|
|
|
Channels:
|
Search for:
|
Author: Larry_Seiler, Contributing Editor
 | My portable Guerrilla Plein Air Box fits inside this sturdy backpack, as well as does additional panels for painting, a plastic bag for garbage, paper towels, extra gloves, drinking water...you name it. Very, very convenient for hikin' in to those ideal painting locations! |  |
 |  |  |
| Arriving on an interesting bend on the river, I see the possibility of several good paintings.
Often, in critiquing artist's work...I will point out that you can always anticipate that there will be at least a half-dozen paintings that can be done at every compelling location. The novice tends to attempt to paint three of those in one. It is important to know that a painting must work first as a painting, and that we are prone to be impressed by a lot of visual voices singing out. We must ask ourselves and make a habit to note what few essentials are vital to express the moment and mood which nature compels upon us. It is important to realize that attempting to put in more than those essentials risks obscuring the whole of the narrative. IF we give voice to too many things...it will be like shouting, and where everything is shouting nothing will be heard. I decide that I like the drama of the moving water and its inherent swift danger backdropped by a sublime anchored serene shoreline. The dark values of the water will play nicely against the soft haze the backlit sun casts on the trees. I will downplay detail that could be seen in that tree area so as not to conflict with the drama of the water. It proves to be a good decision as well from the standpoint that I will have but two hours of late afternoon light to work with. By de-emphasizing the backdrop treeline and taking advantage of suggestion, I will be able to direct more attention to points I want the viewer's eye to come back to again and again...and such a decision helps me plan early on how time economy will be managed. The coming of evening will not be taking me by surprise. |
| One of the features I like of a good portable is to adjust scoping legs to accomodate uneven ground to set up on. Talk about uneven ground, note how my right knee is bent and that is due to the right foot being higher up than the left. I am on a slope of unknown footing really, of whatever is beneath the snow.
I often use a rag to dip into turps and pigment, wiping in my underpainting. Here, I opt to use a flat bristle to quickly block in the darks with turps and paint. No reason other than I think more careful calculated placement will be desired...and, |  |
 | ...here is that initial block in. Nothing fancy. I have established a diagonal movement to underscore movement, drama and energy. The darks are important to establish early on for comparison's sake, nothing more darker hereafter than this water area.
This is important as a turps mixture to be absorbed into the ground early on so that later aggressive treatment of the various color marks to describe the water can be applied cleanly and efficiently. The underpainting feels nearly dry to touch in short order, hhmm about ten minutes time. The panel, 11x14 was prepared with a grayish warm tone in gessoing which works well as a strategy to get a jump on a scene quickly. The gray darker tone allows you to record darks and lights right away so that you have a sense of what the light is doing before anything changes. We are after all chasing light, and what light is doing. |
| Quick Jump: | ||||
 |
||
|
||
Copyright © 1998-2009, F+W Media, Inc. All Rights Reserved. FA |
||
