Experimenting

I like the thought of having another option for plein air painting when I am traveling, that allows  me to leave my solvents at home. I spent today (a somewhat stormy day!) experimenting with three water based options. These were quick 8' x 10" plein air studies of the ever changing storm clouds. I kept my palette pretty much the same - a warm and cool of the three primaries plus yellow ochre and burnt sienna.

The first painting to the left was created with Holbein Water Soluble Oils. These pigments were definitely most like the pigments in my regular oils. The paint seemed "gummy" at first, but worked well together once the surface was covered. It worked well when using my knife and at times I felt like it was easier to apply with my knife and then soften into the painting with my brush. It is VERY slow drying and always had a slightly gummy feel to it. When using this paint be sure to never use an oil primed surface. The "look" of this study was most like a traditional oil.

The second study, the painting to the right, was painted with Golden Open slow drying acrylics. These are a softer body acrylic and even though I was not able to get the thicker textures like I was with the water based oils, I loved the creaminess and the way the colors blended with each other. It is definitely slow drying (still tacky 8 hours later), but it did set up enough to allow for some scumbling with a soft brush. I enjoyed working with these, but I felt the colors were not quite as rich as traditional oils. Like the water based oil, make sure your surface is not oil primed.

My final painting (left) was done in gouache. I have been playing around a bit with gouache over the past few weeks.  I love seeing what other plein air artists are accomplishing with it, but I admit I have struggled. The first struggle was the surface. The surfaces I have have tried so far  (cold press water color paper, multi - media paper, and oil painting paper) have been too absorbent or have seemed to grabbed the paint instead of letting it flow. The second struggle was the strength of the pigment - I just wasn't able to get values as dark as I would like. Today I tried hot pressed watercolor paper and I added a Holbein Ultramarine Blue and Alizarin Crimson and problems solved! In fact, this may have been my favorite of the three. I was able to work transparent and opaque. The gouache dried fast so that layering was easy, but with a bit of water, was also workable. The pigment in the Holbein was strong and created great darks ( I plan to replace my whole palette with this brand) and the whole painting dried and was ready to be packed up in no time. Gouache makes a fantastic medium for small color studies to take back for references for large studio paintings.

While none of these will ever fully replace my traditional oils, it was a nice change of pace to try something different. I'd love to hear your thoughts!

Why Draw.....Life After The 200 Day Project

I have always loved to draw.  The first body of work I ever sold were drawings. I designed program covers for  the Dixie National Quarter Horse Show for over 10 years, with drawings (the drawing above was featured on the cover of The Chronicle of the Horse magazine).  I was successful with my drawings or illustrations, but I'm not sure I ever valued them and their influence on my painting until I realized how much they helped me decipher value.

While I was involved with the "200 Paintings/ 200 Days" project, I limited my time to a one hour maximum on each painting. I wanted to go with my first impressions and keep things simplified, therefore, I did not allow myself time to draw. As my confidence grew, I began to work faster and even had time on my final painting to do a quick value sketch before beginning the actual painting.  I realized during that painting just how valuable the sketch was. No, it wasn't the tight detailed rendering of the horse drawing above, but it was a depiction of the values and how they worked. I was also able to work with the placement of the basic shapes and study how they affected each other. Finally, I was able to decide, on paper, the actual direction of the rows for the best composition (I changed them in the final painting).  I solved many of my problems before I ever applied paint to canvas.

Drawing your subject before painting it will teach you so much about what you will be faced with as a painting develops. I like to think of these drawings, first on paper with graphite and then on the actual painting with paint, as the bones in the skeleton of the painting. It is so much easier to see what works and what doesn't before you deal with issues that arise when color is added.

I know how we artists are, once we get out in the field or set up in the studio we want to paint! Forget dragging things out with a sketch book and pencil. I get it and yes there are times I have a small window of time to work and I forgo the drawing, but that is becoming rare.  I hear a lot of my students say they can't draw and my advice for them is practice, practice, practice. Draw everyday.  I can't count the times I hear someone they can paint, but they can't draw. If you are going to paint representational work, you HAVE to have some drawing skills or you will always be limited as a painter.

So get your sketch book out if you are not already in the habit. Take it with you everywhere  (the ones to the left were done while was riding in the passenger seat of the car). Trust me, it will make a difference.

The grand finale and lessons learned ...... Day 200!!

When I started this journey back in the fall, it was just a goal and a curiosity. I felt like it would improve my skills, but I had no idea the impact it would have. My visual observation has increased ten-fold and I honestly thought I had a pretty good visual language before. I learned there is NO substitute for painting everyday and when I am asked the question "Are you glad it's over?", I am quick to point out that it will never be over. When you quit exercising you lose all the strength and stamina that you gained while you were spending time staying fit. Same with painting every day. I want to stay visually "in tune" at all times and the only way to do that is to continue to paint at regular intervals.

It think spending the last week with so many amazing artists at Plein Air South taught me to slow down and take more time in my studies. Value is SOOOOOO important in a painting and doing a quick value sketch before starting really helps establish a map for your composition and shape formation.

As those you who have followed this journey know, I limited myself to no more than an hour on each of these studies. I wanted to keep myself focused on the masses and simple shapes.  I wanted to stay true to the first notes of color and not overwork the painting and I didn't want these studies to become "pretty little paintings". When I first started this project, it usually took the whole hour and although I would do a quick value underpainting, I would have never taken the time for a value sketch. By the end of the project, I not only had time for sketching and an underpainting, but even increased the size of my pieces. I wasn't "speed painting", but the confidence painting everyday gave me, increased my ability to put down what I see faster.

 Even though I usually do a value underpainting, I never realized just how important it is. It's like the bones of the painting and once it is down and correct, the rest of the painting just falls into place. I now take my underpainting much more seriously - another lesson learned.

So there you have it. It was hot, it was cold (so very cold!), it was windy and it was WORTH IT! My biggest regret was not doing it sooner - 30 years sooner.  I have watch the seasons change like I never have and it was beautiful.  I have noticed the how the ordinary can be extraordinary. I have realized just how incredibly beautiful the Mississippi Delta is and how it is like no other place in the world. If you are an artist, I challenge you to try this. Even if it's just a hundred or even fifty. You won't regret it.  See you in the field.... or on the highway.... by the water.....

Oh and one more thing, there will be a book available this June. If you would like to order a copy, shoot me an email at caroldroark@gmail.com.

Plein Air South - Need I Say More ...... Days 194-199

 Day 194 started out early. Several of my artist friends and I are heading to the Plein Air South convention in Port St. Joe, Florida at mid-day and so to avoid painting in the car, I chose to get up and get out. Did a quick study of the willow tree and utility shed back lit by the morning sun. The willow tree, had a much cooler feel than the vines on the shed. I stuck with a more literal interpretation and I'm not sure that is always the best idea.

 Arrival in Port St. Joe around mid- afternoon gave time for a quick beach study on Day 195. Handling the palm trees is very interesting me. I love being able to study objects that I don't get to see everyday.

Day 196 kicked off the convention. Demos and lectures started at 7:00 in the morning and continue all day. So many great artists and so much information; my mind is blown! We had about one hour of painting time between the end of lectures and the evening opening reception, so all that was allowed was a quick study at the condo. Wound up with only about 30 minutes of actual painting time and this one could have used about 30 minutes more.

Day 197 brought a beautiful sunset despite some off and on rain through out the day. Caught a few cloud formations before the sun went down.

On Day 198, we had a little more time to explore and paint and we chose to go to the St. Joe Peninsula State Park. Beautiful dunes and marsh areas were everywhere. I have learned so much already this week and I am trying to apply it.  Did a value sketch before I painted to check my values and then did a value underpainting. What a difference it made!





Day 199 (!) brought another opportunity to apply some of the incredible knowledge I have gained this week. I honestly would love to go home and lock myself in my studio for the next six to eight weeks and just paint. Was really drawn the to shape and lead in of this little marshy creek. Once again, did the value sketch and value underpainting and once again it made a difference . A little haze on my camera didn't take the best picture, but I was pleased with this one

Another week goes by.... Days 186 - 193

 Days 186 and 187 where a little cool, cloudy and grey.  Not my favorite light, but over the duration of this project, I have learned to appreciate and I realize that clouds are so great on moody days.



The sun was back out on Day 188. It was a beautiful sunny afternoon. I rode over to a friend's farm with the intent of painting a field of yellow bitterweed. Instead, I wound up painting their small fishing boat. Loved the contrast of the boat edges, the water and the reeds growing on the bank.

On Day 189, I worked on studying the light on Al's old work trailer. There was so much to work with  - from the perspective,  to the rust, to the shadows, to the chrome hubcap on the spare tire. Incorporating more difficult objects in my studies to hopefully push myself a little farther.



Day 190 was a late afternoon painting, incorporating lovely late afternoon light. The light was really golden on the ground, but I convinced myself that it really wasn't. The result was a painting that was overall too cool. Still working on trying to trust my visual instincts.

 We have a heard of charolais cows just up the road. I did some studies of them earlier this winter, but on the morning of Day 191, they were bathed in glowing, early morning light. I grabbed my easel praying they would still be there when I got back. Thankfully they were and this heifer laid still long enough for me to study her - even as the road graders drove by.

The morning of Day 192 was my only opportunity for painting that day. I was not in the mood, I was overwhelmed with obligations and I couldn't find anything interesting to paint. Settled on our neighbor's barn that has also frequented my paintings. The morning backlight drew me to it and despite my foul mood, I think this is the first time I actually got the backlighting right.

Day 193 was another great afternoon of lovely, late day light. Stayed in the front yard and did a simple study of the river birth and cast shadows. Bringing my knife back a little more these past few days and I like it.

From Crazy Crowds to Quiet Clover... Days 179 - 185

This week started off in full swing with the Double Decker Arts Festival in Oxford, Mississippi. This is such a great festival with large crowds (this year was a record) and very high quality art. On Day 179, the Oxford Art Guild and the North Mississippi Plein Air Painters were invited to start the festival off with demonstrations around the Oxford square. The iconic Square Books building is a staple for so many artists and I was drawn to it as usual. Decided to concentrate on the building entrance verses the building as a whole. I love having small studies like this to base larger paintings on later. After Square Books I could help but notice Tres Belle Boutique's balcony display and so I painted another quick study before heading out to teach class.

 Day 180 was Double Decker Day! The crowd was huge. I started the morning early with morning sun on the courthouse. I love painting and visiting. I feel it brings the outside world into what we artists love so much. I painted a few more quick scenes as the day wore on  and met and visit a lot of people old and new. Thanks to everyone who stopped by to say hello and who became new collectors!

Day 181 was back to the quiet, peaceful, Delta. Did a late day study of the Al's old tractor which is always a great subject. Loved how the light played on the reds of the tractor, even how it played on the tires! Finding beauty in the ordinary.








Day 182 found me doing another (I can never do to many) study of mud puddles. The ditch in front of the house is rutted up by 4 wheeler tracks and gave this study and almost abstract appearance .

 Day 183 was a LONG day and yes I was tired when I finally found a time to paint. I was not inspired, I was not in the mood, but I made myself get out and do it. Took a little different approach and just let my knife to all the work. The late evening sun and the different shapes and shades of the greens actually wound up being fun.





Days 184 and 185 finally brought a chance to study red clover. I was so afraid we wouldn't have a good year for clover because it is very late blooming, but it showed up after all. Nothing like hills and hills of red blooms - an artist's dream. (Maybe as spectacular as the poppies in France!)

The Colors Have Shifted......Days 172 - 178

 Looking through this week's, studies the color shift is evident. There are no grey shapes of leafless trees in and among the greens. The broom sage has lost its gold color and flowers are appearing everywhere. On day 172, I stuck to the  same limited palette as I ended with last week - Cadmium Lemon, Cadmium Yellow Medium, Cadmium Red Light, Alizarin Crimson, Viridian, Cerulean Blue, Ultramarine Blue and Titanium Zinc White. This day was about greens and shadows and how it all varies something I can never study enough.

Day 173 promised to be a super busy day. Obligations at the CARE Art Center and then picking up art work from the Mississippi State Alumni show. This made for an early morning paint study. Didn't have time to go far, but was really drawn to the way the early sun hit the small maple tree in our backyard. Stuck with the limited palette but never felt limited with my colors.





Nothing like a moody Delta sky and Day 174 was a great one. A rainy morning led to some clearing just as the sun set. The clouds only got better and better. Still not getting the glow in an orange sky like I want but continuing to practice.





Another sign of spring on Day 175. The buckeyes have started blooming in the woods behind the barn. Even with all the green appearing I love the fact that this time of year there is still a lot of differences in the greens. The bright lime greens against the blue green foliage of the buckeyes was a great study. The red blooms of the buckeyes were just an added bonus!




 Day 176 was a cool, grey, day thrown in the midst of an overall lovely week. This of course was a plein air class day. My students were troopers though and painting at Elaine Sayles' lovely place was a treat. This painting was a demo and study of the small pond by her house.

The sun was back on the morning of Day 177.  Wanted to practice edges so chose the old garden shed as a study subject. Lots of greens, shadows on the walls and dynamic light made this old shed and excellent study. I paint some of the same subjects around the farm multiple times, but they are subtly different....every....single....time.

Day 178 was a little dreary  and cool until late in the day. Getting ready for the Double Decker Arts Festival Friday and Saturday so did just a quick cloud study as the sky began to clear.