Making a series

One of the most satisfying ways to work is to develop a series. Working in a series is about enlightenment. If you are struggling with how to go deeper in your work try a series. If you want to push yourself to a new understanding of your intention try a series.

A series can begin without planning. Sometimes it's an infatuation with a place or a study of light.That is exactly what has happened to me. For about 7 years I painted the river. Everyday, no matter what the weather, I did a "vitamin" of the river. Still I love the river, but for the past 5 years my infatuation has been the vibration of the colors in the grasses of an untended field.  I simply can't stop myself when I see one!

When you engage in a series you open up.  Like a brand new relationship, you want to be there all of the time. Seeing your new love in different lights thrills you. Soon after completing many paintings you start to look at your new love a little differently. You get more comfortable and begin to change small things. You start manipulating the colors, size of format and point of view. You try a diptych or an elongated vertical.

I know I have mentioned before but my series that changed my life was when I was in graduate school. I painted a pot of yellow mums for two years!
Staying with a series (or a relationship for that matter) teaches you about painting, and yourself.

Below and above see a sampling of paintings from my years on Whidbey Island.

If you want great ideas about the making of a series do look at Richard McKinley's book Pastel Pointers.  It doesn't matter if you paint in pastel or oil, Richard's book will help you get to a new level.
In brief Richard recommends 6 ways for discovering a series.
1.Try a new surface size.
2. Alter the value or key of your painting
3.Explore different dominance and harmony.
4.Paint in a different format.
5. Change you angle of vision and relationship to the subject.
6.If

A Brand New Day

9x9 pastel and watercolor on Uart paper $100.
This morning I thought that the reservoir could not be more beautiful than it is today....... but then again I always think that. Spring and sunrise mix together to form a pink, golden surprise.
Now back to the studio to glaze.

Harmony with Violet and Peach

9 x9 pastel and watercolor on Uart paper $100.

When I was away in New Mexico mother nature changed everything. It is SPRING! So, of course, I went to the reservoir at daybreak. The sky was an awesome melon color because there was a thunderstorm coming. How lucky can I be? I had fun with the incredible color before me....but still trying not to break harmony. Click on this one....I left it as a larger jpeg so you too could enjoy all the subtle nuances.
Plein air painting is one of those things. You never know what will happen. I must say I LOVE painting at the reservoir for many reasons. Beauty is number one. Number two is since it is a government owned and guarded property it is the one place I am completely safe. As a female plein air painter that is always an issue, right ladies? (Is it an issue for guys?) Well a big thank you to my friends the guards who will freely question anyone who stops and hangs near my painting location. You guys are the greatest! They are always there for me.

The Canal

about 9x13 pastel and watercolor on Uart paper
A light fog covered the canal this morning. Autumn and Spring are the fog times around here and I really look forward to these mornings. My goal was to capture the light and not go crazy with color. Fog helps with that; it's the great unifier. To me the most challenging part of plein air painting is creating color harmony. Granted nature has a exquisite color harmony on her own. Have you ever examined a single flower on its stem? Most are perfect complements. But when painting an entire landscape you need to choose.

The Color of White 2

about 7x 12 pastel and watercolor on Uart paper $100.

After I painted the trees(previous post), the sun began to break through the fog. It looked like the Monet painting Morning on the Seine near Giverny. I knew this moment would be brief so without any thumbnail sketches I went to work.

While I was painting a man stopped his car, got out, ran up to me and gave me a hug. He said, "you're a nut...I love it....what are you painting?"
Hmmmmm...I guess you never know!
Back to glazing.

Cherry Trees Waiting for Spring

about 6x8 pastel and watercolor on Uart paper $100.
Upon hearing predictions of dense fog for the morning I set my alarm to awaken at 5:30 so I could be there waiting at the reservoir. I was surprised to see that it was so dense I could not see the water. I walked; I waited. Then I turned my easel and painted the trees near the reservoir.

Swan Song

10 x10 pastel on oil underpainting, Uart paper .
10 x10 oil underpainting
What better way to learn..... than to transfer my new information to the brain I understand-pastel. So I did a second oil underpainting, but this time it is on Uart paper. Then, I pre-selected my pastels, all the time keeping in mind my color harmony (melon sky with violet/brown.) I tried to paint with my pastels in glazes. Sky first-opaque. Then a succession of glazes- avoiding white. I found out later that I really needed a discord color so I added the yellow/gold green.
At the beginning it was my intention to add the swan, but I wasn't sure I could pull it off. Can you see it? In Sanibel the refuge was filled with pelicans, rose spoonbills and egrets....so I made my own choice and decided I wanted a swan.

Sanibel Dreams

6.5 x10 pastel and watercolor on Uart paper $100.
Prodded by my work with Deborah, I am trying to stretch the ideas into my pastel. Therefore I approached this one completely differently. Beginning with a Quinacridone magenta underpainting I tried to think of my pastels as glazes. Darks are thinner and more transparent and lights tend towards being opaque.
I began this one yesterday and it wouldn't let me sleep. Finally I got out of bed (Kins the muse cat did too) and surrendered to the painting.

Gorge at Sunset

6 x6 pastel and watercolor on Uart paper $100.
Trying to calm down my palette a little, but still create light. This is one stab at it. Next,....

The Battle between Spring and Winter

6x6 pastel and watercolor on Uart paper $100.
This morning I needed to visit my reservoir...simply stated, I missed it. This is a kooky time of year in DC when winter and spring battle for ownership. The daffodils are in bloom and the snow was falling lightly as I painted. By next week it will be 70 again.
My focus today was contrasting temperatures, side by side.
Now back to my Sanibel studies.

Early Morning Crystals

6x 12 pastel and watercolor on Uart paper, $100.
Sparkly water with hints of sky, that was the concept.
I did this one yesterday morning, since at this moment I am on the beach in Sanibel Island. We, my husband and I, are away celebrating his big accomplishment. He is now Dr. Paul. I promised I would not paint on this mini celebratory vacation. I think that will be hard. I am like an addict. But what better place to attempt a "dry period." I will return later next week.

Square Sparkle

6x6 pastel and watercolor on Uart paper $100.
The water had a silvery Winter glimmer, yet some signs of Spring are poking through. Green and pink hints play peek-a-boo with a predominately Winter landscape. Is that exciting or what? I even saw daffodils today!

Ephemeral Beauty

about 9x 11, pastel and watercolor on Uart paper $100.

Today I finally returned to the reservoir. Boy, had I missed it! I was amazed to see a large ice shape on the water reflecting the golden light of early morning. Here is the thought process for this plein air painting.
concept-golden light from space in trees making a golden glowing reflection on the ice. Try to capture the delicacy and ephemeral beauty of the ice's last moment of glory. It will probably be its final moment this year.
Lightest-sky to glassy reflection, darkest-shadow on reflective ice near large shape on left
Masses-almost a sideways dark hourglass-3 basic shapes
Colors- purple, blue- golden orange

I left this one bigger (and low dpi). so that if you click on it you will see the nuances.

Color Study for "Confluence"

about 5x7 pastel and oil on marble dust board
I tried hard to stick to my analogous color theme and to vary my color within a value. Unfortunately my photo does not show that well...sorry.
Today's questions and challenges:
1.What is the lightest light? That will help determine many other marks in the painting .
2.The sky sets the tone, but how does it tie in with the landscape?
3.Where are the highest contrasts? Sharpest edges? It should be the focal point.

When stuck I do another black and white sketch, this time it is of the painting....Are my values working? What do I need to accent? Bring back?
That is when I lightened the value on the mass (on the left) and made it more blue.

I think it's now time to go to this composition on a bigger scale. Everything is easier small. One tiny mark says a lot. Bigger is a whole new thing! More later.

Golden Rule: Suggest rather than command.

Studies for Confluence

pastel and watercolor on marble dust board and pencil sketch
When out in the field, whether plein air painting or walking with a camera, the main goal is to get ideas and experience. Later when removed from the source, one takes time to dwell upon the experience. Neither the painting nor photo is the key, the experience is.
When back in the studio, think...how can I create a bold design that stands out at a distance? What is my concept? With this in your mind proceed to your sketches and block out the masses. Remember the sky sets the tone and you need an anchor in the foreground.
This is my plein air painting. I have decided to work in a slightly different direction using analogous colors. Blue green, blue and blue purple will be complemented by the orange sky. The dominant hue will be the blue haze. The sketch has two shapes, unequal in proportion. Studio paintings involve more planning and choices.
We as artists are the creator of mystery...use your power.

Bridges at Harpers Ferry

12.5 x 16 pastel and watercolor on Uart paper


12.5 x 16 watercolor underpainting
I remember long ago when I loved doing color monoprints I used to move the oil paint around the plate with my fingers and a cloth. I am starting to do the same with my watercolors and oil paints, even without the slippery plate.
I am still working out the big painting. This one is closer to my idea, although it still leaves a lot to be desired. The photograph is poor as well, the color is more vibrant.

Preparatory Work/The River

watercolor on moleskin paper
These three small works are from my moleskin sketchbook. I have been trying to decide exactly how the composition and light will be for this large painting. It's always best for me to fiddle a lot like this before moving big. Due to Brian's influence I have been turned on to this new (to me) surface. It can take a lot of abuse.
I want to thank Katherine for noticing my blog and mentioning it on her site.
Back to work!

View from Chain Bridge

6 x9 pastel and watercolor on marble dust board
Today I spent the day visiting the museums. In particular I went downtown to see 3 Sanford Gifford works and Thomas Moran's big works at the Renwick. It was Thomas Moran's work that struck me. Talk about AMAZING space!!!!! Inspired by his Yellowstone painting I took out one of my own river paintings from this summer and started planning a new big one. I'll post sketches and preparatory work tomorrow. I was surprised by one more thing. This time I went up to the Luce Center in the American Art Museum. It is like a display/storage room and there was this little treasure by Sanford Gifford. I am guessing that it was a study done on location. It was only about 2.5"x 5"! I can seem to get it to attach...sorry.
More exciting stuff tomorrow as I plan!!!

Down River/ Interview

about 4 x11, pastel and oil on marble dust board
Exploration. I kept thinking about this painting and couldn't sleep so why not just go to work? This time I changed the format and underpainted in oil (for more vibrancy). I like this stretched out version as it gives a whole different feel. I think I will do another.
On another note, Casey Klahn has posted an interview he did with me called Plein Air On Purpose-Loriann Signori. If you have a moment please check out his site Pastel to see it. I really feel honored. It's my first interview ever! Thanks Casey!

Subtle Shifts/ Two Small Paintings

about 6 x 6, pastel and watercolor on Uart paper
Each is $100.
Two paintings done one after another. The bottom one was first. My focus was the subtle color/value shifts that happen on an overcast morning. The top one was done second. This time I decided to eliminate the drawing stage and simply go in it with massing. I know my preference. I am interested to learn: which do you prefer?