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Winter Plein Air Challenge #1

Yeah, I did it!  A friend and I found a practical way to plein air paint in the cold of winter.  There is a grain elevator close by that has a parking lot across the street from it.  We each parked our cars as to not block the others view and happily painted away for two and a half hours.  I worked from the drivers seat with my pochade box balanced on my knees and the cup holders and placed my pastels on the console between the seats.  I dressed for the cold but sometimes my toes and fingers would need to be revived, so I would run the engine briefly.  This is my first plien air landscape in pastels and my first winter excursion.  My friend and I debated whether it was still "plein air" if we weren't directly battling the elements.  I suppose that could be up for discussion.  This method allowed me to paint for 2 hours on a very cold and gray day.  Standing at the easel outside I don't think I would have lasted 30 minutes.  The search is on now for more great scenes from the windsheild.


Colorful Callie

This is one of those rare paintings that went quickly start to finish.  Even though I worked from a photo I wanted the feeling of painting plein air.  I set out my pastels and decided the value range before I began. I find that if I create the painting on the palette first then I can concentrate on the drawing and creating atmosphere rather than searching for the pastel I need.   The background had the area of lightest value and the right side of her face had the darkest value.  Once those decisions were made it was easier to paint the rest.  Even though Callie is a very colorful painting it is the values that make it work. 

Foray into Watercolor

Attempts at watercolor have always frustrated me in the past.  I hated the way the paper buckled and the values changed so drastically.   After viewing some stunning watercolors by Sargent and Homer I felt the tug to try the medium once more.  This time I decided I would treat the medium the same way I treat my oils and pastels.  I would work on an upright easel and I would start the painting by how I felt was easiest, either starting with and area of identical values but temperature changes or extreme value differences.   I took a workshop with a lovely local artist and had to begin with the very basics and the main thing I learned is that it is all about the paper.  If the paper is heavy enough it can take a great amount of abuse.  Because of the  patper surface I have been able to control the values and the color how I want with some nice surprises.  Watercolor gives a luminosity to the shadows that are difficult to get in oil and pastel.  I have a lot to learn but I believe tackleing this new medium will only benifit me.
 This  white on white study is my second attempt at watercolor


Winter plein air challenge




The gray short days are now long upon us.  It takes determination to be a plein air painter in the winter - determination that I do not currently have but am hoping to showcase in the coming month.  Autumn is such a showy season, flashy and fleeting. It is fat with inspiration but quick to change.  My new challenge is to attempt some winter landscapes and not lose fingers to frostbite.  There is a forlorn beauty to the bare trees and the subtle grays and ochers.  It may also be a good time to use my pastels - oils take on the consistency of rubber cement in the cold.  I am writing this blog in hopes of holding myself to this new challenge and will post the results soon.

Wish me luck!