On painting that ever changing light

This post is inspired by a comment Molly left for me yesterday on the challenge of painting sunsets en plein air. As I've noted before, this golden hour of the day is my favorite time to be out painting-- but it's also one of the most challenging because the light changes incredibly fast. Since I've made my share of stinkers (and had a few successes too) I thought I'd offer a few tips from what I've observed along the way.

• At first, try keeping it small! This will ensure that you can cover the entire canvas within the time limitations you have.
• Broadly tackle first the overall light and shadow pattern and don't give into the temptation to lose yourself in details in the early stages.
• For as long as you can, try thinking in terms of light and dark, shapes and patterns instead of objects and things.
• Simplify.
• Squint.
• Develop what you know is going to change the fastest.  In the recent harbor paintings I did in Annapolis, those clouds were such an important element in the paintings and I knew they'd change quickly as the sun was breaking through them across the sky. So I set about developing the sky and clouds first, even though I'd merely blocked in the dark shape of the boats.
• Make a commitment. Try not to change your entire painting with each change of the sky (or light). This will drive you crazy and it will quickly start to cause  your painting to look confused. At some point you have to decide on the statement you want to make with your painting and commit to it. Learn to develop those memory muscles so that when the light changes you can recall the moment you were trying to capture. This is why blocking in the overall light and shadow pattern is so very important at the beginning.
• At the same time (and this is going to sound like a contradiction to the previous statement,) if you want to capture that elusive golden moment, you almost have to try and anticipate what's going to happen next and be ready for it. The best way to do this is to observe, observe, observe. Paint at different times of the day often enough and you will really begin to notice and observe what happens to the quality of the light. I find myself doing this mentally now, even when I'm not painting.
• Color is seductive, and it's understandable to want to change and tweak it as the sky gets more and more beautiful with that rosy/golden evening glow.  Sometimes it is necessary to add that flourish of color at just the right moment  in your process to get the feeling you want. If you feel you really must change the color, I'd first try changing the color without changing the value.  It's not as simple as it sounds. Those sunset colors can be pretty intense. Too much white will kill the intensity. Too much change can shift the value (and/or color temperature) to the point that it throws off your whole design. It really is a dance.
• Don't be stingy with your paint. Many don't put enough paint out on their palette, and/or mix smaller piles of color than they'll really need. While I usually keep my shadow areas relatively thin, I can really load it on in the highlight areas.
• Be grateful for the stinkers. (I am still working on this one.) Nowadays, while I still indulge in a brief tantrum, I am more and more appreciating the duds, and how well they teach me. Each one gives fuel to the fire and helps to inform a future masterpiece :-)
• Time is of the essence, but remember, this is a process of both measured intent and spontaneous response. These two approaches may seem to be at odds, but really they can work in tandem. For me, they are easiest to apply if I can relax, have fun, and enjoy the moment.

Annapolis Day 2- A fine morning with guidance from Gruppe

Had a few technical difficulties to overcome before I could post again, but I'm picking up where I last left off writing about the Annapolis paint out. Day two of the paint-out started off great, mainly because I had been able to do a little planning the day before. Painting in an unfamiliar place can always be a little overwhelming. It takes a little bit of time to get your bearings and find locations that appeal to you. This task can also be a little more daunting if you are also painting unfamiliar subject matter. (In my case, not living near a harbor or having much boating experience,  that subject matter would be the preponderance of boats.) To tackle the first obstacle, I spent some time on the first day (in between my morning and afternoon paintings) just wandering around scouting out possible painting locations along the many small harbors. One thing to consider is the path the sun will take across the sky throughout the day from sunrise to sunset. Having already done one morning painting the first day, I began to get a feel for which locations would make good morning setups and which would work better for me in the evenings. (I will also sometimes carry a compass with me to accomplish this task.)  As a result, I found a location in Eastport that I knew would be perfect for an early morning sunrise scene. And in contrast to the first morning when I got started late, I was able to arrive early on day 2 and start painting between 7 and 7:30 a.m.

As for the second obstacle.... the first thing I had to do was to recognize that no matter what I am painting, all I really need to do is paint shapes and the play of light on forms. If you can accurately see what is in front of you as abstract shapes and light patterns (and get a good grasp especially on painting the shapes of the negative space between the forms as well,) form naturally happens.  Having said that, the mind plays tricks on the untrained eye--even sometimes on the eye that has had a bit of training. Boats (like trees and the human face) are some of the things that the mind has long tended to see as symbols. They're some of the things that so many of us drew when we were kids --a sort of half-circle topped with two triangles. So one can easily fall into the trap of painting a symbol of a boat (or a tree or a face) instead of painting the actual shape.

While intellectually I know that all of the above is true, for my own peace of mind, I found it also helpful to consult one of my favorite art books of all time by Emile A. Gruppe. Gruppe was a fine New England painter of landscapes, townscapes and most notably to me, marinescapes . He was active in the 30's on up until the 70's and received training at the Art Students League in New York, and from famed American landscape painters Charles Hawthorne and John F. Carlson. Gruppe was also a wonderful teacher in his own right, both through the school that he established, and through his series of books on painting ("Brushwork," "Gruppe on Color" and "Gruppe on Painting; Direct Techniques in Oil" ).   

All three of these books are fabulous. They are also out of print, making the ones that are still available quite pricey and difficult to acquire. I haven't written much about these books before because there is just sooo much I would want to to say. I can't give proper honor to each of them now without making this post even longer than it already is, but suffice it to say that despite the cost and the regardless of sad quality of the painting reproductions within, they are three incredibly worthwhile and inspiring (if not essential) additions to any landscape painter's library.

For my money, Gruppe was a master of brushwork and composition. Living in New England, he was also a frequent painter of harbors and coastal scenes, which made his book, "Gruppe on Painting; Direct Techniques in Oil," a perfect traveling companion on my trip to Annapolis. I'm glad I grabbed it as I was walking out the door, especially since this particular book has a whole section on painting harbor scenes.  This is not a book of formulas, but rather a thoughtful book with a wealth of things to consider. For instance, here is an excerpt on drawing boats:

"...students have  preconceptions about what a boat should look like. They think of boats they drew as children, boats that were shaped like wooden shoes or bananas, curling up at the bow and stern. And that's how they draw them. But probably no shape could be less like that of a real ocean-going dragger; all those concave lines suggest weakness while the character of the dragger is strong and tough......Remember that the gunwhale of the boat is straight as it nears the bow--it doesn't sweep up like a gondola! And the bow goes into the water in a fairly straight line--it doesn't cut under sharply. Use strong lines to suggest a strong subject."

Just that one snippet helped me immensely, and yet there is so much more in this section alone; on cast shadows, masts, rigging, refraction, smaller boats, and docks and wharves. The conversational tone and the passion in Gruppe's writing helped me to internalize his teachings and carry them with me as I addressed the subjects and painted them from life. Here, finally, is the painting that resulted. I may need to touch it up when I return to the studio, but I was pretty happy about it overall:

 

Daybreak in Annapolis Oil on Multimedia Artboard, 11x14"

On this second day of painting, I was happy to meet more of the artist members of the MAPAPA, so I felt a little more connected and a little less lost. In fact, as I was finishing up the above piece, an artist came up to me with a rather dazed and confused look. She said it was her first day at the paint-out, and she'd been driving around for an hour trying to decide what to paint. I had to chuckle (not at her, but with her.) Been there, done that!

A good day in Annapolis

My first full day in Annapolis had a slow start, but in the end I got two and a half, maybe three little pieces done. I say *maybe* three, because the last one was just as the sun was setting over the town and night fell before I could really asess the work. But I'm jumping ahead. Annapolis is a charming little town, and the weather has been ideal. As lovely as the day began, I spent a good deal of time this morning wandering around with my gear in tow. For some reason I couldn't decide what to paint. Maybe I was overloaded by too much stimuli. Or maybe I was a little road weary...who knows? In any event, eventually I did settle down, and started with a street scene of  a sweet little church on the south side of Annapolis, in the sectoin of town called Eastport:

 

"First Baptist Church of Eastport" Oil on Board 8"x6"

Because of my late start, it was approaching lunchtime when I finished. So I thought it would be a good time to take a break and check out the rest of the Paint Annapolis event before I set up for another painting.  I was a little disappointed that I didn't see more painters out and about. I know they were there, but they must have been pretty well spread around Annapolis because I only came across a few the whole day. I imagine many of the juried artists were off on some quiet street somewhere away from the tourists so they could get some serious painting done. As for the others in the MAPAPA, most were nowhere to be seen; even though by the looks of the sign-in sheet, I know they had "checked in" at the information center.

I am hopeful that I'll run into more painters tomorrow. But for today, rather than drag my gear around endlessly for blocks on end, I abandoned my search and decided to set up for another painting. The light was getting really lovely and I found a nice, shady, quiet spot at the end of Shipright Street:

"Harbor View, Annapolis (Shipright Street)" Oil on board 9x12"

This photo really washes out my sky, but it was turning that lovely warm tone of late afternoon, and the clouds were taking on a beautiful soft pink glow. Until I can get this painting home to adjust the colors and edit out the little knobs of the canvas holders from my easel, you'll just have to use your imagination! This little scene shows the view looking out towards a little harbor on Spa Creek, and the red drawbridge that connects the historic center with the small maritime republic of Eastport. The historic center is lovely, but I rather prefer crossing the bridge to quieter section of Eastport. There is much to attract-- the quiet, charming streets and all of the smaller harbors that allow many lovely views of the water.

With painting #2 complete, I thought I was done for the day. So I packed up to head back to the hotel. But on my way back to the parking lot, I was struck by the last pink light of the setting sun over the historic town. I whipped out another canvas and started what I thought was to be a small sunset painting. However, the sky changed soooo quickly that soon I was painting a nocturne. Even though my canvas was small, (8x8") it soon became impossible to see anything in the dark as I had no street light nearby to help me in my task. It will be like looking into a Christmas stocking tomorrow morning when I go to the car to take a look at the painting in the daylight. Even so, I may yet pull out a lump of coal. We will have to see!

Paint Annapolis

Haven't gotten a whole lot of painting done in the last few days, but hope to remedy that this weekend in Annapolis. I'm going up to participate in the Mid Atlantic Plein Air Painters Association paint-out that is running concurrently with the Paint Annapolis competition.  Paint Annapolis is an annual juried competition, also spearheaded by the MAPAPA. 30 artists who have been selected by a jurying process compete for prizes by painting en plein air over a long weekend around the historic section of town near the harbor. I have not been one to apply for many competitions and I missed the deadline to apply for this one. Up to now, I guess competitions haven't really been on my radar. I don't really consider myself to be competitive in nature and the thought of "performance painting" just seemed like more stress than fun. On the other hand, aside from the opportunities they offer, there is a lot to be said for immersing yourself in a community that is welcoming to artists, where the focus is just painting, painting, painting.

There is certain energy you get from working with other artists in a group setting that encourages and inspires, and makes you want to do more and do better. That is the experience I have had with workshops, whether I've been leading them or taking them. And while accolades and prizes are nice, I suspect this is the real appeal to the paint outs and competitions for many plein air painters too.

This is what I had in mind when I registered for the paint out. Since up to now I've been a pretty inactive member of the MAPAPA, I figured this would give me a chance to do something with the group, as well as to see what the Paint Annapolis event is like from the inside, without the added pressure of competing. I also love Annapolis and have always wanted to go and paint there. I am supposed to have free high speed Internet access at my hotel, so if all goes well, I will blog about my experience while I'm there.

The weather is looking promising, and I'm excited about the trip. Still, the event probably couldn't come at a worse time for me personally. Moving time is fast approaching, and next week we start breaking ground for the new studio! I told my husband that I couldn't believe I was going to Annapolis with all that we have going on. "I really think I am going insane," I said. He had one word in reply, "...Going?"

Video- Tour of Jennifer Young Studio & Gallery

Taking some time over the Thanksgiving holidays to spend with family , so for now I leave you with a little tour of my studio/gallery featuring my last and perhaps one of my favorite shows to date, "Luminosity". The groovy music, by the way is by David Webb.

If you don't see the video player above, clicking this link will take you to the video in a new window.

Happy Thanksgiving!

New painting details uploaded to the website

It took me a while but I finally got around to uploading some of the plein air paintings I've blogged about in recent months:

   

Details and purchasing info for these smaller paintings  of the Eastern Shore of Maryland are in my gallery of Mini Paintings, as is the recent little autumn scene. In another section of my website, I've uploaded these two Eastern Shore plein air paintings in my gallery of water-related scenes: 

 

 And finally, I mentioned yesterday that I was considering doing a touch more to the little lavender watercolor. Well, I didn't do much but I couldn't resist a tweak, and you can see the final image in the Vignettes section of my website. As with my other Vignettes, this one  may be purchased online  via Paypal. Update: This painting has sold!

Now that I'm getting caught up, I have some new work to upload...stay tuned!

Thanks to EmptyEasel.com for featuring my landscape paintings!

A few weeks ago, Dan at Empty Easel was kind enough to feature my plein air painting demo on his art site. I'm thankful to him again, because today he's given me a very nice a write up about the latest landscape paintings I've created for my current show  about the luminous landscape. If you have an interest in the arts, do check out his site. He regularly features the works of artists he's reviewed from around the internet, plus he has wonderful tips for art and painting as well as Internet art marketing. If you're an artist, consider submitting your work or an article yourself for a possible feature.

...And if you're in the Richmond area, my show "Luminosity" is still on view until December 1st, so come by my studio/gallery this Friday during the art walk if you can,  or just contact me to visit the gallery at another time.

Art opening tonight: "Luminosity"

I've been scrambling this week to get everything finished for the opening  for my exhibit of new landscape  paintings tonight here at the gallery, and I'm officially pooped. The good news is, the show looks great, and  I can now take few hours to rest before we open up tonight. Come out and see us if you are coming downtown tonight or are doing the First Fridays Richmond art walk! Here are the details for tonights event:

"Luminosity" Art Exhibit at Jennifer Young Studio & Gallery

Richmond, VA –  Jennifer Young Studio & Gallery will feature new paintings of the luminous landscape by Jennifer Young.  The show opens on Friday October 5th, 2007, with a reception from 6 to 8:30  PM. Opening night music provided by Russell Young. The exhibit continues through November 30th.   Jennifer Young Studio & Gallery is located at 16 East Main Street, two blocks east of the Jefferson Hotel. Click here to view a map and get directions from your location. For additional information please contact us!

Luminous landscape painting: Beneath the Haze

This is a new painting I've done as part of a series of works I am calling the Luminous Landscape. It is of a most unusual evening sky I saw while painting an adjacent view on location on Tilghman Island. It had been an incredibly hazy, humid day, and when I set up to paint en plein air, the sky was covered in a heavy haze. But as the day started approaching sunset, I saw the sun doing its best to burn through that haze. The effect produced a diffused comet-like trail of light across the upper part of the sky, and  a bands of clearing closer down to the horizon. I really enjoyed the abstract qualities of this scene.

"Beneath the Haze" Oil on Canvas 40" x 30"

I painted this larger painting in my studio on a gallery wrapped canvas with a deep 1.5" stretcher with painted edges, so it will be ready to hang without the need of a frame. Here is a side view:

Plein air painting; St. Michaels Boat House

I'm back in the studio now and assessing the work I did last week on location in Easton Maryland. In some cases I will clean up these pieces up or make some other adjustments, but first I will just prop them up in my studio and study them for a while. This is a little 8x10" study I did at the Maritime Museum in St. Michaels. This was done in the morning, on the same day as the afternoon painting of the "Delaware" tugboat I mentioned in an earlier post.

Plein air painting; View Across the Harbor, Oxford, Maryland

I don't normally paint views of such great distance, but this was a lively little harbor scene and so representative of the little town of Oxford on Maryland's Eastern Shore; charming, quaint, small and picturesque. This was painted mid morning (started around 9:30) on location. I found one tree to shade me, while I used my umbrella to shade my painting and my palette. Of course I still managed to get sunburn!  This painting is 9x12" and is oil on canvas.

 

Here I am using the same limited palette of 6 colors plus white that I have used all week, which is incidentally the same palette that the talented plein air painter and instructor Kenn Backhaus recommends. How he manages to get such seductive color with so few pigments still eludes me, but I am determined to figure it out!

The Delaware; plein air painting in St. Michaels

Another hot day painting outdoors, but at least the humidity was a bit more bearable. There was a nice breeze too, which kicked up mightily while I was painting this little tugboat in the harbor at the Chesapeake Bay Maritime Museum in St. Michaels. It was so windy, in fact that I was afraid to attach my umbrella to my easel. I had to hold my umbrella in one hand to shade my painting and palette, and paint with the other hand. I never before realized how much I needed two hands for painting! I chatted with the owner of this tugboat briefly and he assured me I had captured a decent likeness. "It's called The Delaware," he said as he was walking away. "The Delaware!"  I guess I have a title. The Delaware it is!

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Maryland's Eastern Shore is an artist friendly place!

The Eastern Shore of Maryland has lot to offer for the plein air painter. In my vicinity I can paint the harbors, wetlands, and charming little villages like St. Michael's, Oxford, Tilghmand Island, and Easton. The people here seem pretty used to plein air painters too, since Easton just recently hosted a plein air festival and paint out. It is really nice to visit an area that is so supportive of the arts. Everywhere I go, the local establishments in Easton have plein air paintings on display. Even if I didn't paint at all, there are lots of shops, art galleries and restaurants to enjoy. If you're into antiques they seem big into that as well! And of course there is fishing. Lots of fishing! But what I like most is the natural beauty combined with the local charm of the area. You can drive out in several directions and hit the water, as small creeks, tributaries, and larger bodies of water finger their way into the land. It is fairly easy to find potential painting sites. It is also easy to pull off on the side of the road if something catches your eye. I love that there are bike paths along the byways, and big wide shoulders. I will definitely return to paint here again. I imagine spring or fall would be lovely (and a bit gentler in terms of the outside temperature!)

Tilghman Island Wetlands; Plein air painting

This piece was painted at about 5 pm. after a full day of painting in the hot, hot, sun. Sun sets around here at around 8 pm. but even so the light changed very quickly. There was a pinkish haze in the clouds and sky which may not be showing up that well in the image here, and the greys are really have more color in them, but I'm using limited image editing software on the road. This painting is 8"x10" and painted with the same 6 color + white palette I used yesterday.

A hazy day at Tilghman Island

If you are on the east coast, perhaps you witnessed some of that torrential driving rain that came through various parts yesterday. Well, I drove through it to get to the Eastern Shore! But I finally made it in one piece and got out to Tilghman Island to paint  the boats near the marina.  It was a very hot, hazy and humid day. The sun was out but it was a rather diffused, flat  but ever changing light that made for fairly close value ranges and a bit of a challenging subject. I started rather late in the morning but made this oil sketch with a limited palette of 6 colors plus white:

For this painting I used cadmium yellow light, raw sienna, alizarin crimson, permanent rose, ultramarine blue, ivory black and titanium white.  This is not my usual palette which is more of a double primary plus an extra color or two (and also devoid of black). But I'm practicing with the limited palette en plein air because it really helps to learn how to mix colors. It is also much lighter on the load if you can carry fewer paints!

Off to the Eastern Shore

I'm taking off for a few days to the Eastern Shore of Maryland with the intention of doing a little painting on location.  Blogging may be spotty if at all due to limited internet access, but I will try. I have been taking advantage of travel this summer since things always seem to kick into high gear in the fall and things at the gallery can get pretty busy. In light of my travels I will not be participating in the August First Fridays Richmond Art Walk (I'll gear back up again for the Art Walk in September). But there will still be a lot going on at the other venues, so be sure to check them out if you are in Richmond.