Sketches from France- plus a brag

Just before I left for France my dear friends Jack and Mikki sent me some wonderful books on travel sketching. My favorite from the group is Artist En Routeby Betty Lynch. (A quick look at the price that this book is now going for makes me glad that I got this as a gift!) Betty is a very talented watercolorist, but I am partial to her simple pen and ink sketches, and they inspired me to keep my own little art journal for my trip.

I brought a 5x8" moleskine journal with me, which fit nicely into my carryall bag. Never one to be without as many options as possible, I chose the notebook that would accept watercolors (though most of my sketches were pen and ink.) Here's one with my notes of the Abbey I blogged about yesterday:

Most of these were just quick little jots, but the journal really helped me to lock in the memories in place, and keep track of the places we visited in sequential order. So many times on action packed trips like these, all of the memories start to blend together after a while, so I really recommend this combination of traveling, sketching and journaling. 

On the same day that we visited Abbaye Nouvelle, we also visited the village of Beynac (in the Dordogne), with its fascinating 12th century chateau perched atop dramatic limestone cliffs. Only time for a quick sketch for this part of the itinerary, which I did after our picnic lunch by the river bank. We are steeped deep into Medieval history here; this castle is where Richard the Lionheart met his death!

***And now, we interrupt this art travel log for a quick brag ;-). There is a fine new oil painter in the Young family, and she's got a blog! Check out my very talented niece, Molly Young and her Daily Painting blog.

Molly came all the way up from Texas to take my April workshop this past spring, and I got the chance to see her talent in person. I wish I could say I had something to do with it, but she's been cutting her own path for a while now and I look forward to seeing where she takes it. Her blog is brand new, but she's been painting for a couple of years, and she's a quick study to boot.

The fruit trees of early spring were all abloom while Molly was here visiting, and we took advantage of it by heading up to Monticello for a quick visit.  Here's a shot of the two of us at Monticello:

 

Molly's got some wonderful new paintings from that visit on her blog. Here's one of my faves.

Flying with artist oil paints, plus tips for plein air

As I set out to answer a few questions about traveling with paint from fellow painter Marilyn King, I realized the length of my response was worthy of its own blog post! So Marilyn, thanks for the assignment! :-)  There are a million different approaches, a million different solutions; but here are some ideas: Oil paints; Lighten the load!

While it is more economical to use larger 150 ml tubes, I generally save them for use in the studio. (In fact, for my white and some other colors, I buy in even larger quantities --either in cans or in caulking guns.)  But if you're using a double primary palette en plein air, lugging big tubes of each color can get a little weighty! For this reason, I keep a set of smaller tubes for plein air painting. I generally carry one large 150 ml white out on the field and smaller tubes of the other colors. A couple of other options:

• Yes, you guessed it--limit your palette. This gets easier to do the more you try it. There are many plein air painters who limit to 3 primaries plus white to get all of their colors. This is Kevin Macpherson's suggestion in his first book on plein air painting, and even in the second one  (though he does get a little more expansive in the latter). A limited palette  does simplify things for plein air.
  • Cadmium yellow light, Alizarin Crimson, and Ultramarine Blue plus white would be one example of a single primary palette. In this case you might even bring larger tubes since you'll have fewer of them. I've often used this palette as stated or supplemented only slightly with one additional color (e.g. a small amt. of phtalo green.)
  • While it can seem pretty limiting at first, a limited palette will create more overall unity in your painting,  it is a very good practice for anyone who is interested in learning about mixing color. 
•  Squeeze out your colors on your palette before going out to paint. Obviously this won't work if you're flying on a plane! The down side is that most beginning plein air painters don't squeeze out enough paint on their palette to begin with! And even if you're used to painting outside it can still be a challenge to judge how much you'll need.
• Transfer your colors into smaller containers (again, won't work with flying!)
  • Jerry's Artarama (and probably other art supply stores) even sell empty paint tubes for this purpose.
  • Paint film canisters or other readily available plastic containers could also be useful, though be aware of the depth as it may be a challenge to dig the paint out after a while.  Another option is to find the larger sized pill box containers. You know, the kind that have slots for each day of the week? I did this for a while, but since this is a temporary solution, I eventually got lazy and just bought smaller tubes for plein air.
  • Note: Many plastics may eventually degrade--particularly the lids that are often made of the softer plastic needed for flexibility. I like to leave a plein air "emergency kit" in my car and I have had containers made of softer plastic degrade, warp, ooze and pucker over time. Yuck.

Yes, but what about flying with oils?

For flying, here are some solutions I've gleaned from others and from trial and error:

• First, I wrap my paint tubes in foam sheeting or bubble wrap to reduce the chance of puncture, and then pack all of my paints in ziplock bags in my checked bag. (You can't bring paints or mediums in your carry on.) 
• I also enclose MSDS sheets in the bags with my paints, as provided by the manufacturers. These sheets list the flash points for the paints. According to the Gamblin website, artist oil paints contain vegetable oil and no solvent, and you're good to go if your paints have a flashpoint of 140 degrees F (or above). *If bringing a painting medium, check to make sure that it does not have a higher flashpoint before packing it!
• If questioned by airline security, explain that these are artist's oil colors and have no solvents, and provide the documentation that says the same. It seems the word "paint" can possibly set off undue alarm.
• Buy turpentine in the destination country (en Francais- "La terebentine"; in Italiano- "La trementina"!)
• If possible, just bring your tools and supports, and consider buying paints in your destination country. This is actually a lot of fun! If you haven't been in an art supply store in Paris, you owe it to yourself to go any way. I always feel like a kid in a candy shop when I do.
• If you'll be in a more "out of the way" or unfamiliar location, you might research art supply stores in the area where you'll be going. Did you know that the regional visitor centers are extremely helpful? In the past I've just sent them an email and gotten back a list of stores in the vicinity prior to my departure.
• Lastly, you just might check into water soluble oil colors. I need to experiment more with these some day. It's hard to beat the tried and true, but WS oil do eliminate a few challenges for the portable studio, and many artists report being pleased with their results.

 Medium or no medium?

 Often times I don't even use a medium for plein air painting because it seems like even with just a little bit of breeze, any kind of alkyd medium gets a "skin" before I can even use it. However, there are times when it is handy; especially if I want to try and hasten the drying time of my paintings.

• An alkyd based medium (Liquin, etc.) is useful for this, and fairly portable if you can buy it in a small bottle.
• Another option is Wingel (by W&N) or Lukas Painting Butter, both of which come in tubes. But being more "solid," the tube mediums seem to dry up even faster than the liquids, so the key is to use it sparingly if you're going to use it (a good practice any way).
• If hastening the drying time is what you're after, you might just look into getting an alkyd-based white for plein air. I have found that when I use Gamblin's "Quick-Dry White" it helps speed up the drying time of my entire painting while still keeping the painting open for a good while.
• If you are reliant on a medium to increase viscosity (flow), be aware that turps and paint thinner are *not* mediums and should not be used  to thin paint beyond perhaps the very beginning "sketching" stages of your painting. They will weaken the paint film.
• Again, if you're going to be flying, check the flashpoint before packing the medium! If it's too high, leave it at home and consider doing without or buying it at your destination.

Plein air panels for travel

This whole week I've been walking around telling myself that I was leaving for France in two weeks. What I realized today is that I'm actually leaving in a week. Ack! :-0 Yes, I have been known to fall down the worm-hole of time unless I am stringent about staying on a schedule. Many distractions at home have gotten me off of that lately, and here I am wondering where the time went! So since I've nothing much to say about the all the new work I've not done lately, I thought I'd still at least post something useful about traveling with art materials. I've written about this before, but it always seems to take me off guard when I actually have to get down to deciding what I'll take and what I'll leave behind. I'll be traveling to a very rural part of France , (okay, so it's not the jungle! But art supply stores are generally hard to come by in the countryside), so I really want to try not to be in a position of "need' when it comes to my supplies and my gear.

At the same time, I can't pack "everything but the kitchen sink", because for this trip I will be traveling solo to and from my destination. My husband, who named himself "Le Pack Mule" during our travels abroad, is sitting this one out (I can't imagine why? ;-) ) This means I have to be able to carry everything without relying on batting eyelashes for assistance. I haven't fleshed out my complete supply list, but my obvious "must haves" are also the things that can cause the most weight-- the easel and the painting substrates. Since it's been pointed out to me that I've spent so much time lately talking about easels, I'll mix it up by addressing the substrates:

Lightweight but still archival

I'll be painting on location for anywhere from 7 to 10 days. I really have no idea of an exact itinerary, but I always try and plan for the max. It is certainly possible to buy canvases overseas, (Hello? France? Home of the Impressionists!) but the problem is that since we've never gotten on board with the metric system here in the U.S., I'd have to deal with custom framing each non-standard canvas once I got back home.

Canvas mounted on lightweight panel is a better option  for travel than bulkier stretched canvas. In the past I've used birchboard. It's lightweight and compact compared to many other hardboard options (masonite, plywood, etc.), but if I consider that I may be painting two to four canvases each day, that's a whole lot of birch and the weight and volueme adds up fast.

Gatorfoam (gatorboard) is a great option, in that it is offered in archival form and is also one of the lightest supports available. It is basically a very, very strong foamcore board, offered in a variety of thicknesses.

 

Picture framers often use Gatorboard, and this is what a lot of plein air painters use as a support for primed linen or canvas. Cheap Joe's and other art supply stores sell various size sheets,  and there are also companies that specialize in making panels of this material. But even if you make your own panels with this material, it can be pretty expensive when you start to consider any amount of quantity, and then there is the bulk of carting it all overseas.

One of the newer materials on the market is Coroplast. Coroplast is essentially corrugated plastic, and like Gatorfoam, it is extremely lightweight. However, while not as inexpensive as plywood, Coroplast is more economical than the Gator.

 

Interestingly Coroplast seems also to be getting the archival nod, and a conservator for the National Gallery of Art has noted that it is virtually inert in terms of interference with the substrate. I've also found references to the use of Coroplast on art and museum conservator sites for packing and storing fine art. The biggest beef with Coroplast for a plein air panel seems to be the fluted corrugation between the sheets of plastic. The fear from conservators is that over time the canvas, if mounted directly onto Coroplast without an intermediate barrier, would adopt this same fluting texture.

...Enter Multimedia Artboard

Multimedia Artboard is another somewhat new material, designed to be an archival substrate for a variety of media from watercolor to acrylic to oil. I've seen several references to the use of this product by traveling plein air painters. This board is made of paper and epoxy resin and unlike canvas, it is rigid but extremely thin and lightweight:

 

It has a smooth side and a textured side, both of which can be painted on. For oil painting, the common practice seems to be to gesso the board for a less absorbant surface ( though the company claims compatibility with oils without gessoing) and then clamp, mount, or to tape it to a larger piece of coroplast or gatorboard for painting on site. Since this surface is pretty thin, it would need to be backed or mounted to some kind of board with an archival, reversable adhesive before framing.

I've ordered some of this Multimedia Artboard and have a funny story about it that I'll save for another time. I had hoped to experiment a lot with this material prior to my departure, but given my current life pattern this may not happen! So here's the plan: I'm taking a number of pieces of gessoed MMAB as well as pre-primed linen in various sizes; all of which I will tape or clamp temporaily to a larger firm support of Coroplast on location. (I'm going for the Coroplast because it won't dent if clamped- Gatorfoam might.) Any painting could then be backed or mounted in a more permanent way if I want to frame it up at home.

Supplies:

• Multimedia Artboard ( I chose 16x20 sheets, which could be cut down to a variety of sizes- 8x10, 11x14, 6x8, 9x12, 12x16, etc.) Sources: Multimedia ArtBoard's site, Jerry's Artarama, Dick Blick (to name a few)
• Gesso (for above- any art supply store)
• Primed linen canvas, (many sources for this) cut to size (allow about 2 inches on all sides if you want to stretch the canvas when you return home, or 1/4 to 1/2 inch all around for shrinkage if you intend to glue these to a panel.)
• One 14x18 or 16x20 inch Coroplast board to use as a firm support for paintings on location. Sources: Check local sign companies- they may be willing to sell blank sheets. Otherwise there are online suppliers for this.
• Painter's tape and/or clamps (for temporarily adhering substrate to support)

Don't feel like doing it youself back home? You can get prepared lightweight panels from commercial sources. Here are just a few:

Sourcetek

Wind River Arts

New Traditions Panels

Raymar (not as light as other options, but less costly and still much lighter than plywood. BTW- makes great, lightweight wet panel carriers out of --you guessed it! Coroplast!)

Save the date- New PBS art series on "Landscapes through Time"

While trolling through the Slow Travel forums for my upcoming trip to France, I stumbled across this tip on a new upcoming PBS art series on landscape painting hosted by artist David Dunlop.  Here's an excerpt from the PBS website:

"LANDSCAPES THROUGH TIME WITH DAVID DUNLOP -- a lively and entertaining new 13-part PBS series shot in HD -- offers viewers the opportunity to travel with noted painter and lecturer David Dunlop to magical, historic locations in the United States and France as he follows the lives and artistic paths of celebrated artists such as Turner and Monet. Dunlop journeys to the locations these artists visited and learns how they transformed their vision into a familiar painting. "

PBS always does a wonderful job with its art series, so I hope this one broadcasts in my area. It's set to air in June, which will be just on the heels of having returned from my own France landscape painting trip. You can read all about the program  here, but you'll probably have to just check back in at viewing schedule  as they only list schedules 13 days out.

Art walk tonight, plus "deep thoughts" on goals

It's looking like a gorgeous day today, so I'm going to try to get out and do some painting outside before heading downtown to get the gallery ready for the First Fridays Downtown Art Walk. Tonight's artwalk opening continues a showing from last month called "Spring Mix". The theme is gardens, flowers, anything Spring. But since my place is primarily an art studio, I've always got new stuff on view, even when a show carries over. June will be my last Art Walk of the season, debuting my 2nd annual "En Plein Air" show. As expected from the title, it will feature work I've done on location. I'll have new  and recent local paintings of Richmond, the Blue Ridge Mountains, and some from my upcoming travels to southwestern France. Here are the details for the May and June shows:

Where we are: 

Jennifer Young Studio & Gallery is located at 16 East Main Street, (between 1st and Foushee) two blocks east of the Jefferson Hotel.

We're open during the First Fridays Richmond Art Walk from 6 to 8:30 PM and by appointment at other times. The Art Walk season continues right on through the summer, but we'll be taking a hiatus in July and August. For additional information contact us or call 804-254-1008. Click here to view a map and get driving directions from your location.

****** 

As I look ahead  to the end of  the Art Walk season (for me) I am thinking a lot about personal vs. professional goals. Working full time in this art thing, I've accepted that there is always going to be a lot of overlap. My art IS personal (I'd have it no other way) but it is also my business, and sometimes it is really a challenge not to have those two aspects completely blur.

Since I've been at my downtown studio, my focus has been on the professional end of things. Namely, how can I (with an artist's budget) best market and utilize this space? How can I maximize its potential (it IS a gorgeous space)? I had many openings, joined committees, changed my hours a few times (now back to "by appointment"), and hosted a workshop (a first at this studio).  I've had some wonderful experiences and some times when I feel as if I've fallen flat on my face. But, that's pretty much par for the course in any business I guess.  In any event, in the relatively short amount of time that I've had the studio gallery, I've learned a great deal, about my business and (perhaps more importantly) about myself. 

 For a while now (at least in the last 6 months, maybe more) I feel like I've been involved with a lot of business (busy-ness!) and less and less painting. For me, the painting (or drawing, or printmaking) has always been the driving force and that's where I need to return my focus for a while. And painting for purpose of expansion rather than for production, if that makes any sense. I look forward to it. 

I'm kicking off with a plein air painting trip to France, but my goal for the summer is to devote more time to those things  that have always fed  my spirit and ultimately helped me to advance as an artist and as a creative liver-of-life. More plein air painting. More drawing. More experimenting. More reading. More time at home. Gardening. Travel. Finally taking a sewing class. Learning about web development and redesigning my website (here comes that blur!) Teaching, if it's in the cards. And yeah, more relaxing!

Okay, that's a pretty ambitious looking summer list, but I'm thinking of it more as a summer menu. A few of these things take priority for me, and the rest I can select according to time and desire. As I said, I look forward to it.

Plein air in my neighborhood: "Color Surprise"

In the evenings, my husband and I love walking through our Bellevue neighborhood, and we try to do it most days that our schedules and the weather will allow. There are a lot of avid gardeners in our 'hood, and in spring it seems like every nook and corner has a touch of color. The other evening we took a back alley detour and came upon this scene. It was striking in the light of dusk as the building and the irises were backlit. I came back in the morning to see if I still found interest, and I did. It was a different light, to be sure. But there was a certain pattern that played across the path and fence that I liked enough to do this little pochade.

"Color Surprise" Oil on Canvas, 6x8"

If you've looked around my website you might notice that I have a thing for sheds. I guess I like the simplicity of the form, and the interesting texture of the walls and rooftops (the more decrepit the better.) I've sure painted my share of the French Provencial versions; called "cabaneaux" en Francais.

Call me crazy but I also have a thing for certain alleys. They can be kind of a "grab bag" though-- I don't always see (or smell) the most pleasant things. But sometimes when people let their private gardens spill over into the walkways I can find quite a surprise of color.

New stuff coming soon, I promise!

I have many notes on things I'd like to blog about, but it seems this whole month has been crammed packed with activity. I'm getting ready for the art walk this Friday, and  a trip to France in just over a couple of  weeks.  But I will post new work this week, even if it's just a few small plein air pieces. And I've plenty of other things I'd like to write about too, if I can find the time:

• More thoughts on color mixing and art mediums
• More on art books I've been enjoying
• Planning and packing all my gear for an overseas trip
• One more "Art for Food" auction before I take a travel hiatus
• Sharing what I'm learning about the beautiful region of the Lot and Dordogne where I'll soon be touring and painting

I may not get to everything, but I will surely get to a number of these topics over the next couple of weeks before I sign off to head for 10 days of computer-free travel.

I've been interviewed by Creative Spotlite!

Recently I was interviewed by Creative Spotlite's Ralph Serpe.  In the interview, I respond to Ralph's questions about my journey as an artist and my art career thus far. Ralph is the founder of the Creative Spotlite art instruction website and blog, both of which feature an ever-growing collection of free art lessons, demos, links,  and a wealth of other resources for artists. In conjunction with the interview, Ralph has also featured my plein air demo for my painting "Vineyard Patterns" on his site. Thanks Ralph, for featuring me and my work, and for creating such content rich sites for artists!

Small WIP & value sketches amid the rubble

A series of wet gray days have kept me from painting outside, so I've spent some time putting my studio  (and myself!) back together in the aftermath of the workshop. For me, "spring cleaning" always seems to make things look worse before they get better.

I have little piles around me...piles of books, of paperwork, and also a small pile of unfinished paintings. Among the latter is this demo painting that I started in the workshop, which I may noodle around with and bring to a more finished state. It's small, just 12x9", so we're talking maybe just orzo or macaroni-sized noodling.

I started this workshop demo talking about composition and values and how they related to each other. Since we were working with the limitations of photographs, I wanted to try to get folks to think about the possibility of composition beyond just what they saw in front of them in the picture. When I'm painting en plein air, I will often do a series of small value sketches before I jump right into painting. I will use this same approach too in the studio, to develop my design.

Along with a contour sketch, it is extremely helpful to do this in a very abbreviated quick grayscale, so that I can get a general idea of my value relationships and the overall design that is created not only by the placement of line but also by the pattern of dark and light:

 

This is not a new concept, of course. Artists have forever been studying and writing about the arrangement of values (lights and darks) to compose a strong design. The artsy fartsy term for this is "Notan". Okay, it's actually Japanese. Notan sketches can be fleshed out in recongnizable contours (like mine above) or they can be very quick and gestural thumbnail abstractions created for the purpose of identifying the underlying design.

The values are generally limited to four or less.  I used 2 markers; black and light gray, deriving my middle gray from a blending of the two, and letting the white of the paper stand as my lightest value. 

Of course, in life we see a much wider range of values, but in designing and executing a painting, I'm learning that simpler is often better.  If you look at many of Monet's paintings, you might notice that many of them have a very small range of values indeed, and he used color temperature and very soft edges to add a wonderful sense of atmospheric depth to his work.

A quick Google search for "Notan" yielded some good results for further exploration:

• A good series of Notan lessons from Virtual Art Academy
• Artist Robert Genn discusses Notan in his inspirational newsletter "The Painter's Keys"
• Painter Ed Terpening does it!
• Katherine Tyrrell does too.

How about you?

Looks like I've "Made a Mark" this week!

Thanks to Katherine Tyrrell, uber blogger of exhaustive art resources extraordinaire, for mentioning myarticles on plein air painting easels in her weekly post called "Who's made a mark this week" . If you're an artist or art lover and haven't yet discovered Katherine's blog "Making A Mark", do yourself a favor and check it out. Each week she provides an exhaustive list of art links and blogging resources, as well as frequent posts about her wonderful pencil drawings and other art related subjects. Looks like she may have discovered my articles by following a link from David Cornelius's blog post on his own search for plein air easels. So thanks for the mention (and link!) to you too, David, and keep up the great experimentation, inside and out. 

Scenes from the painting workshop

I'm baaaack! Fell in a black hole of the blogosphere for a while and am slooowly recovering from a very busy and intense workshop at my studio this past weekend. Church Hill Photography took some great environmental shots of one of the demo portions  of the class on the first day, so I thought I'd share them here. (BTW, Elaine Odell of Church Hill Photography also made the excellent portrait of me in my studio, so be sure to check out her website if your looking for a photographer who really knows her stuff!) While I've taught off-site at other hosted locations, this was the first time I've actually hosted a workshop myself, and preparing for it was quite a bit more work than I'd imagined because I had to prep both my lessons and the space itself.  The participants did some great work though, and were enthusiastic and so much fun. And it was really exciting for me to share ideas about color, shape, values, and composition. Hopefully everyone felt like they learned a lot. I know I did!

After a brief discussion of color mixing (and especially mixing greens) I did a little landscape demo. This is a good long shot that shows me sketching out my composition at my setup, as well as the studio beyond. The participants worked in the front two rooms, so we had to configure the space in a way that would protect those beautiful wood floors. Hence the lovely blue spill-resistant floor coverings!

Here's a cool shot  through the easel. There's a large mirror to my back, which I use to check my compositions in reverse. It really does help to give me a "fresh look" at my work. That cutie just over my shoulder in the gray tee is my talented niece Molly, a fine emerging artist who I was delighted to have come all the way from Texas to take the class and visit. The "man in black" looming in the doorway is my husband and partner Dave. As always, he was a HUGE help to me, keeping everything running smoothly.

This shot shows the demo piece, coming right along.

The workshop was pretty action packed, but by being in the studio we were able to really focus some of the more important elements of painting as they pertain to the landscape, in conditions that were controllable. I hope to do some plein air classes too in addition to the studio intensive, as this "takes it to the next level" and throws a whole other slew of concerns into the pot (watch this page for future workshop listings). Luckily I hadn't planned a plein air class for this past weekend though, as we had some really varied weather ranging from cloudburst thunderstorms to overcast damp chill.

On Monday Molly and I took a road trip up to Charlottesville so that she could see Jefferson's Monticello. Wow! What an absolutely gorgeous day--the redbuds, fruit trees, dogwoods and tulips were going crazy. I hope I can get up back up there some time soon to paint some of it-- and paint some local plein air scenes as well. Right after I take care of a few neglected household and business matters, that is. Whatever I paint, I'll be sure to post here first, so stay tuned....

"Reverie des Roses"- Provence garden painting

Today is a "bonus day". This morning as I was writing out my "to do" list, I commented to my husband it's rained during the last several First Fridays art walks. And with 70% chance of rain again today, it didn't look good for the art walk tonight. "But today's Thursday," husband said. I cannot tell you how happy this made me. I found an extra day! It also worries me a little too...I really can be in my own little world sometimes. In any event, I now have time to post my most recent painting of a lovely Provencal pathway lined with roses:

"Reverie des Roses" (Provence, France) Oil on Canvas, 24x30"

 If you're in Richmond, come see it in person TOMORROW during the First Fridays art walk. I'm open early from 6-8:30 PM with a new show called "Spring Mix."

"Oscar's House" morning plein air

The weather has warmed up this week, but the strange wind gusts prevail. I sat pondering this over morning coffee, trying to decide where I might go to paint outside without being completely blown away. I had only packed my smaller lightweight pochade box, which as I've described previously in excruciating detail, is not great for wind. But the other alternative was to drive across town to my studio to get my larger, sturdier easel. As I turned these matters over in my head, I stared out the kitchen window, and this scene came into view:

"Oscar's House" Oil on Canvas 10"x8"

I started noticing how the forsythia bush in our yard (foreground lower left) framed and echoed the bushes in bloom across the street at my neighbor's house. I also noticed how the bare-limbed trees above created a kind of upper frame for the little bungalow, and I thought the composition could be worth exploring.  Also, since I could set up on my back porch, I'd be sheltered from the wind by our house.  Whether this solution was realized out of laziness or resourcefulness is a matter of opinion, but never-the-less, "Oscar's House" was born!

Oscar is actually my neighbor's dog. I am embarrassed to say that I can never remember my neighbor's name. Okay, it's no secret to those who know me that I'm not great with remembering peoples' names. But this particular memory lapse isn't totally my fault.

When Oscar and his mom moved into their house, my husband and I introduced ourselves and received a reply of "This is Oscar," referencing the little wiener dog at our new neighbor's feet. There was no mention of our neighbor's name, so the conversation developed in such a way that we received various information and opinions of Oscar's via our neighbor's translations. (Oscar likes this, Oscar prefers that. Oscar is barking because he isn't used to strange men, etc.)

In subsequent meetings we actually did find out our neighbor's name, but you'll have to ask my husband. For some reason my mind wipes clean any recollection of her name and instantly replaces it with "Oscar's mom". So, this is Oscar's house. I think I'm going to be kind to myself today and call it a resourceful solution to a rather  gusty March morning.

For more information about this painting, please contact me.

Plein Air Easels- A pochade box for travel

This is my 4th in a series of posts about artist's easels. You can see the other installments here:Part I: On the quest for the perfect easel Part II: Guerilla Painters' Pochade Box Part III: My Soltek Easel

After having already written extensively about my Soltek love, it may seem curious that I'd have yet another pochade- style easel to write about. But what I've found (and I'm sure other plein air painters can empathize) is that the quest for the most versatile and easy to use plein air easel must be tempered with the quest for the lightest possible plein air setup. This is especially important if you're an artist who likes to travel.

With the airline regulations being what they are, it has become more and more of a challenge trying to figure out what items to check (if any) and what items to carry on in the ever-diminishing size of the acceptable carry on bag. While I may not be able to bring all of my art supplies with me on the plane, I prefer to have my easel in my carry-on. When traveling overseas, this sometimes means carrying my bag while running to make a flight connection, so a lightweight and compact bag becomes all the more important.

While the Soltek is lighter than many other setups, I still found myself wondering, "Can I go lighter?"  The answer is, of course, yes. Surely there are many options for going lighter, but the one I chose was the "Prochade Kit" by EasyL,  referenced in a book I blogged about a while back by Kevin Macpherson;  Landscape Painting Inside & Out.

I had seen other EasyL paint boxes and I was impressed by the setup. In fact, if I hadn't already gotten a Soltek I might have seriously considered the EasyL Versa, which offers a good deal of versatility while still being lightweight, and at a much more wallet-friendly price. But having already made my "primary" plein air easel selection, I honed in on the Prochade Kit for travel.

At first, I thought I'd only get the little box. After all, I already had a tripod and a couple of bags. But after really examining the Kit, which included a lighter-weight tripod, a GREAT bag, and a number of other nifty add-ons and doo-dads, I justified that it was a decent buy, considering. I really feel like a lot of thought went into the design of the kit, and with everything weighing in at around 10 lbs, I couldn't imagine as detailed a  setup that is much lighter.

When I first got this little box, I was a bit wary. Compared to the other models I'd experienced, the box seemed a little TOO light, and I was concerned about its fragility. The adaptive panel holder appears to raise and lower by the means of some kind of internal spring. I wasn't used to this kind of mechanism and wondered if it would hold up, but after several months of use it has so far worked fine. It does come with a warning, however, not to extend this mechanism beyond the 10" high limit. It holds panel heights from 6 to 10 inches, and any reasonable width. Since I usually paint on the small side out of doors, and particularly when I'm traveling, this was actually fine for me. And while I feel the external latches that close the box are on the flimsy side, the knob and sliding hinge are of a quality that is actually quite good.

But probably what I like most about this kit is the bag. It has a perfect number of slots, pockets, and compartments, making packing and organizing supplies a breeze. While this bag isn't suitable for larger easels or thicker pochade boxes, it is perfect for a true cigar-style pochade box, whether purchased from EasyL or home-made. It is  the right size for the airline carry-on regulations; and while it is lightweight, it is extremely durable and has enough padding to make it comfortable to carry.

Overall I have been quite happy with the kit, for the main reason that it met my specific needs of a travel box that is lightweight, but complete enough so that I can do more than just light sketching. But I don't know that I'd recommend this kit as a primary setup for the every day plein air. Even weighted down,  it does not hold up in the wind--and I've found myself holding on to it for dear life during some unexpected wind gusts.

I'll close this little book on plein air easels with some final thoughts.

• Do plenty of research before you buy your plein air easel, but beyond that, give some thought to the way you typically paint. If you don't paint large, you probably don't need an easel that accomodates a 30" high canvas. Perhaps even consider writing down the key features that are important to you in a plein air easel before shopping.

• You don't have to spend a lot of money to paint en plein air. There are a number of options that are quite inexpensive that you can start with before taking the leap of buying a fancier model:

  • One of the most inexpensive commercially available models I've found is the Studio RTA simple tripod steel easel. Nothing fancy, but quite sturdy and lightweight (though because of this it will probably not stay put in strong wind.) With this model, you'll have to hold your palette and find somewhere to put your supplies, but at $40 it's a decent deal. I have a couple of these easels at my studio for workshops and they work quite well.

  • Another option is just to consider making your own plein air setup if you are particularly handy. I've promised my husband that this is going to be my next pochade box . Cost? Under $15! (hand slapping squarely on forehead.) Thank you to Ellie Clemons for the wonderfully detailed instructions, and to artist John Haynes' thoughtful blog  that I just discovered for pointing me to Ellie's page. Also check out artist David Cornelius' hand made work-in-progress "easel pal" for some additional ideas.

• If your art travels involve flying, be sure to check out the many (and seemingly ever-changing) guidelines and regulations before deciding what to bring and what to leave at home. The Gamblin website has some useful tips about traveling with your paints. Artist Robert Genn had a good discussion going not too long ago on this subject also, on "The Painter's Keys" --a website that offers artists tips on matters both practical and inspirational.

• Have fun and happy painting!

A two-fer; Lake Como Paintings

My schedule has been NUTS lately so unfortunately my blog has suffered a bit of benign neglect. Still alive and kicking and painting, however. Here's something I thought I'd try to see if I might be able to save a little money on paint. A lot of times when I paint I can mix too much color, (which I still think is far better than mixing too little). These mixtures can be reused of course, especially if the subsequent painting needs similar hues. But I'm not always good about consciously planning my subjects like that. So here's a conscious effort to get two paintings going at the same time with color mixtures that relate to each other:

 The key will be not to just lazily use what's already mixed if it doesn't really suit what I'm painting. In hindsight it might have been better to start one large painting and one small painting instead of two rather ambitiously sized pieces, (they are both 30x40".) But I guess I was feeling cocky when I started these! 

While I did the transparent color block-ins  one after the other, what is happening  as I proceed is that I am still focusing on one individually, with an occasional switch-off when I need a change.  I don't really know if I'm conserving much paint, but it does keep things interesting. ;-) In case you can't tell what these are, the subject matter for both pieces is Lake Como, Italy. The painting on the left will be a more fleshed out version of the little watercolor painting I did for my last charity auction.

Speaking of which, a new Art for Food Auction will be posted by tomorrow morning!

Soltek- the ultimate plein air easel?

This is part 3 in a series of posts I'm writing about my quests for easels, plein air or otherwise. You can read the saga from the beginning  or jump to another section here:Part I: On the quest for the perfect easel Part II: Guerilla Painters' Pochade Box Part IV: A pochade box for travel

Easel #3: The Soltek. All hail and bow down to the mother of all plein air easels! Okay, my Soltek has had its problems, but I still love this easel. The Soltek is a portable easel that seems to be in a class by itself. The easel is both "space age" in technical design, and extremely flexible in its configuration:

The telescoping legs fold into themselves the same way they do in a camera tripod. But unlike the pochade box/tripod combo, the Soltek is all self contained, making setup lightning fast. The legs and the overall design  also make this easel extremely  resistant in the wind, which is probably one of the most difficult weather conditions of all  for the plein air painter.

Other features  I really love  about the Soltek:

• The two wings fold out on either side of the palette to allow for additional space to set brushes, paint thinner, etc. This is an especially important feature (as artists always "need" more space) and one that isn't usually acheived on the other paint boxes I've seen without purchasing separate attachments and adding more weight to the setup.
• The design of the upper and lower canvas holders cover the canvas edges only minimally and flip out indidually so that you can easily cover the edges of your painting without interrupting flow.
• Versatility--it can be configured in many different ways, at many different angles. The  easel will support a canvas up to 30" high-- a real plus for those who like to paint large outdoors. With this versatility, it can also function as a smaler studio easel or even a table easel if you want.
• Weight--even though you have a lot more work space, the whole configuration is sleek and weighs just  9 lbs.

Like the French easel models and the bulkier pochade boxes, this easel has space underneath the plastic palette to store brushes and paint tubes, etc (but not the standard brush cleaner containers). It has a carrying strap attached to the easel, but I still find it necessary to have a  backpack or bag  for additional supplies and for hiking or carrying longer distances.

While this model is thinner and sleeker than  the pochade box I blogged about earlier, it is about as long and nearly as wide as a full French easel (though not nearly as deep), and I have found it difficult to locate a good backpack that will accomodate this easel while still meeting the new airline carry-on restrictions. Soltek does sell its own backpack just for this easel. It works, and you can carry it on the plane, though it could stand to be a bit better designed, with additional padding for hiking, and some better thought-out storage compartments.

But  for all of Soltek's largely  wonderful features, I would never recommend that a beginning plein air painter invest in such a product, for the simple reason that it is far too expensive for a casual user. Even for the die-hard, I am hesitant to recommend it without reservation. Not only is it expensive, it's also like a high-tech  car with a lot of fancy  gizmos. It takes  greater care to maintain, and by methods that  can sometimes be  more costly and inconvenient than going to the hardware store for a wingnut.

It is advised that you keep the easel clean and free of paint, particularly in the areas of the  joints and legs. For someone who gets paint in her hair every time she paints on location, this is a real challenge. And while the telescoping legs are wonderful, they also seem to  give people the most problems. Mine tended to either slip (and not remain extended) or stick (unable to easily close) after only about a year or so of moderate use. The Soltek support people suggested that this sometimes occurs when painters take the easel out onto the beach, where grains of sand get up into the legs. Only I had never taken mine to the beach or anywhere near sand.

The other issue I had was that  the plastic hinges that allow the winged flaps to fold outward and remain open  broke on me, also  after only about a year or so. Soltek support says they now have better hinges and they did offer a couple of options. 1.) They could send me replacement hinges or 2.) I could pay $50 plus shipping to get a Soltek "tuneup" which would address both issues I was having.

Yes, you guessed it.  I forked over the $50. Due to my already considerable investment, I justified the expense since I had at least a couple of rather critical things in need of repair. It was back within a couple of weeks, and has since been working fine. But for the price of this easel (which costs as much or more than  some larger studio easels), I still feel these issues are not what I would have expected after 1-2 years of moderate use.

In any event, I still love it, and when working properly, it  is by far the easiest in terms of setup and versatility of all the portable easels I've experienced. I will continue to use it as long as I can reasonably maintain it. So why would I ever need another plein air easel? Well, besides the need for a backup in case of another Soltek break down, I probably don't. But that didn't stop me from one more purchase. (Remember, this was before I admitted I had a problem.) I'll cover that in the next installment.

Plein air easels- the pochade box

*Note: This is the second in a series of posts I am writing about artist's easels. To read the other installments, click on the following links:Part I: On the quest for the perfect easelPart III: My Soltek Easel Part IV: A pochade box for travel

Picking up on my previous post about artist easels, today I'll discuss plein air easel #2; my first pochade box. The word "pochade" comes from the French word "pocher" meaning "to sketch".  Popularized in the 19th century by landscape painters such as the Impressionists, a pochade box was a small wooden sketch box (sometimes called a "thumb box")  with a hinged lid that could be held in the hand, to easily take into the field for small sketches and painting studies (pochades.) Today, what we call a pochade box comes in many different sizes beyond the tiny hand-held variety.

After I developed my "wingnut aversion" the pochade box idea really appealed to me, as the modern boxes are made to attach to a camera tripod, which has telescoping legs. The box I chose was the Guerilla Painter's Pochade Box (9x12")

 

As you can see here, this particular pochade box has a hinged lid that holds  9x12" panels, and can readily take any panel that is 12" wide. The wood palette slides out to reveal little compartments to hold supplies. Like other pocade boxes, this one has a tripod mount to take any standard camera tripod. The tripod shown above is the Guerilla Painter's brand, but I chose a Bogen Manfrotto Jr. tripod, which I purchased for a steal on eBay. Bogen is a good brand and the "junior" Manfrotto model is sturdy while still being reasonably lightweight.

The Guerilla Painter's box is a fine pochade box that will likely last many years. It is a strudy piece of gear and will withstand frequent use. You could klunk the thing on the ground and not make a dent.  The box is well constructed, and performs as described by the manufacturer.  In many ways, you could do far worse than this box for the quality, and while the price has gone up since I made my purchase, the basic setup seems  comparable to other painting boxes on the market.

This box is certainly more compact and practical than the stodgy El Greco, and also a bit lower in weight. But once you consider the weight of the required tripod, the weight of the basic box is about the same weight as the traditional French half  box easel. However, this changes if you want more versatility. For example, at the time of my purchase, it was necessary to buy various inserts and attachments to best allow for the use of smaller 8x10" and 6x8" canvases, though the company later developed a slip in easel that allowed for a bit more versatility.

Not only are addtional accessories another thing to keep up with, but they added more overall weight to the painting setup (though my wallet soon began to feel lighter). In addition, while I find it far less awkward than the full French easel, the deep boxy shape made it a bit bulky and cumbersome for travel. The manufacturer,  Judson's Art Outfitters does sell compatible backpacks, however, along with many other nifty plein air accessories suitable for any plein air painter, whether using the Guerilla Painter's pochade box or some other brand. 

This is a picture of my own Guerilla Painter's Pochade box with the Bogen Manfrotto Jr. tripod. You might be able to make out the insert I'm using to accomodate my 8x10" painting. I use a bungee chord to hold my paper towels and a plastic bag for trash. Beneath the tripod there are two bags. One is a bag that actually goes to a folding portable chair that has a a shoulder strap. I confiscated it to carry my tripod. The box did not fit in any of the backpacks I owned, so I used the large canvas LLBean tote  shown in the background  to carry my pochade box and other supplies.

The  bulk of this box is largely due to the enclosed compartment designed to hold paint tubes and other supplies, which for some could actually be a useful component.  But the storage compartments are an insufficient size to hold long-handled paint brushes without first sawing off a part of the handle. And the little square compartment that logically looks as if it wil be perfect to hold your paint thinner is too shallow for the standard brush washers, so you will either need to pack your brush washer separately, buy one from Judson Art Outfitter's, or find a small jar suitable to fit in the compartment once the lid is closed. (Not a big deal, but still worth noting if you've already invested in a brush washer.) And while it's moderately convenient to have paint tubes right under my palette, the way these compartments were configured seemed to add more bulk than convenience.

So while there is certainly nothing wrong with this box, I found  that along with the bulk, it was a slight annoyance that the accessories necessary to make this box its most versatile added weight and needed to be purchased separately.  I am now thinking of selling my Guerilla Painters Pochade box or just  keeping  it as a backup (Update: It's off the market. I ended up gifting this to my talented niece Molly) in case something happens to.... Plein Air Easel #3. In many ways, #3 is a slice of plein air heaven. But this heaven comes with a couple of caveats, and a pretty hefty price. More on that in the next installment.

*Note: This is the second in a series of posts I am writing about artist's easels. To continue reading the other installments, click on the following links:

Part I: On the quest for the perfect easel Part III: My Soltek Easel Part IV: A pochade box for travel

A week of breakdowns

Last week was like the black hole of productivity for me. Let's see...

1. Our plumbing conked out, which meant we had to get our pipes replaced by way of a now huge hole in our guest bedroom where the ceiling used to be.
2. We discovered the starter on our car died after we came out of the grocery store with arms full of groceries.
3. My internet connection has been refusing to cooperate (fingers crossed for this post.)
4. I have what I *hope* is not turning into bronchitis!

Still I did manage to eek out this painting, which brings to mind the lovingly tended gardens of Tuscany. Ah, la dolce vita. Life is, after all, on the whole very sweet.

"Wall Flowers, Pienza" Oil on Canvas, 24"x20"

Plein air easels (or "gotta-have-it-itis")

*Note: This is the first in a series of posts I am writing about artist's easels. To continue reading the other installments, click on the following links: Part II: Guerilla Painter's Pochade Box Part III: My Soltek Easel Part IV: A pochade box for travel

If you're an artist,  (or if you're married to one) you may by now be familiar with a common artist-borne affliction: "gotta-have-it-itis". This is when you see, read, or hear about an item recommended by a fellow artist, and you figure that this thing, whether it be a particular brush, a paint color, easel, or whatever, is THE thing you've been missing all of your life, and THE thing that will make you a much better artist.

Well, while having the right tools can certainly help the creation process along a great deal, a reality check would tell all of us oil painters that in our craft, we are ultimately dealing with the following rather primitive ingredients: a stick with hair on the end, mud mixed with oil, and cloth. And while the greatest investment should be in the time needed to learn and practice our craft, it IS fun to play and experiment with a few new tools...especially ones that help make life a little easier.

However, there's a big difference between investing in "a few" tools and getting caught up in aforementioed affliction. As you will see, I've not been immune to these pitfalls. But I think I  have finally decided it's time to get real and stop the madness. While in recovery, I thought I'd at least share some of my experiences with a few "tools of the trade". Who knows? Maybe it will help a fellow artist or two with their decision-making process.

I'll start with what can be one of the most expensive tools-- the easel. As both a plein air and studio artist, I "gotta have" at least a couple of versions of this item in order to more easily do what I need to do. (That's my story and I'm sticking to it! ) And since the weather keeps teasing me with hints of spring, I will start with easels of the plein-air-kind.  Over the years I have accumulated five easels that fall into the plein air/portable easel category. Good grief. Can this be? I really do need help. The fact that I still have all of these easels actually brings up a related affliction common with many artists, called "pack-rat-itis." (This is usually diagnosed by an onset of weak protests such as "Hey, I might need that for something....someday.")  But that is a subject for another time.

My first plein air easel was the Trident El Greco full French Easel.  I bought this with very good intentions when I first started painting landscapes, based on a recommendation I read in a book about plein air painting. I won't even bother to provide a link to this easel. Sorry, but I really hated this thing, pretty much from the get-go. The first time I used it I lost 2 wing nuts journeying from my car to the painting site, which made  the legs impossible to stand. After that I started packing extra wingnuts with my supplies, for the next ones that would inevitably loosen and  fall off, no matter how carefully they were secured in advance. The other annoyance was the weight. As plein air painters, we are always and forever looking for ways to lighten the load, correct? Well, this easel ain't it! I am a bit of a shrimp, but even so this easel has far more weight and bulk than is necessary for plein air painting.

Here I am in a face-off with my nemesis, El Greco. (I don't really remember the circumstances of this photo, but I believe my haughty look can be attributed to a wrestling match that ensued during setup just prior to the snapshot.)

I might have dealt with the weight and clumsiness at least a little longer if it was a sturdier easel. Maybe my easel was just from a bum lot, but the final annoyance was that the El Greco did not withstand even modest use before it started to fall apart. The nuts began to slip and other screws quickly started to strip. The wood on one leg splilt and cracked to the point where the thing would not stand at all. And no, I didn't abuse it or throw the thing down the stairs, though there were plenty of times that I wanted to!

El Greco is now "La Tavola". Or if we're sticking to Spanish, "La Mesa". It can still work as a table easel or receive a painting that needs to dry, though mostly now it just receives glares and passing insults. IMO, a better alternative would have been a french half-box (from many accounts, the Julian brand seems to be one that is tried and true). This is a smaller version of the French style easel (for those of you who are sticklers for tradition and have a soft spot for wingnuts.) The half box has the same size 12x16" palette as the full French, by the way. Only with the half box it folds in half rather handily to fit in the box.

Overall though, the French easel, while pretty to look at and readily available most anywhere, is too fragile and cumbersome for my taste. After my first foray into this design, I soon decided I was finished with all of that and moved directly on to Easel #2: my first pochade. I will write about that in a future post, so stay tuned for the next installment of this mind-numbing nail biting tale.

*Note: This is the first in a series of posts I am writing about artist's easels. To continue reading the other installments, click on the following links:

Part II: Guerilla Painter's Pochade Box Part III: My Soltek Easel Part IV: A pochade box for travel

"Spring Mix" still life painting

Things have been quiet around here, namely because we're still recovering at our house from an awful flu. It threw a wrench in our Valentine's day plans, but at least I managed to capture my  flowers before they faded. It's always good to sharpen the saw by painting from life. The weather's been pretty mild this winter, but lately it's been crazy-windy. Otherwise I'd be painting outside these last couple of days. But a still life is a good teacher as well, though you don't have the ever-changing light:

"Spring Mix" Oil on Canvas, 16x12"

The title is actually the same that I am using for an upcoming show I'm preparing for in April, so I should be posting a number of flower and garden-related art between now and then.

If you are interested in this painting, please contact me for more info.