdoors - but I may not have a great or interesting subject for a finished painting.  However, no matter what , the practice of painting and observing always comes in handy and helps inform future paintings and drawings either through a successful painting or parts thereof or in the experience of learning not to repeat a mistake or series of mistakes.

I'm never stuck in the pattern of start to finish in any set order.  Some ideas are simply set aside for further consideration.  Sometimes years go by until I revisit a subject.  I find it satisfying to have a body of paintings waiting for further develoipment that I can go down into the studio after a long day or on a night when the weather forces me indoors.  It helps me work on my favorite painting - my next one.