color of the air

pastel

The sky will tell you the color of the air....the envelope of light. Look and think. Local color can call you like the sirens on the rocks, but remember that there is so much effecting the actual envelope. The local color- in this case green- is hardly present in its strong form. In the case of this painting there was so much humidity, (humidity, pollution and dust particles are a painters best friends) that the color was dense. The colors "bounce" of the moisture.

working big

10x14 pastel

10x14 pastel

Plein air painting is a passion of mine, and many other painters. There is nothing better than going out there, even when it is 95 degrees plus. Taking these smaller works and bringing them to the studio is a whole other animal, both have validity. Once when in NYC I was speaking with a gallery owner and he said that he did not prefer plein air work as he felt they are usually containing too much information. Back then I felt shocked, but now, years later I know what he meant.  That brings me to my goal in the studio right now. Distill and reduce down to just the essence of the concept. That is why I felt my memory work was so much stronger than my plein air, distillation. So that is where I am now, early morning in the field and then the rest of the day in the studio- reducing. I am working very large (for me), two paintings:4 ftx 4ft and 2ftx 3ft. All the work comes from my favorite place (above).

On another note, I have decided how to reformat my blog.  Weeklies. Instead of my daily posting, every Monday you will see my new, juicier, post. This will allow more painting time for me, yet keep connections to all my blogger friends. ( I missed you.) So be sure to stop by. I will respond to comments, but my speed may not be as fast as I once was, due to my limited (self-imposed) computer time.
Tata, Loriann

what kind of light are you painting?

6:30 am

12 noon

afternoon

late aftenoon

about 6pm

right after sunset

sunset

early evening

The color of light changes gradually during the day, with the most dramatic changes at sunset and twilight. In the early morning you will see a lemon yellow (cooler) light. As the time increases the warmth of the light also increases; a warmer yellow to a sort of yellow ochre in the mid day sun. Sunset time has more reds and oranges and gradually when evening falls the color moves from magenta to violet. Early evening becomes very cool again flaunting deep blues with greenish horizons and later those blues edge to black. Keep in mind these colors show like this on sunny days. The light is very different on an overcast day.
I have posted a few from the same site different times.
What are your ideas about the color of light throughout the day?


Where light originates and how the angle of the sun changes throughout the day and even more importantly, the seasons, will have to be saved for another post. Back to the studio!

the color of light and the importance of painting plein air

5x10 pastel on watercolor on Uart

After completing my re-creation of the Needwood Pond image from memory (yesterday's post), I knew that I had to go to the site and paint plein air. Painting outdoors is a whole different can of worms compared to studio painting. Outdoors it is so easy to get wrapped up in what is there, instead of what is the essence of what you are painting. You can easily become distracted by details. (I suppose that is why memory painting is so essential.)  I can not stress enough that outdoor painting is very important. It helps build an understanding of landscape and light that you will NEVER get from a photograph. So here are some tips.
When working outdoors remember:
1. Study the landscape you have chosen to paint. Do not even pick up a pencil. Study.
2. Talk to yourself. Articulate why you are painting this particular landscape. Concept is key.
3. Next think if you were just going to memorize what would you need to know? Know deep inside what it is
4. Identify the color of the light. Notice how it changes the color of everything. This light was very yellow...a bright yellow, veering towards white. Did I want white? No? So I leaned more yellow.
5. After you have studied and made sketches or 3 value notans, only then begin. Stick to your value map.
6. Look more at the painting than the scene. Trust that you know the scene. Look to confirm.
7. Always remember it is about the concept/feeling and good planning pays off in the end.

Thank you friends for all the studio building information I have received- keep it coming!
We are looking at the financial aspects. The main two choices are:
Do we combine both  north facing- master bedroom (my present studio is the old master bedroom) and guest bedroom to make a larger studio...which I will outgrow in about 5 years? Yes, don't worry, we do have a bedroom on the south side of the house. (cheaper)
Or do we build a studio (hamster house) in the back? More expensive.
If you have built your own let me know. Thanks Sam for all your in depth info.

the color of light

Yipee! I found a new field! I have to drive a little farther...but then again, why else did I buy a gas efficient car? Today I did studies, a sort of getting to know you handshake with the field.
My focus was on the color of light. I used Uart paper, which is a more medium valued paper. That meant my first marks were to decide just how light- Uart can make one go too dark if not careful. (I can be a victim;-) Next while working and choosing colors I always looked and then asked myself, "how is the color of light affecting that?' not "what color is it?" Keep in mind that "a painting is a compromise of reality" (Richard's words)... so you are ALWAYS deciding... the scene is not in control.

 sketches of my new field
I never know if this is "the one." The field of my dreams that is. We are in the "getting to know you" stage.  It's like any relationship; sometimes "the one" looks really good, then you realize you just don't click.