9x12 pastel on watercolor, Uart paper
Plein air work does one very important thing, helps me understand HOW to make the light I see. It's not always what you think at first.
This is a quick study done early morning.
This is a great example of soft morning light. The far shore is beautiful as it travels off into the distance with soft light blues. Then the power of the closer land mass coming forward. The best part for me is when the darkest value is right next to the lightest value.
Now I'm going to throw you a curve ball. I really like the energy in your plein air pieces and the quick indications that add so much flair to a piece. I know part of this energy comes from working in a small size. I find that as well with small quick watercolors. Soooo, bla bla and bla, here's the thought I've been crawling to. I'm always trying to bring that type of energy to the larger finished pieces. Do you think in those terms as well? I've never really been able to achieve that look in larger pieces. There always seems to be that fear of ruining all that work at least for me. Any thoughts on your part? Um, I guess my thought turned into 2 questions. O well.
Long story short, I really love this piece. So buddy, see if you can find some meaning in all of this ... I've lost track of my original intention. No surprise there.
Hey DD, Thanks for your amazing insights, once again. You are SO RIGHT. There is a huge difference between the plein air and studio work. In one respect it is "normal" but on the other hand I DON"T like it. I wish the studio work had that same freshness and energy. I think I become too picky and less broad. Rather than responding I am thinking. It's a very good point you bring up for discussion, of which I have no real answer. Do you think it's fear? over thinking? or just the difference between the managing of a small vs. large space? What do you think helps make the bridge? That's a long winded non-answer.
questions only breed more questions rather than answers..... alas , thus is life!
2 comments:
Loriann,
This is a great example of soft morning light.
The far shore is beautiful as it travels off into the distance with soft light blues. Then the power of the closer land mass coming forward. The best part for me is when the darkest value is right next to the lightest value.
Now I'm going to throw you a curve ball. I really like the energy in your plein air pieces and the quick indications that add so much flair to a piece.
I know part of this energy comes from working in a small size. I find that as well with small quick watercolors. Soooo, bla bla and bla, here's the thought I've been crawling to. I'm always trying to bring that type of energy to the larger finished pieces. Do you think in those terms as well? I've never really been able to achieve that look in larger pieces. There always seems to be that fear of ruining all that work at least for me. Any thoughts on your part? Um, I guess my thought turned into 2 questions. O well.
Long story short, I really love this piece.
So buddy, see if you can find some meaning
in all of this ... I've lost track of my original intention. No surprise there.
Later buddette,
DD
Hey DD,
Thanks for your amazing insights, once again. You are SO RIGHT. There is a huge difference between the plein air and studio work. In one respect it is "normal" but on the other hand I DON"T like it. I wish the studio work had that same freshness and energy.
I think I become too picky and less broad. Rather than responding I am thinking. It's a very good point you bring up for discussion, of which I have no real answer. Do you think it's fear? over thinking? or just the difference between the managing of a small vs. large space? What do you think helps make the bridge? That's a long winded non-answer.
questions only breed more questions rather than answers..... alas , thus is life!
your painting buddette (heehee)
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