Moving forward (Lake Como W.I.P., continued)

At this point in the process I feel that I have sufficiently addressed the nearest hillside to the point that I can now move forward and focus on the middle distance boats and water.

lake como painting in progress by Jennifer Young
lake como painting in progress by Jennifer Young

I also realise that there is still a lot of white canvas around this painting and I really want to at least block the rest of it in so that I can better gauge my color and value relationships. Ideally I probably should have done this earlier, but as you might have noticed I have been short on easel time in the last week, and I want to address the water in as close to an alla prima fashion as I can, because otherwise I end up having to scrape off a lot of dried paint from my palette and remix everything to try and get back to where I had previously left off.

Pescallo painting Italian landscape
Pescallo painting Italian landscape

Ah, that's better!  I've painted in the little stone wall/pier to the left, and have at least suggested that there is a lake here somewhere! The paint layer on the water is still a very thin block-in here, but at least I have some color down and have indicated approximately where the boats are going and where the water highlights will be. This last picture shows where I had to leave off this morning. No matter how early I try to get out to the studio, I seem to always feel that I have one hour too little. But that's the way it goes, right now. Depending on how much painting time I will get this weekend, I hope to finish this piece up in another session or two.

painting-in-progress of Pescallo Italy
painting-in-progress of Pescallo Italy

Lake Como W.I.P./Demo (continued)

Well I promised color in my last post, so let's get started! I don't know if I mentioned it lately, but I have been experimenting with expanded palettes for my latest paintings, and that exploration continues with this one. Regular readers may remember that I have for a long while used a limited palette of red, yellow, and blue, plus white (like this one). For this painting, my palette is (as I lay it out from left to right) Titanium White, Cadmium Yellow Light, Golden Ochre (Rembrandt), Cadmium Orange, Cadmium Red, Alizarin Permanent (Gamblin), Cobalt Blue, and Ultramarine Blue. (I've specified brands where color names are specific to a particular brand.)   I haven't used any pre-mixed greens, as you can really mix a zillion different greens with this palette. I have used most of these colors off and on, with the exception of Cobalt Blue. To be honest, I was really hoping that I wouldn't like it, because it is a terribly expensive tube of paint. Of course, I love it!  It is a cooler blue than Ultramarine, which has more red in it. I still love Ultramarine, but Cobalt has some really wonderful possibilities. Any way, back to the painting...I start by painting in the sky, which contains the light source and is also the farthest in distance. The sky is Cobalt blue plus white, with cad yellow lt. added as it nears the horizon. For the clouds I've mixed a combination of blues and cads red and orange + white for the shadows, and Cad orange and red + white for the highlights.

20120921-150523.jpg
20120921-150523.jpg

Working from back to front, I next paint in the distant cliffs, which have a beautiful shadow casting down over them from low-lying clouds. The photo is a bit dark here (apologies) but I will try to get some more accurate photos in subsequent blog posts so you can get a better idea of the colors.

The distant mountains complete, I block in the buildings that jut out into the harbor, as they will serve as my area of interest in the painting, and everything will kind of flow to lead the eye towards them. I also decide to lay down my pattern of darks, to restate the plan I made in my notan sketch. Again, this photo just blackens everything out, but I had to make a choice between using my time blogging or photo editing, and at this point, I've chosen blogging.

20120921-150612.jpg
20120921-150612.jpg

Next, I work on the terraced hillside in the middle distance. What a joy it is to paint...all of those shadows and varied greens! A nice round bristle brush is great for painting in those cypress trees, which have always struck me as distinctive punctuation marks in the Italian landscape. .

20120921-150639.jpg
20120921-150639.jpg

 A mahl stick (shown in the next photo  on my easel below the painting) is a handy tool to have to steady the hand without smudging the painting, when painting details like architecture and tall skinny cypress trees.

20120921-150656.jpg
20120921-150656.jpg

I have yet to paint in the highlights on the cypresses, but once I've done that I will be ready to move on to the middle distant water and boats, and finally the boats in the foreground. All that will be left after that point will be fine tuning  wherever's needed.

Lake Como W.I.P. & Demo

I mentioned in my last post that I had a new painting in the works, and I thought I'd attempt a little demo with this one. I say "attempt" because my laptop finally gave up the ghost, and these days I tend to do a lot of my writing via my mobile. Not only am I "all thumbs" (literally) but I have to sneak it in before my phone gets snatched away by the chubby little hands of my daughter who wants to "see pictures" whenever she sees it emerge from my pocket. This will be a painting of the beautiful fishing village of Pescallo. Pescallo is a tiny, sleepylittle place that sits just down the slope from Bellagio (also very beautiful). In fact, I could see Pescallo from the balcony of my Bellagio hotel, and the drama of the light as it poured over the mountains and harbor beckoned me to take a stroll down there many mornings before we started the day's touring.

I begin by sketching out a compositional plan that is also a value plan for the painting. I do this using light, middle, and dark value gray oil paints in my sketchbook. I often do a similar thing with Tombo pens (the grayscale ones), but mostly when I am painting outdoors as a way to quickly hone in and get a handle on my composition (in an environment that is bombarded with stimuli). But it is a good practice with studio work too. The oils are mentioned in Kevin Macpherson's book, "Landscape Painting Inside and Out," and I have long wanted to buy these paints so I could give it a try. They are Portland Gray Light, Medium, and Deep, by Gamblin. Hey, if it's good enough for "KMac", (as my husband calls him) it's good enough for me!

notan sketch
notan sketch

The point of this is to see if your painting has a strong underlying structure with a unifying value plan without getting bogged down in details. This is really supposed to be more of a notan sketch at this stage, which is a very simplified thing and addresses more of the armature of the painting rather than the pinpoint accuracy of objects and shapes. It's been a while since I've done this kind of study, and I realized at some point that I had not allowed much for the fourth value I was working with, which was the white of the paper. Oops! So I had to amend my sketch a little and add in some white for the lightest areas.

Still, I feel that my plan is solid and I'm ready to move forward by sketching out a line drawing on my 24x30" canvas.

oil sketch lake como painting by Jennifer Young
oil sketch lake como painting by Jennifer Young

For this I am using burnt sienna (Winsor Newton), thinned with Gamsol mineral spirits. I don't much use this earth color in the rest of my painting stages, and while I could mix up  a good earth for such a job using my standard red, yellow, and blue, it is more of a convenience for me to use a premixed paint at this preliminary stage. I also like it because it lends a nice warm undertone to the canvas as I go along, and it doesn't bleed into my other colors (especially the light ones like the sky) when I move beyond the sketching stage.

Now that I have a plan, I am ready to start painting with color! I'll get into that in the next post .

The artist/parent conundrum

Well, it's finally happened. This week we sent our baby off to preschool. Right now it's only two half days a week, but still it has been a week of mixed emotions. It's hard to send her out into the world without me nearby, but on the other hand, I can enter my studio for a few precious, blissful hours without interruption. Ahhh! Once we get into a groove, (and get past the tears that come with each parting) we should be able to arrange a schedule where Dad takes her to school on his way to work, while Mom starts painting and doesn't have to stop for 4 or 5 hours. Heck, I may even be able to take my easel outdoors this fall and actually do some plein air painting! It feels like its been a long road to get to this point, both in terms of health and time to work. And yet, I look at my daughter and marvel at how quickly she has grown. She's only two, but she's definitely not a baby any more.

In my next post I will share with you a new painting I've gotten under way during this momentous week. But before I get back to the "art" part of my art blog, I just want to put a shout out to all of those artist moms and dads out there who may struggle to find a balance between being a dedicated primary caregiver to a child and being a creative artist dedicated to their craft.

First of all, hats off to you! It is a tough balancing act. If I had any advice to give to anyone who is struggling to find the time and energy to do creative work while also being the primary caregiver to a child, it would be this: Lower your expectations and don't give up.

Now that may not sound very inspirational, but hear me out. After I had my daughter, I fully expected to get back to my painting in full swing after about 6 months or so. But when my health took a nose dive, it was all I could do most days to parent my daughter and give her some Q.T., and get hot meals on the table (after which point I promptly collapsed in a heap). And on top of feeling really physically awful most days over the past 2 years, I made myself feel worse by being horribly disappointed in my inability to develop a routine of steady work. (What was wrong with me? I "should" be able to do this! ) Had I been gentler and adjusted my expectations to allow for my situation, I would have saved myself a lot of frustration and emotional angst, and perhaps even possibly hastened my recovery. (Not to mention that feeling rotten about yourself isn't exactly an environment for creative bursts of energy, either).

On the second point, don't give up; sooner or later you will find a groove with yourself and your family. It may be a groove that will need constant tweaking, but some sense of rythm WILL happen. It may not happen as quickly as you want, but one day you will blink and your once tiny, helpless infant will be playing quietly by herself here and there (in between running around tearing the house down ;-) ). Gasps for air will give way to moments of breathing space and then at some point actual stretches of uninterrupted time.

Thankfully I seem to be finding my way out of the worst of the health issues now and am actually sleeping again and feeling a lot better. But nothing is like it was b.b. (before baby). I don't have the flexibilty of time and freedom that I used to have. Now I am the one who has to be flexible, and I have to manufacture stretches of time by getting up extra early to make it happen. Any blogs I do write are usually done via my mobile, written piecemeal in short bursts. But with the right attitude and a little bit of creative scheduling, it is happening, and for that I am extremely grateful!

When my daughter was an infant, I would again and again be told this same phrase by veteran parents: "It goes by fast." And it does. When you are in the trenches dealing with colic and diapers and nursing and zero sleep and no time to shower, you might not think so. But it really does. So enjoy the moments with your child and appreciate the moments you can find to feed the Art Spirit. Nurture both as best you can and you may find them growing stronger and more vibrant with each passing day.

"Happy Faces", by 2 year old Eva

"Happy Faces", by 2 year old Eva

French country garden painting complete

Whew! I had a lot of starts and stops with this painting, but it's finished.There were times when I really needed to scrape whole portions of it down because there was too much buildup to make adjustments. It brought to mind a quote attributed to Everett Raymond Kinstler that I read recently in a very good article by Bill Davidson posted on the Oil Painters of America blog,

“I start out in this way thinking, ‘this will be the greatest painting of this subject matter ever painted.’ Later in the process I think, ‘this will be the greatest painting of this subject matter I ever painted,’ and finally I think, ‘Hell! I hope I can save this painting!’ [paraphrased]”

Now I can't say that I've so far stated anything close to the first sentence of that quote, but the progression of feeling from confidence to doubt certainly rings true, especially when there is a lot of time invested in a piece.

"Quiet Reflection, Southern France", Oil on linen, 20x24" © Jennifer Young

"Quiet Reflection, Southern France", Oil on linen, 20x24" © Jennifer Young

The subject matter is the dappled morning light as it plays across a part of an old convent building and surrounding water garden. This place is now converted to a B&B and venue for painting holidays  (aptly named Le Vieux Couvent) in the town of Frayssinet, France. I blogged about my visit there numerous times. It is a lovely place that I remember with great fondness.

...And now,I'm going to get  a bit off topic by asking a favor of my readers. I seem to be having some trouble having my posts delivered to subscribers by email. So if you actually do happen to receive this post via your email subscription, could you please let me know?