Rocks and Wildflowers

Rocks and Wildflowers

Two lights 

Acrylic 12" x 16"

This is my latest Acrylic Painting of a composition that is a common sight in and around Two Lights.  I explained the process to this point in another post if you are interested in learning about methods for creating painting.  Below I've put the large charcoal drawing (12" x 18") side by side with the Acrylic

When I had reached a stopping point in the main painting, I decided to quickly sketch out some other ideas from my trip with leftover paint on 4" by 6" note cards.

Sketch " x 6"

I really enjoy these quick sketches.  I learn a lot from them with very little time invested.  For instance, in the painting above, the ocean seems to "run off" the picture to the left.  Through the placement of rocks or shrubs I will reverse that so that it leads the eye into the painting and not out of it.  It's a win win.  I don't waste paint and I get to explore ideas in a much looser manner.

Surf Sketch 4" x 6"

Scale of Sketches

A Work in Progress

Mechanicsberg Penn - on location

I've come to learn that every painting, successful or not, has helped me continue forward in my journey to capture my impressions of the landscape.  Occasaionally I'll have a reason to revisit past efforts - in this case in preparation for entering a juried plein air exhibition in Southern Maine.

This sketch was started and completed on location during a family trip to Pennsylvania years ago. I took some time to explore a nearby park and was captivated by this river.

There are a number of things I would change about this painting, but at the time I was most interested in studying the effects of the water with the limited time I had.  What would I change?

A number of elements of the composition (the tree in the center of the river in the center of the painting) as well as the solid trees in the background.  Although this is as the composition was, it doesn't make the best composition for a painting.   

Next I did some compositional sketches - ranging from simple line drawings to more detailed sketches.

                                

This was a quick tonal sketch - not at all concerned about detail, but begining to address the composition and values.

I then did a quick color study and also experimented with natural sponges for applying paint as I had in the on location study.

I then set the sketches aside in a portfolio - which I will most likely turn into finished paintings.  I've got a number of "collections" like this of different subjects that I've set aside for a rainy day.

Each painting also adds a little more knowlege about what does and does not work in producing a desired effect.  Its amazing what you will remember about a location when you spend a few hours painting and observing.  I now don't get concerned if I cannot capture an effect accurately at the time (my observations are often ahead of my ability to capture them in paint) because I can revisit those subjects when I have further developed my skills.

On location sketches also help me develop a "bank" of resources to refer to in future studio work (rivers, clouds, et cetera).

I'd love to hear any tips others may have for working on location.

Persistence - Houghton Maine

What follows is a poem I penned years after our trip to Houghton, Maine.  One of the things I savor about painting on location is the peace it brings at the time and its lasting impact on me. When I looking at a painting or sketch comlpeted on location (however it might pale compared to the actual scene) literally brings me back to the time of place of its creation.  I remember the sights, sounds, temperature, smells, and so many other details of that moment in time.  

I developed love of writing while attending Westbrook High School (thank you Mr Hughes, Mrs Rich, and  Mrs Hamilton) that was nurtured in college  by Constance Hunting, Marjorie Wilson,  and other members of the English Department at UMO who allowed and encouraged a Psychology Major to enroll in advanced writing classes.  I'd like to think that I was aware of the help and gifts that you shared with me in my teens and early twenties - but I'm sure I wasn't.  I cannot thank you enough for your time and encouragement.

Persistence

Watercolor completed on location

Houghton Maine

Persistence

A slight turn off the paved road

The grass quickly rises above the bumper, gently pushing us along

The road constricts, tree tops block out the sun

Branches tap the roof

Gently at first, then with more urgent groans, warning us to stop

How far the road will let us go?

A birch sapling stretches across the road

A warning

A long steep drop hidden around the corner

The road sprints downhill

Ending in a small clearing

Hidden by the last drop in the road

Surrounded by thickly wooded hills

Guarding their secrets

Bear scat and moose track tell me that we are not alone

I grab my paints and slip into the woods

Heading for high ground

The trees refuse to surrender the view I hope to find

Persistence

Stubbornness

A fine line

Rewarded

Invisible to a casual glance

A small scar, a remnant of past storms,

Offers an opportunity

To see above and beyond the trees

To see the entire valley

Persistence

Pine, Birch, and spruce claw their way skyward

Pushing rocks aside

The scar was already fading

Hours spent painting, the memory is set

My back is aching, paying the price for hours of concentration elsewhere

It was worth it

I don’t need to return here to know - this view is no more

The moose and bear travel as the mist, fleeting yet present,

Unwilling to be seen

They persist

Oil painting completed on location
Looking up from the campsite

Watercolor
Interrupted by swarms of black flies

Where did that idea come from?

Question:  Where to shop for good ideas?

Answer:  Anywhere.

In this post, I'm not speaking about copying ideas for paintings or compositions - but rather about developing your own working methods and organization so that you can spend most of your time actually painting.

I enjoy hearing about other peoples working methods.  You'll develop your own working methods through time and trial and error.  Take what works from others and make it your own.  In my experience this is as true for art as it is in all walks of life.  I don't have just one working method - for those of you who know me that comes as no surprise. However, I do spend more time now planning a painting than I used to - but its taken me 15 years to get to that point.  Time wasted looking for supplies or reference sketches does get old after awhile.

Whenever possible I try to paint the subject on location. I've found that when I refer back to on location works there is so much more in my memory that I was consciously aware of at the time.
When I cannot paint on location, I try to make some quick studies or sketches on location or at least to spend some time getting the feel of a location.

The three sketches below were completed on a camping trip to Houghton Maine years ago.  Most of my on location paintings are done in watercolor - due to ease of transport.

Watercolor sketch 12"x16"

This watercolor was done on the first day of the trip.  I found a clearing halfway up a wooded hill overlooking the camp site.

Oil  12" X16"

This was one of the first times I attempted oils on location.  This view was looking up the tote road from our campsite at ground level.

Watercolor  Sketch 12"X16"

This was a very quickly executed watercolor on the last day of the trip.  I'd intended to paint the campsite as well - but swarms of black flies had other ideas!!

My paintbox holds two twelve by sixteen canvas boards and I'm able to put a small watercolor pad behind it.  I tape the watercolor paper to the back of my easel and my brushes, paints, watercolor paintbox fit inside easily.  I keep water, papertowels, and other supplies in a small backpack and have a portable chair although I will often find a tree or other surface to sit on and some other times I'll paint standing up.  This set up literally takes no time at all to grab and go.

The trick and ,for me, the challenge was how to organize my paintings and sketches in my studio.  More about that later.