Archive for the ‘Travel’ Category

The length and the breadth and the sweep …

Saturday, December 15th, 2018

Totally aside from the primary destinations of our travels, I enjoy seeing the unfamiliar countryside we pass between our stops.  Whether driving through open farmland, mountain ranges, forests, winding roads along tumbling rivers, or views entirely different, while my traveling companions may read or nap, I try to keep my eyes open to appreciate “the length and the breadth and the sweep” of the changing views.

I had been intrigued by the irregularity of the coastline, the network of meandering waterways, and the grasslands that separated them when we had flown over the Georgia coast last year.  In November this year, my husband and I had the opportunity to take a coach excursion through some of that area, particularly those low-lying tidal plains south of Savannah.

"Marshes of Glynn" by Charlotte Mertz  (9"x12" oil, #181103-o)

“Marshes of Glynn” by Charlotte Mertz
(9″x12″ oil, #181103-o)

The sky was overcast, and a persistent drizzle flecked the bus windows, but I found the lovely gray arch of the distant Lanier Bridge (named for the Sidney Lanier, author of the poem,“The Marshes of Glynn,” which lyrically depicted the wetlands) just as appealing as the autumnal colors in the marsh itself.

Although I could not disembark at the time to paint the scenery, and photos shot from the bus window were blurred with rain, I was later able to undertake a studio painting to depict my impression of the scene as we passed.

Sometimes paint can be a better recorder of memories than a camera.  It may not be as literally accurate, but it can be much more evocative of mood than a quickly snatched snapshot. And, when painted from memory or even poorly executed artist-created reference images, the painting process itself transports the artist back to the pleasures of the original experience.

 

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.