Archive for the ‘Travel’ Category

From umber beginnings

Sunday, September 15th, 2019

This summer I have been working primarily in watercolor and oils.  However, the oils I have at my summer studio are made with slow-drying linseed oil and remain tacky after several weeks of drying time.  I realized that if I want to have them dry before we return home, I would need to use a faster-drying medium.  So I set aside the old paints, reserving only my three basic primary colors, which I supplemented with alkyd medium (since alkyd works well with oils but dries much more rapidly than the more widely used linseed oil-based paints), alkyd titanium white (to replace my slow-drying titanium white), and a raw umber, with which I had been wanting to experiment.

So my new palette for September would now consist solely of raw umber, the original primary yellow, red, and blue paints, and all the value variations available by incorporating the alkyd white.  The alkyd medium would serve as my thinner and only medium.  It was time to play!

I dug out some small pieces of canvas on which I had already applied and dried a monochromatic imprimatura (with leftover paint from previous palette scrapings) to seal the surface.  Then, referring to old photo files, I found a few images that I thought would work with two of the underpaintings—one green, the other a muted rose.

The first, “Lakefront Morning,” shown below, was worked over a green imprimatura.  Although the base color, in its original hue and chroma, does not appear anywhere in the finished painting, it contributed to the atmosphere when modified with the palette colors.

"Lakefront Morning" by Charlotte Mertz (5"x7" oil, #190901-o)

“Lakefront Morning” by Charlotte Mertz
(5″x7″ oil, #190901-o)

Focusing on the umber-and-white combination in various values, and incorporating the primaries to provide appropriate variations in temperature and hue, I was astonished at how much easier it was to create and maintain a strong notan structure.  It was also easy to maintain a sense of color harmony in both my paintings.

I realized that the reason for this new sense of ease was that my focus was on value first, since the raw umber (warmer and more transparent and lively than black) provided the necessary dark tones, while the white produced the lighter values.  Hue was of much less concern and required little more than a suggestion from any of my primary tubes to provide the necessary temperature bias and warm or cool variation from that provided by the underpainting.  A few spots of lightly blended or entirely un-diluted tube color were all that was required to provide some chromatic contrast, as well.

"Niagara" by Charlotte Mertz  (5"x7" oil, #190902-o)

“Niagara” by Charlotte Mertz
(5″x7″ oil, #190902-o)

“Niagara” was painted over a rose-toned imprimatura.  Once again, although little of the base color actually appears in the finished painting, it definitely contributed to the rich lighting effects of the low-angled sunlight, while the umber provided the critical range of value needed to suggest atmospheric perspective.

Scaling the heights

Saturday, June 1st, 2019

As I began planning some studio paintings of our most recent trip to the western U.S., I was drawn repeatedly to a scene from Zion National Park, in Utah.  At the beginning of our riverside walk along the Virgin River, the sun and shadows had crept slowly across the canyon walls towering overhead.  Heavy snows over the past winter led to a heavier-than-normal runoff this spring, resulting in a fine-line waterfall over the precipice, further feeding the swelling river, and rendering the Narrows (a twisting, normally wadable section of the stream) impassable on foot.  So although we were unable to hike the Narrows on this trip, we were treated to this rare view of the falls.  I thought it was worth commemorating in paint.

Hoping to capture the early morning light on the majestic stone walls, my first effort was in oils. I realized how critical it would be to include figures within the composition:  Something was needed to provide a sense of scale to the scene.  Without including any figures in the image, the trees in the foreground might be assumed to be roughly the height of a person, which would minimize the apparent height of the canyon walls.  With the figures in place, however, the viewer realizes how comparatively tall the trees, in fact, are, which in turn provides a more accurate scale for the towering walls of the canyon.

"Springtime Fall, Zion National Park" by Charlotte Mertz, 12"x9" oil on panel.  190501

“Springtime Fall, Zion National Park” by Charlotte Mertz, 12″ x 9″ oil on panel

But despite this preplanning, for several reasons I still wasn’t entirely happy with the resulting composition.  So I rethought the concept and reconsidered how to more effectively express it, ultimately placing more emphasis on the towering height than on the sunlight’s influence on the stone.  This time I chose an elongated format in watercolor to emphasize the verticality of the scene.  Another technique I used was to emphasize the vertical fissures and de-emphasize many of the curving and horizontal cracks, except where they were needed to describe the broken character of the wall and the interrupted fall of water. Once again, it was critical to include figures in the foreground to provide a sense of scale.

"From the Heights," by Charlotte Mertz (12"x6" watercolor, #190502w)

“From the Heights,” by Charlotte Mertz
(12″x6″ watercolor, #190502w)

The resulting composition much more closely approximates the overwhelming sensations I experienced at the site.  Ironically, the sense of light improved in the second composition, as well, due primarily to my choice of a warmer dominant color to describe the hue of the sunlit stone.

Pursuing possibilities — Watercolor pencils

Friday, March 15th, 2019

As I look ahead to our spring and summer “seeing America” travels, I’m trying a different approach to quick, plein-air watercolor sketching–exploring the potential of watercolor pencils in lieu of using a full watercolor or oil setup.

I began by practicing with watercolor pencils in my studio, working from photos I had already used for previous paintings, just to get a feel for the process.  After creating the sketch and massing in the colors with the pencils, I used a moist brush to blend the colors to give the sketch a more traditional “watercolor” appearance.

From there, I graduated to doing some simplified sketches from life.  And now I take a small kit of pencils with me when I go out in the car so I can stop along the way to do a little plein air work without having to to get out an entire painting setup.  It’s also easy to use at our kitchen table or on our lanai for a spur-of-the-moment sketch to catch the atmosphere over the pond behind our house.

"Still Water and Riffles" by Charlotte Mertz  (5.5"x5.5" watercolor pencil, #190215wcp)

“Still Water and Riffles” by Charlotte Mertz
(5.5″x5.5″ watercolor pencil, #190215wcp)

My kit, which is roughly the size and form of a book (adapted from another less useful, commercial colored-pencil kit), includes a set of 16 (my own selection) of Derwent watercolor pencils, sharpener, Pentel waterbrush (with a reservoir in the handle), small piece of toweling, and either a 6″x6″ or a 4″x6″ cold-press watercolor pad. (Though hot-press paper would probably be better to use with the pencils, it is difficult to find HP in such small pads.) The pencils are held in place in groups of three with an elastic band and a fabric pocket to protect the tips.  Another piece of toweling wraps over the outside edge and top of the pencils to keep them from slipping out when the kit is being carried.

My watercolor-pencil travel kit

My watercolor-pencil travel kit

I may or may not use the brush on location, depending on how much time is available to complete the sketch.  If I haven’t time to use the brush, that part can be completed later.  The important parts are getting the sketch on paper and massing in the critical colors, either singly or layered, keeping in mind that they will blend more fully once they are moistened.  The resulting study may be a not-yet-ready-for-primetime sketch but is certainly sufficient for reference purposes or even personal souvenirs of a trip.

Learning the comparative strengths of the different colors and how much to apply of each pigment, particularly when layering, is my greatest current challenge and I expect it will become an ongoing study.

So far the process seems to be working well, providing a viable limited-fuss painting alternative for our upcoming travels.

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!