Archive for the ‘Travel’ Category

An air plein trip-up to remember

Saturday, September 1st, 2018

One logistical issue I hadn’t considered when taking a plein air trip was brought to my attention quite suddenly this summer.  Although I had gone light, with only a small shoulder bag painting kit and a folding stool in lieu of an easel, on the return trip I decided to tuck my art gear and the small watercolor paintings I’d completed into my suitcase and keep my backpack available for comfort items I’d need while flying back home.  After a six-hour flight delay (plus the two extra hours I’d allowed before flight time) and missing my original connecting flight, I managed to get standby space on a later connecting flight home.  But my suitcase didn’t.

Fortunately, I had both more art supplies and clothing at my destination.  But I didn’t have the new paintings I wanted to blog about.  Nor had I yet made a photographic record of all of them.  The suitcase did not appear on any of the next several flights, so I began to worry that they might have been “permanently lost” or routed back to my other address rather than to the location where I would be for the next several weeks … and where I would need everything else in the bag as well as the art!

I should have learned my lesson the only other time I’d been separated from my luggage, which, that time, had held my wedding dress.  Apparently a panicky bride carries more weight than an artist at the end of a long day of multiple airline snafus.  The wedding gown had been delivered by taxi the following day.  This time, the suitcase with my paintings, art supplies, and clothing did eventually arrive, but not nearly as promptly.

Lesson learned:  Find a way to keep the critical stuff with you!

En Plein Air – Follow-up

Wednesday, August 15th, 2018

Besides learning techniques for painting outdoors, my recent plein air experiences have alerted me to some of the logistical issues, as well.

Early lessons learned included the need for proper equipment.  In Key West my backpack carried the easel and all my other paraphernalia, but it was slightly too small to allow me to zip the main pocket fully around the easel and shelf.  I used a bungee cord to hold it all together.  And though the tripod fitted into the side pocket and was anchored with straps up the height of the backpack, its length was unwieldy.  The pack also had so many pockets that I actually couldn’t access my camera, which had slipped down to the bottom of an inside pocket.  As a result, I wound up using my phone camera instead, from which it was more difficult to transfer images to my computer, as well as providing poorer quality images that were difficult to see on the small screen in bright sunlight.  Upon our return, I promptly ordered a Plein Air Pro backpack designed specifically to encompass my entire Plein Air Pro easel kit and tripod.

As I had long suspected, experience also confirmed that I needed to find a good painting umbrella both to protect me from the direct Florida sun (which makes temperatures seem noticeably and uncomfortably hotter than actual temperatures in the shade) and to protect my eyes, which tend to lose an accurate sense of color in high glare.  So that was another purchase I made this summer.  The model I chose is the EASyL Plein Air Umbrella, which is comparatively lightweight, forgiving of windy conditions, and fits, as the tripod had on my Key West trip, into an outside pocket of my new backpack, bound up the length with support straps.  Both the easel and the umbrella fit into a large, checkable suitcase but not into carry-on sized luggage.

I also picked up a small folding stool to have along in the car when I use with my pocket watercolor kit but when I don’t want to take a full easel setup.

And of course, techniques and equipment are only part of the equation.  As you have probably already seen in recent posts, time, energy level, and prioritization also play important roles.  We have to actually get ourselves out there to paint!  We can’t get out of our efforts what we don’t put into them.

 

En Plein Air – Quick-Sketch Tips for Watercolor

Sunday, July 1st, 2018

When doing very quick watercolor sketches en plein air I find that it helps to keep the sketches small, use a limited palette, and lightly sketch out a simple composition in pencil before I ever begin painting.  This is particularly true when planning to do more than simple studies with pen and a loose wash.

"Sister Bay Marina Light" by Charlotte Mertz (4"x6" watercolor, #180605w)

“Sister Bay Marina Light” by Charlotte Mertz
(4″x6″ watercolor, #180605w)

In this simplified sketch of the marina light in Sister Bay, Wisconsin, I also simplified the palette, using only two blues (cobalt and indigo), two reds (scarlet lake and brown madder), burnt umber, lemon yellow, and permanent sap green.  It could have been simplified even further, but I like to work with warm and cool versions of the primaries.

Rather than using frisket to reserve white, when working this small, I often simply paint around areas I want reserved as white, such as the sunlit portions of the marina light and the masts on the far side of the harbor.

The quality of my sketches usually improves as I continue to paint more pieces in the same outing.  There are several reasons for this:

1) First, I am usually over-eager to begin actually painting, so don’t always take time for accurate drawing to undergird my initial watercolor sketch.  However, the longer I work, the more relaxed I become, the less pressure I put on myself to work fast, and the more accurate the drawing tends to be.

2) Working as quickly as I am inclined to (particularly at first), my wet colors often bleed and shadow areas have a tendency to lose definition,  If I can stay on location long enough to allow the paint to dry sufficiently, I can retouch the darker areas to compensate for the loss of definition or any value lost in the drying process.  But this is not always possible when working quickly on location due to legitimate time constraints, such as encroaching weather.

3) The earliest sketches help me determine how quickly (or slowly) the paint will dry in the pervading atmosphere, allowing me to judge and apply color values more accurately in subsequent sketches.

4) When pan paints (or tube paints that I have allowed to dry in the palette) are first used, they tend to release fewer pigments into the water, but as they soften with use,  they release their pigments more readily.  This affects the proportion of pigment to water, ensuring application of stronger colors in later paintings than in the initial efforts.

So for several reasons, it’s often advisable to take time to do a few warm-up sketches before tackling the more important scenes.

Plein Air Priorities

Friday, June 15th, 2018

I had hoped, in touring some of the western National Parks this past May, to do some plein air painting along the way.  However, as I had found in the past, guided sightseeing tours do not provide many opportunities for full-fledged painting setups, and by the time we got settled into our hotel rooms at the end of each day’s excursions, I was too tired to head out on my own.  (Yes, I know that many would say that if I were a true die-hard, I would venture out to capture the sunset or some iconic view of the locale.  More power to those who can!  But at my age, I’ve learned to be realistic about my physical stamina and need for adequate rest.)

“Grand Tetons” by Charlotte Mertz (4″x6″ watercolor, #180510w)

Although I was able to do a very small, quick watercolor in the Tetons while the rest of the group watched an informative film, most of my output was in the form of even quicker pencil sketches, for which minimal setup and time were required.  Sometimes I could snatch a moment during a lunch break.  At other times, while waiting for the bus to get underway, I would sketch the scenery directly from my coach seat.

"Jackson Hillside" by Charlotte Mertz  (#180509p)

“Jackson Hillside” by Charlotte Mertz
(#180509p)

Would I discourage others from taking sightseeing tours?  Definitely not!  And here’s why.  I was able to accrue innumerable reference photos during our travels, saw sights I probably would not have seen, and learned information I probably would have missed if I had been traveling on my own.

And the short sketching stints encouraged me to look for the essence, such as the overall silhouette shapes, intertwining textures, and interplay of values within this stand of firs.

"Yellowstone Firs" by Charlotte Mertz  (#180512p)

“Yellowstone Firs” by Charlotte Mertz
(#180512p)

However, I would recommend, for anyone who wants to spend considerable time painting, that you establish your own schedule and priorities.  Arrange travel time around your painting time, rather than trying to squeeze the painting into a pre-scheduled tour itinerary.  If you want a tour, look for someone local who can fit a bit of sightseeing into your painting schedule, preferably one who can provide guidance to promising painting sites, as well as offer insights into regional lore.

 

En Plein Air — Pros and Cons

Friday, June 1st, 2018

I’ve been focusing on plein air the second quarter of this year.  But I know that plein air painting is not for everyone; nor is it the best option for all situations.   So, in case some of my readers are thinking about trying it, in this article I thought it might be good to enumerate some of the pros and cons of painting outdoors, as compared with working in a studio setting.

Whereas it’s lovely to work outdoors in beautiful, sunny weather (PRO), it’s safe to say that none of us live in an area that is comfortable all the time.  At one time or another, we all face uncomfortable environmental factors, which can feel exaggerated when we’re painting outdoors (CON).  Heat, cold, wind, precipitation, blowing dust or sand, dripping trees, and a variety of insect life can easily put a lid on an otherwise pleasurable outing or threaten the integrity of our work.  In cold weather, paint stiffens, water freezes, and our fingers, toes, and ears go numb.  In warmer weather, we may more likely be affected by sudden showers, wind gusts that can topple an easel, and insects that bombard us and become embedded in our work.  Yet, where else but outdoors do we have the opportunity to observe so closely or so directly the colors of our immediate environment under natural lighting conditions (PRO)?

Whereas a studio can provide both controlled climatic conditions, as well as controllable lighting conditions, the sun is a continuously moving light source, and scudding clouds can exacerbate the problem of rapidly changing shadow patterns (CON).  So wise painters discipline themselves (PRO) to preplan and follow compositional studies carefully to avoid “chasing the light” as the light-and-shadow patterns shift.

And although studio work, based on previously painted studies or photographs, can provide a broad choice of preselected views from a wide range of locations, working on site, en plein air, gives us flexibility to choose specific views, from an almost unlimited variety of angles, and both size and dimensions of the compositional field within the available locale (PRO).  We are also unconsciously more inclined to integrate non-visual sensual impressions from our environment into our work (PRO).  And although we cannot control the immediate climatic or lighting conditions within our locale (CON), painting on location does provide incentive to explore the same scene in a variety of lighting and atmospheric conditions (PRO) without limiting ourselves to some expected, idealized view.

Breaking away from studio reference photos also frees us to view an area in ways we haven’t previously considered and to interpret it “with new eyes”.  It gives us incentive to seek beauty even in the seemingly mundane or in elements of life that others might even consider ugly.  It stretches us spiritually, emotionally, and intellectually, and opens our hearts to quite literally see the world differently (PRO).

Working outdoors usually tends to limit our actual painting time (CON).  Both transporting and protecting our equipment and materials both enroute to the painting site and for our return takes time from our actual painting activity.  But, although we may feel pressured to work too quickly to produce our best work (CON), it does motivate us to work efficiently, from selecting our materials to transport, through preplanning our compositions, to executing the painting itself (PRO).

Passersby can further limit our time by stopping to talk with us and by offering “critiques” (sought or not) of the work in progress (CON).  But these same interruptions provide visibility and an opportunity to both gauge the public’s response to our work and to engage them in it to better understand it and appreciate our painting process (PRO).  It may even occasionally result in a sale (PRO).

And as well as engaging with the public, working en plein air, which is often done in a group with other painters, gives us the opportunity to exchange ideas with other like-minded artists, to share ideas, information, seek out knowledgeable feedback, and to build lasting friendships (PRO).

All artists should weigh these pros and cons to decide whether the plein-air option would be right for them.  If nothing else, it’s a refreshing excuse to get out into the world.