Plein Air Painting – I know how easy it is to lose control of ones palette……..

I woke up the other morning, craving fresh air. I’ve held myself hostage indoors for way too long. It was time to get out and  do something exciting for a change. Marc worked on my easel while I prepped my canvas, mixed colors and readied myself for Plein air painting. After bundling up, we head out into our yard and set up my easel next to the creek. I’ve been wanting to paint this little creek since we moved here.

plein-air-at-the-creek1

I had the most amazing experience. Yes my fingers were red from the cold, but it was soooo worth it! I went out again yesterday and today and it was really warm out. This afternoon I set up my easel right on the waters edge and thoroughly enjoyed painting in glorious sunlight all afternoon. I’m so looking forward to spring!

plein-air-at-the-creek2

One thing for sure, is next time I plein air paint, I’m going to go fully prepared!

I know how easy it is to lose control of ones palette…..

In fact I had this experience yesterday, I should have filmed it to demonstrate how to lose control of ones palette, hahaha!

Experience taught me to always pre-mix base colors at home and adjust them as necessary later, so you can get to painting and not spend an hour mixing on location. Trust me, it really saves time. You only have limited space on your palette, so plan carefully where you are going to place your pre-mixed colors so you can have room to work.

You’re probably wondering what these piles of premixed colors are? Stay tuned!

I know I had planned on giving you a video on how to paint a still-life, unfortunately we lost some of our video footage. Too bad, because I put so much work and effort into it. I withdrew and painted quietly, posting on occasion. Ready to give up. It was all of your emails and notes encouraging me to keep at it. That you were so appreciative of all the content I had shared in the past and how much it helped you. It was all of you and all of your support that motivates me to share my passion for oil painting with you. Thank you for your kind words of encouragement and for sticking with me.

Here’s something you’ll Really Love….  a video I filmed while painting a creek in our back yard. 48 minutes of painting close up!

Still wondering about the premixed colors? Plein Air painting on Salt Spring Island with Naomi Grindlay

 

Enjoy!

A Wise man once told me…..

A wise man once told me to concentrate only upon the task at hand and nothing else. This way you give that task your full attention and the chance it deserves to flourish into something Extraordinary.

 

One of the best ways to improve your work….

Don’t you wish winter was over? I know I do… I’m more of a spring and summer kinda girl. I can’t wait to work on my garden and grow veggies and soak up some warm sunshine!

Back to my studio, I’m working on a project I can’t wait to share with you! It’s big and will probably take several months to complete. In the meantime, did you know, one of the best ways to improve your work… is to paint every single day. Set a time limit and do your best to stick to it. Start with four hours and then decrease your time limit as you improve. Start with a small canvas with one object and then add a few more as long as you keep it simple. Challenge yourself with a very limited palette like I did on with the bowl of eggs and water and the silver sugar bowl. When your time improves, challenge yourself with a larger piece. Anything is paint worthy. Coffee mugs, teacups, glass or even a rusty old pot. It doesn’t really matter. Pick something and go for it!

Begin with an underpainting using burnt umber and then add color. Try to stick with a very limited palette to challenge yourself even further.

I would Love to see some of your studies! Feel free to post your pics in the comment section below!

Silver sugar bowl

Painting eggs and water1

Apples for christmas

 

 

What a joy painting such a happy Pooch…

This slideshow requires JavaScript.

Montanacompleted

I couldn’t help but fall in love with Montana ❤ His smiling face and bright eyes touch my soul.

I mixed some titanium white, a tiny bit of transparent red oxide and a tiny dash ultramarine blue and a tiny dash of yellow ochre for the white fur; to which I ad a dash of gray made up of burnt umber and ultramarine blue. It’s a little tricky working the dark and the light fur without greying the black. I used a clean brush with every stroke from black into the white fur so that I didn’t grey any of the black fur. I left little bits of the underpainting showing through and that warms it up from the inside out.

Hope you enjoyed the progress picks and how I develop a painting. More to come!

 

Today’s progress on Montana the pooch…

Blue skies

I worked until 11pm, I’m done, tired, but I did promised I would load my progress by the end of the day. It’s the end of the day and here it is :- )

The colors I’m using for this painting are; Transparent red oxide, yellow ochre, Ultramarine blue, Burnt umber, Titanium white Alizarin and cadmium red.

Once I had laid in my darks, I filled the background with blue skies and clouds, placing Montana on the beach, his favorite place to be.

Montanas palette1

I mixed Ultramarine blue with a dash of transparent red oxide, plus white for the blue skies and for the clouds, I mixed some white with a grey I made with transparent red oxide and Ultramarine blue. For the lights I mixed white with transparent red oxide and a tiny dash of Ultramarine blue.

Montanas progress1

I painted in the yellowy brown colors above and below Montana’s eyes. I mixed Transparent red oxide with yellow ochre. To darken the mixture I added some burnt umber.

Montanas progress2

I then added the blue grey markings on his forehead and nose and blended the fur with the white color which is Titanium white with a dash of transparent red oxide and tiny dash of ultramarine blue and grey.Montanas progress3

I then painted Montana’s eyes with Transparent red oxide, a dash of blue and burnt umber. Next, for his tongue, I mixed a dash of cadmium red, grey, alizarin and white with a teeny dash of yellow ochre and white. The grey I refer to is a mix of transparent red oxide and Ultramarine blue.

Montanas progress4

 

Next I painted in Montana’s teeth with some transparent red oxide, a dash of yellow ochre and white.

I premixed my greys. Actually I always premix all my colors, it’s much easier in the long run even though it takes quite a bit of time preparing my colors, it still saves me time and hassle in the end. For the browns in the fur I mixed together some transparent red oxide with yellow ochre and a dash of burnt umber.

Tomorrow I’m hoping to complete the rest of the fur and then finish off the final touches!

 

I must admit, I do prefer the direct painting approach…

How I love to wake up in the morning and head straight into my beautiful garden. Everyone’s happy, fertilized, watered and growing as I await in anticipation for the magnificent summer display of blooms and butterflies. I can’t wait to walk through my flower garden and pick fresh blooms to paint. I’m so excited!

I will be spending much time this summer in my garden painting en plein air. There is nothing more exciting than painting outdoors with such a vast array of subject matter. Come on summer!!!

Back in my studio, I’m working on many underpaintings all soon ready for color.  I must admit, I do prefer the direct painting approach. I find the gray underpainting somewhat monotonous and boring, although when it comes to adding color, it gets exciting again. Once these are done and out the way, I will be very relieved and stick to direct painting in future.

I know that there are those learning this method and who are intrigued by the glazing process. I will post some images and perhaps an iphone video of how I go about applying color, glazing and scumbling. My palette is a gray tile and the colors I use for my underpainting is Titanium white and Raw umber. My initial drawing is done with just Raw umber. I like to leave some of the warmth showing through in some areas.

underpainting

 

on

Chopin plays his piano and soothes my soul…

It’s a beautiful morning on this first day of March. Although it looks like rain on the way, there is such a beautiful light flooding through my window. I moved my studio upstairs. I don’t know why I didn’t do this sooner. The attic room was purple, but not for long. I painted it a dark sage green. The colour of ambient atmosphere. Perfect for painting people and still from life. I’m so fortunate to have this space in this north-west facing room.  The window light is more than enough light for painting. The natural light is way more uplifting for my spirit. Chopin plays his piano and soothes my soul while I write, sigh…

Here’s an image I took with my iphone of my studio. I love this space. I can close the door and shut the world out while I paint and swoon over the most beautiful music that touches my muse in such a profound way.

my new studio

In reply to your question, Felta, about how I set up a portrait sitting. How long a sitter sits and how much do I get done in one sitting.

I have two windows in my studio. I sit with my back facing the one window, so the window light falls on the canvas on my easel and palette. The sitter sits near the other window. Generally I like a two hour sitting, although I can manage an hour if the sitter falls asleep and needs to go home for a nap. Two of them fell asleep sitting for me yesterday hahaha!

Rolf's portrait

In this image, the sitter, Rolf came over to sit for his portrait quite late in the day and the light began to fade. I turned on a 5000k light and faced it up towards the ceiling. The light bounced off the ceiling and created the perfect light for my sitter. The first sitting took a few hours. This time was spent drawing his face with my brush on a canvas I stained with a wash of burnt umber the day before. I used burnt umber for my drawing. The second sitting was an hour and half. Half the time was spent laying in shadows and searching for the correct colours. I found the right mixes and made notes. The third sitting was in my new studio. An hour, Rolf fell asleep, lol, he had a long day at work, standing all day cutting hair. My studio is so peaceful. I have the most beautiful view overlooking a gorgeous Zen Garden David created. An old blue and gray house in the neighbors yard and the trees behind the house looks so inviting. I am definitely going to paint this view. Soon.

The colours I use for flesh tones are as follows, but first remember this, although we all have our own skin tone recipes, they are never written in stone. Skin tones differ and also depends on what surrounds the skin. Light and colour illuminate the skin. Our skin is like a mirror that reflects everything around it. Here are a few recipes I picked up from Daniel Greene, one of my favorite portrait painters. I found his mixtures to be pretty spot on. I like to premix some of my colours, especially when time is of the essence.

Raw Sienna + Cadmium red light. This is for the reds in the half tones and the hot reds in the shadows.

Chromium oxide green. I’ll explain how I use this colour…

Look at your hand. Hold your had sideways like this.

My hand

Notice that as the light begins to turn to shadow there is a green colour and then the hottest colour is right where the shadow begins. Right next to the hottest colour is green and then the shadow is made up of the ambient colour of the room . You can see it closer to my thumb.  If you notice the top left side of the image, the folds between my thumb and forefinger are red and then surrounded with a subtle green. Notice the green surrounding the indentation.  You will also notice the yellow colour of my skin in the light. Yellow Ochre + White and a dash of purple, I made up of Alizarin Crimson and Ultramarine blue. Always think complimentary colours when you paint skin tone. I use Chromium oxide  Green and the Raw sienna and Cadmium red light mix for the shadows. For the deepest shadows I mix Sap green + Alizarin. Two transparent colours. You want to keep your shadow colours thin. Always tone down your reds with green. Always tone down your greens with red and that includes pinks too, as that is made from reds. Always use complimentary colours to tone down the intensity and Nothing else. For pinks I use Burnt sienna + white. For orange tones I use Burnt Sienna + Yellow Ochre. Always tone down your yellows with purple. Nothing else. Remember, Yellow Ochre is a yellow. I also mix up a pile of Transparent red oxide and Ultramarine Blue for my darks. Transparent Red oxide + Burnt sienna with a dash of blue + White makes a great base for skin tone too. It all really depends on the sitter’s skin tone and the ambient atmosphere. Alizarin and Viridian make a beautiful dark colour for shadows in the the background too. I also sometimes use Viridian in skin tones too, it really depends on the skin tone of the sitter.

As I mentioned in previous posts, make up colour charts of the colours you use. You can’t go wrong. If I don’t know what combination of colours to mix to arrive at a certain colour, I use my colour charts. It’s fail-proof.

skin tone colour chart

Hope this helps, please feel free to ask any questions should I have missed anything.

Good luck and happy Painting!

A successful painter once told me to never be satisfied with mediocrity…

Wow, now that the crazy rush is over, well almost. I can get back to planning the year ahead. I have a few projects on the go. One of the projects involve painting a collection for a fund-raiser. More of that to come later as it develops. I plan to paint more prolifically this coming year. One thing I do intend to take part in, the practice of a one hour, tonal study from life as a warm-up to start the day. I find this practice excellent for self discipline and improves one’s skill over a short period of time. One of these days I’ll film a demonstration to show how easy this is and how much pleasure one can derive from it :- )

The best way to progress as a painter~ is to paint. A lot. Every day. The more you practice, the better you get. There are no hidden ‘Secrets’ or shortcuts to painting beautifully. One cannot put an apple in a blender and expect grape juice. What you put in, is what you get out.  A successful painter once told me to never be satisfied with mediocrity. Always push yourself further than your capabilities. Challenge yourself with the most difficult parts first and when you have that down, challenge yourself even further.

Currently on my easel is the first of several paintings for a fundraiser I’m taking part in. More to come on that.

Happy painting :- )

Stan on my easel1

The trumpeter on my easel….

Well now that the show is over, back to my studio to complete the trumpeter and many others stacked up waiting for completion. I’m going to begin with the trumpeter. I had seen him playing his trumpet at an anti-pipeline demonstration on the grounds of the parliament building in Victoria. I began the underpainting some time ago and finally got him on my easel and worked on it enough to show at the opening of my show. The underpainting was done  in Raw umber. trumpeter underpainting So here I painted the background with Raw umber plus Flake white replacement. I then painted in his face using Flake white replacement,  Transparent red oxide and Ultramarine blue, Chromium oxide green and Venetian red. (Indian red would be a good replacement if you cant find Venetian red.) Always think Complimentary colours when painting flesh tones. If the intensity of the reds are too strong, lower them with green and visa versa. trumpeter progress1 Here I painted in Ian’s hands and his sweater. I cant remember what colour green I used for the sweater, but I think it may be a combination of Viridian green, Transparent red oxide (it’s complimentary) and white. I always make sure I leave some of my underpainting showing through so that it can optically mix with the colours I paint over it. The jar on the left is my favorite painting medium, stand oil, walnut oil and Gambin turpentine. The jar on the right is Gamsol odourless turpentine. trumpeter progress2 Here I began painting in the trumpet,  still much to do, I used a combo of Gamblin’s Flake white replacement, Yellow ochre, Lemon yellow and Raw umber. Note that the colour of his flesh is reflected in his trumpet. I was fortunate enough to have located Ian through a chance meeting with a friend of his. lucky me, hoping Ian would be so kind as to pose for the rest of the painting 🙂 more to come…..

How to set-up an Oil Painting Studio…

Setting up an Oil painter’s studio can be a costly affair. It doesn’t have to be. In this post, I give you the basics of setting up your studio, I cover the paints and brushes and mediums I use.

Studio2

I use a wall easel instead of a regular easel and this frees up floor space. This means I can work on many paintings at a time and also have somewhere to hang them while they are dying. The wall easel slats are cut at an angle so I can hang my painting panels. I also made sure that they are perfectly level.

IMG_1083

IMG_1082

IMG_1080

I cut some wooden blocks shaped at an angle and I attached them to the back of my panel. Just make sure the screws are short and don’t pierce into our painting.

Please Note: The links I have provided are not affiliate links. They are products I love to use.

Lighting: For lighting I use flicker-free 4700k LED’s,  high quality lighting.  What is so awesome about these lights is it uses very little power and you can paint any time day or night and the light remains consistent and with a high Color Rendering Index. This makes a huge difference in the quality of the light. You can accurately mix colors and paint with confidence.  Here is some info about their flicker-free light bulbs

I had an electrician create a circuit of 10 lights for me. I made a sheer cover to mute the light somewhat to prevent glare. I include a couple of clip on lamps for extra lighting if needed.

IMG_1075

A Chest of Drawers is handy…This is ideal for placing your computer monitor, your brushes and jars of turpentine/medium, whatever you use.

Studio setup

In the top drawer you can place your tubes of colors in a row all along the width of the drawer. This way you can easily find the colors you need. The next drawer down you could keep paper towels, rags etc. And in the bottom drawer you could store drawing pads and small painting panels.

Palette, brushes, paints and mediums

I use a cart for my palette and to hang my paints. I attached some wheels so it can easily be moved. I had some glass cut to fit the top perfectly. I tinted my palette with a mix of burnt umber, raw umber and a dash of cadmium orange. I added the orange to counter the blue-green tint of the glass. I used a fast drying white and the umber dry super fast too. It was dry the next day.

When you flip it over, it turns a beautiful gray. This way,  you can judge your colors and values more accurately. No surprises when you mix a color with a particular value, you know it’s going to appear the same value on your canvas. If your palette is white and you paint on a tinted canvas, your values won’t be the same as what you mixed. Always keep this in mind.

IMG_1069

Studio cart

Brushes : I use Rosemary and co Brushes, the best so far. They are amazing to paint with. The Classics are perfect for laying down paint and the Eclipse flats, filberts and rounds are my favorite and are amazing for smoother passages, and for painting flesh. The Masters choice long flats make great softeners and are ideal for sky and clouds.

Rosemary and co brushes

Mediums:. I use Natural Pigment’s Oleogel and I love how it handles. It’s easy to use, no mess, no fuss and is solvent free.

I highly recommend Natural Pigments for those who want to use quality oils. Their Rublev oil colors are absolutely fantastic to work with. They are handmade using traditional pigments.

Rublev.jpg

Substrate and Grounds: I paint on wood braced  panels I make myself. Size the panel first before applying an Alkyd Lead oil ground. If you do use an acrylic primer, I recommend Liquitex. Just make sure you leave your panels to dry for a month as it takes that long for the water in the primer to evaporate. Otherwise, if you paint on the panel before it’s had time to evaporate, can cause problems.

I don’t recommend painting on stretched canvas. If you do, be sure to size your canvas first BEFORE you paint. I recommend use GAC 100 to seal your canvas.

Paper towel and clean-up… I prefer to use paper towel instead of rags to clean my brushes. I also find that the cheapest brand or even recycled paper towel is best. No lint. Avoid the big fluffy rolls of paper towel. I really like the blue shop towels, they are quite durable.

You can either use odorless mineral spirits or use walnut oil as a brush dip to clean your brushes. Just wipe off the excess paint and dip my brush into walnut oil, don’t swish your brush, just dip it and work it into a paper towel.

My favorite brush cleaner is Murphy’s Soap. I can’t live without it. The best ever! It will even clean off hardened stiff brushes, it’s amazing and totally Non-toxic!

IMPORTANT: Make sure you rinse your brushes off thoroughly with water to remove ALL traces of soap.

There you have it, I hope you found some of my ideas helpful! Best of luck setting up your studio!

Happy painting 😉

Save

Save

%d bloggers like this: