plein air and a great trick when preparing your ground

You know I can't say enough good things about painting in plein air, even if the purpose is purely personal, rather than to sell. There is no studio replacement for studying the color and discovering possibilities.

Being there is like having x-ray vision glasses. You look more than paint. Study what is underneath. Spend time painting the color that glows from beneath rather than what is on top. Does that make sense?

Now finally I will answer one of the questions I was asked.
How do I prepare my wood supports?

Answer: After building the structure with wood bracings I coat the front of the panel with Gamblin Oil Painting Ground. It's an alkyd that makes a strong, bright, non-absorbent foundation for oil paintings. Colors are more brilliant and "glowy" on it. 
Tools necessary: 2 large brushes (one for Gamblin alkyd, one for golden acrylic gesso), a container of each ground-Gablin and Golden,  palette knife, throw away gloves, sandpaper, and time

I wear gloves and use a palette knife to scoop out this thick goopy ground. Once it is on the wood I spread with a brush while using vigorous strokes.

sorry for the odd angle ..it was wet

I apply one coat and let it dry for about 24 hours, but not more than 48 hours. Sand lightly or heavily, depending on the amount of smoothness of the direction of underneath patterns you want. Before putting on the second layer I coat the back side of the panel (the side with bracings) with Golden acrylic gesso (less expensive, easier.) This is done to prevent warping. 
Now coat the front with a second layer of the Gamblin ground.You must wait 1 week for it to dry before beginning to paint.

Now here is the trick; because you have to wait between layers to paint again, I simply wrap the brush in a plastic bag. It will keep for at least two weeks if the bag is tight around the handle. So far I have not noticed any damage to brushes. My dad taught me this trick when he was here building my studio. We all know we have to take good care of our brushes (and I do) but who doesn't want a good short cut? Happy painting!

the trick

the diva and her role

about 7x7 pastel and watercolor on marble dust board
When I left the house this morning I was thinking about vibration and its connection to neutrals. An entire piece can't vibrate. You have to choose.  I know I have spoken before about the diva of the painting, that is where the action happens. The colors may create a vibration there. It can be tiring if it vibrates everywhere. The diva needs back up players- neutrals. There can be a couple other supporting roles but they only lead to the diva so that she can shine. Can you spot my diva and the two supporting actors?
On another note I have gone full circle. For the past two years I have explored surface.  I have returned to marble dust covered board and thick watercolor (almost handled like oil) with pastel on top. More about that another time.
PS This is one of my favorites ...in a long time.

plein air vibrations/ bluebird's daybreak

10x12 pastel on BFK
Now that I am intentionally alternating between plein air and memory I will be trying to interlace the knowledge of both. Haha you say... or was that me??? This is a painting I did yesterday at daybreak. I was thinking about vibrations and lost and found edges. I alternately rubbed out and marked in the edge between the path turn and the trees. In or out? What do you think?

On another note I was surprised by the sight of an iridescent blue of the eastern bluebird. I had thought bluebirds migrated. (Google disagrees, here in the mid-atlantic they just hide.) It was beautiful the way its wings glowed in the sunlight.

chroma equals vibration/ autumn trees

8x8 watercolor and pastel on old Wallis paper

Another quick hour for work while Paul sleeps. This time I was painting it in my head all evening before heading out this morning. This scene lasts just moments so a lot of study needs to go into understanding what is important and how.  I painted like a madwoman on this one. To me, this finally found success. The right chroma (not always the correct hue)  is very important in the quest for the vibration.