Painting on the Farm River - Part II

Welcome back to Painting on the Farm River. I wanted to tell you why I go out in all types of weather in all kinds of places, and put up with bugs and car fumes and all manner of smells, noises, and, at times, strange conversations, to paint, and why I love it. Maybe you will feel inspired to do the same one day.

As far as the painting, I'm going to show you the painting process and my thoughts behind it, I've included some tips to be comfortable while standing outside in one spot for 2-3 hours at a time. Finally, I'm throwing the gauntlet down, and challenging you!

Why I Love Plein Air Painting

My knowledge of painting took a huge leap forward when I started to take lessons and workshops from artists who paint and draw from life. I learned a great deal more about drawing, composition, value, edges, and light. I bought a cheap French easel and began painting in my neighborhood and took it with me on short trips. My bookshelves slowly filled with books written by famous artists and I carefully studied their methods. I also logged on to artist forums on the Internet and studied other artists, their work, philosophies, and critiques.

In between studying other artists, I painted as often as I could. The night before I went out, I would gather my canvas, easel, brushes and paint together and set them by the door. The next day, I would get up early (usually on the weekend), and be set up and painting on site by nine o’clock am. My first few canvases were nothing impressive, but it didn’t matter. I was hooked.

Unlike working from a photo, when painting en plein air, the world around you caresses all of your senses and sends you to a meditative state of mind. There is a sense of urgency to quickly capture the astounding array of color, light, and sound that nature presents like a buffet at a king's banquet. Painting in the country, you are enveloped with delicate sounds, wild flora and musky aromas of the woods, grassy fields, babbling brooks, and the wildlife that live there. Once, I saw a skinny silver fox tiptoe across the road not fifty feet from where I was painting. In the city, there’s the buzz of bus and car engines, the clanging of the train, the bustle of people rushing to do their errands, and the aroma of freshly made hot coffee and donuts seeping onto the sidewalk. You can’t experience these sensations when painting from a photograph. Sitting indoors at an easel, you don’t feel the warm sun on your skin, smell the scent of honeysuckle floating in the breeze, or hear the birds singing in the trees. It's more than just putting paint on canvas, it's the whole experience.



Painting in a field of sunflowers on a warm summer day, the bees buzzing all around me!
Photo by Dennis Beaulieu

Doing a Quick Drawing

I first decided what area I wanted to include in my composition. When you paint outdoors, you have to eliminate some things, and having a view finder helps to focus on one area. I then did a rough charcoal drawing. I used my chopstick to measure distance and relationships of the trees and water, and I put in some values.

Transferring the Image to the Panel

Next, I drew the picture on the canvas with vine charcoal eliminating some trees and branches. No need to worry about detail here, just get a good drawing with good perspective. I'm drawing and checking my measurements, both horizontal and vertical. I look at my drawing on paper and the scene in front of me.

Block-In Stage

The block-in stage is for filling in large areas with fairly thin color. Here, I filled in the darks first, then worked my way through the middle values. The downed trees had some nice shadows, and some of the river was a golden/rusty red sand that contrasted nicely with the blue from the sky.

The hemlock was a soft green with great highlights from the sunlight. It contrasted nicely with the browns of the surroundings. I put in rocks, the dark greens of the hemlock, and the moss on the bank. I decided to remove the dead limb that was blocking the water between the downed trees. Doing this, the eye is now better directed into the picture and up to a point where the river disappears.

I'm refining my shapes here, checking my values. Not a lot of detail yet.

"The sky is the key to the landscape because of the quality and quantity of the light falling from It determines color unity and value contrast of the remaining elements."

- John F. Carlson

Clothing Suggestions for Plein Air Painting

• Wear loose fitting clothes for ease of movement and added insulation during cool times.
• Dress in layers so you can adjust based on temperature.
• Wear drab or dark colors. Bright or light colors will reflect onto your painting surface and effect how your painting appears in color and value. Some bright colors will attract critters. (blue attracts some)
• Use a wide brimmed hat to shade your eyes. Ventilated in summer and insulated in winter.
• Never wear sunglasses. They dilate your pupils thus changing your perception of values, and they skew colors.
• Take a wind breaker or light poncho in case of inclement weather. An insulated jacket in winter.
• Wear comfortable high-top shoes or boots for getting into those out of the way places.
• Good quality socks; (wool will repel water, good cotton will cool.)
• Cotton or wool gloves with the fingers cut out in the winter. Perhaps some of those chemical hand warmers for your pockets.
• A scarf or jacket with a hood to protect your neck in the winter.

 

I have a Tin Cloth Packer Hat that protects my face and head during cool or hot sunny weather. It's also water resistant. Hat and Hooded Utility Jacket are from Filson.

"We must not imitate the externals of nature with so much fidelity that the picture fails to evoke that wonderful teasing recurrence of emotions that marks the contemplation of a work of art."

-John F. Carlson

Next

In Part III, I'll take you through the last steps to completion, including my thoughts about painting water.

Consider Yourself Challenged!

I have heard from a few of you since I started posting instructional emails. The comments have been encouraging and kind. A couple of you have said that they are drawing or painting, but I know there are more of you being creative during this time of seclusion (and if not, what are you waiting for?).

I've squeezed into my armor (not the most comfortable bodysuit I've ever worn) and thrown the gauntlet down. CONSIDER YOURSELF CHALLENGED! If you've been drawing, painting, doodling, etching, coloring with crayons, sewing, knitting, embroidering, sculpting, making origami or any other type of creative art, send me a photo. You have approximately two weeks to think about it and create something. Send your photos to pmeglio99@gmail.com and I will post them in my email once this series is done.