A Little Outing, With Otters

Along the Verde River

Now that I'm back in Arizona, I'm involved with my plein air painting group again.  It's great to get out with a few people in a scenic spot, set up and then see what happens.  Today, we went to a beautiful place along the Verde River.  Although some of the leaves had already fallen, there was still a good bit of fall color - with more to come.

River Otter Cruising

I spent some time taking photos before settling on a spot.  Along the way, I spied a river otter cruising the river.  There were a few others, but this is the only one I had my camera out for.  Below are some more photos.

After a crisp start (we had frost down at my house along Oak Creek) the day warmed up rapidly.  Those of us standing in shade complained about the cold, but those of us in full sun, like me, shed clothing as the morning progressed.

The River Otter's Playground
9x12 oil by Michael Chesley Johnson
Available - $500 incl frame and shipping in US

I ended up having to leave a little early because I needed to pick up a flat file for my pastel work.  I've been needing a flat file cabinet for years.  They are not cheap, but we got a good price on this one.  I'll post a photo once the rust is cleaned off and it is painted up.

By the way, if you are local to Sedona and the Verde Valley, I invite you to join out Meetup group.  We try to meet at least once a month, and we are always open to new members and new suggestions for painting spots.  Here's the link for it: http://www.meetup.com/Plein-Air-Landscape-Painters-of-Sedona-and-the-Verde-Valley

I also want to mention that I am offering a series of three Saturday pastel-only classes in January.  You can take one Saturday or all, since they are independent.  On January 9, we'll be covering Pastel Basics. On January 16, Color for the Pastel Painter. The final class on January 23 will introduce pastel painters to painting outdoors in Plein Air Pastel Basics.  Each class runs 9-2 and costs $70. Classes will be held in West Sedona.  Pre-registration required.  For details or to signup, email mcj.painter@gmail.com or visit www.PaintSedona.com.

Some 8x8s - And About Gallery-Wrap Canvas

Passage 8x8 oil/canvas by Michael Chesley Johnson
(Mulholland Lighthouse, Campobello Island, New Brunswick)
Available - $170 includes shipping

Above is one of four little paintings I made recently.  I'm experimenting with two things in these.  First, with gallery-wrap canvas.  I long have had an objection to this method of frameless presentation, partly because it is so often badly done.  Either the edge is painted a flat color, which can be uninteresting, or the image on the front is continued around the edges with the same degree of detail, which creates an unrealistic, high level of focus throughout the painting.  For mine, I've toned the canvases with Gamblin's transparent red earth Fastmatte oil paint to give them a warm tone.  On the edges, I've continued the coloration of the shapes in a simplified manner, forgoing detail.  The peripheral areas of a scene are never seen with the same focus as what you are looking at directly.  The periphery is always softer, more simplified, and my approach mimics this effect.  In some cases, I left the warm orange-red tone revealed.  I really like the look-and-feel of these little paintings.

Showing the edge of the gallery-wrap canvas, no overpainting,just the undertone

Showing the edge of the gallery-wrap canvas, overpainting over the undertone

Second, I'm experimenting with representing the scenes as a collection of simplified shapes.  A knife works well for this, since I can block in a shape with a few swipes and then add complexity with successive layers of color rather than by brushing on detail.  Objects are identified more by the profile of the silhouette than by what is within the silhouette.   (You can tell a maple from a spruce by the shape's contour; leaves are not necessary.)  Also, because of the way thick paint behaves at the knife's edge, detail happens automatically, and it can be surprisingly realistic.

These are all 8x8, which is a rather small canvas.  Next, I'll be working with a triple square – 8x24 – and I'll post those after I paint a few.

Here are the other three paintings:

Ready to Paint 8x8 oil/canvas by Michael Chesley Johnson
(Lubec, Maine)
Available - $170 includes shipping

Hillside Harbor - 8x8 oil/canvas by Michael Chesley Johnson
(Lubec, Maine)
SOLD

East Quoddy Lighthouse 8x8 oil/canvas by Michael Chesley Johnson
(Campobello Island, New Brunswick)
SOLD

Embarking on a Big Painting: The Finish

"Waterfall" 36x36 oil/canvas
Final State

In a recent post, I wrote about starting a large studio painting based on a variety of reference material.  The painting is now complete, and it's taken me six days to paint it.

First, I arranged all my reference material, as you see here.  The tablet holder is one of the best pieces of equipment I've bought lately.  It is very stable. By the way, one negative to using a tablet for photo references is that it's all too easy to check e-mail.  On the plus side, it's great for playing my Pandora playlist!

Day 1

Next, after toning my canvas with Gamblin's FastMatte transparent earth red and letting it dry, I blocked in the darks with a soft, three-inch brush, using raw umber thinned with Gamsol.   Where necessary, I "pushed" the raw umber toward the cool with ultramarine blue and toward the warm with cadmium red light.  As to the design of the block-in, I spliced together two different views made at two different times of year.  For the upper half, I used the waterfall pencil sketch I'd made in the winter; for the bottom, the 9x12 plein air sketch I made last spring.  You'll note that the composition is split in half at the waterline.  I did this intentionally because I wanted to give equal importance to what was above and below the surface.

Day 2

After the block-in, I went to work on the waterfall with a painting knife.  To me, this was the primary center of interest, and if I couldn't get it correct right from the start, there'd be no point continuing.  For this, I used only my pencil sketch for form and my 6x8 color sketch for color notes.

This would be a good point to mention the colors I used.  My palette consisted of all Gamblin paints:  ivory black, yellow ochre, raw umber, cadmium yellow light, cadmium red light, permanent alizarin, ultramarine blue and titanium-zinc white.  I also used a little Solvent-Free Gel for my  medium when I required a little extra looseness in the paint.

Day 3

Next, I brushed in the hillside to the right of the waterfall.  This is a more distant area in the scene, so I kept the painting more abstract; the contrast, low; and the color, cool.

Day 4

As I continued to paint other areas, I kept in mind how I wanted to lead the eye around.  In a way, I was working backwards from my center of interest along this path for the eye.  The next step was the little area of sunlit rocks and grasses on the left, connected to the waterfall by a warm, green passage; and this was followed by the submerged but warm rocks in the foreground.

Day 5

The area I saved for last was the upper left quadrant.  For much of the time, I honestly didn't know what needed to go there.  What's interesting is that the painting really worked with nothing there but the underpainting, so I knew whatever I added had to be dark with little contrast.  Shadowy trees and bushes were the obvious solution, and I used my photo references for that.  I added a transition between the waterfall and the clump of rocks and weeds on the left with a few highlit branches.

Day 6

After addressing that area, I felt the painting was nearing closure.  But as much as I liked the quiet feeling of the water,  it needed a little more interest.  I added some very soft reflections and ripples.  As a final touch, I added floating bubbles—tiny bits of pure white, applied by a knife just barely touching the surface.  The irregular bumps in the weave were just enough to pull the paint off the knife.

Below are some details shots, followed by the finished painting again.

"Waterfall" 36x36 oil/canvas, finished state

Cold Weather Oil Painting - and EBay

Oak Creek Reflections 5x7 oil

We've had a cold snap here in Arizona, as has much of the country.  But if we get a cold start to the day, things always warm up nicely once the sun pops up.  That's what I love about winters in Sedona.

Saturday morning, I was scheduled to paint with the Plein Air Painters of Sedona and the Verde Valley at the Page Springs Fish Hatchery, which lies along Oak Creek. (Check out our website at http://www.meetup.com/Plein-Air-Landscape-Painters-of-Sedona-and-the-Verde-Valley/ and, if you're local, feel free to join us!)  It was all of 17 degrees.  As you can see from the photo, I was dressed for it.

Unfortunately, my oil paints weren't.  They were rather chilled, and using them was like trying to apply putty with a brush.  Worse yet, when I decided to add a little medium to loosen up the paint, I discovered that the lid of my medium cup was sealed tight with dried medium.  But I always carry a small painting knife with me, and that was just the tool I needed for painting.  When you have putty, use a knife.  The knife worked well in the cold, as you can see from the images.

The other painters worked in pastel, which is something I can't do when it's cold.  My fingers just don't get limber enough.  Believe me, I've tried!

By the time I started my second painting, it was getting toasty.  I decided to save my brushes and continue with the knife.

If you're thinking of coming out to Sedona for one of my workshops, don't let this post discourage you in the least.  A cold start doesn't mean a cold day.  Unless we have a storm, which is rare in the winter, it'll be warm by the time we get to the field.  Looking at this week's forcast, I see the lows will be below freezing - but the highs will be in the mid-50s.  Just perfect for plein air!

By the way, we have fired up the eBay engine and will be offering a few things there for sale.  Of note this week is an auction for a Paint Sedona workshop week.  Also, I have several truckloads of art magazines that I need to dispose of.  We are bundling these up and selling them, too.  Check out all the auctions and follow them at http://www.ebay.com/sch/pleinairpainterman/m.html?_nkw=&_armrs=1&_ipg=&_from=

Oak Creek Blues 5x7  oil

Five Boats

During my continuing exploration of panoramic diptychs, I wanted to paint a piece that included a number of boats from Head Harbour, one of Campobello Island's little inlets.  Because I wanted to get a good composition, I chose to work from photographs mostly.  Boats, even ones tied up to the wharf, are notorious for moving.  Moored boats swing in the tide and wind, and boats at the wharf are likely to be taken out to fish.  So, I combined a series of three photographs into a 1:2 panorama with Corel Photo-Paint.  (I'm finding the Corel product a bit easier to use than Adobe's Photoshop.)

After I printed out my new design, I felt that I needed to move the blue boat elsewhere, so rather than go through the complexity of digitally cutting it out, flipping it around and pasting it in another location - and  possibly with perspective errors - I changed the boat position when I made my full-size sketch on a 12x24 panel.  The observant reader will note that even so, I still got the perspective a little wrong on the blue boat.  I didn't notice that until near the end of the painting process.

You'll note that the photos show a sunny day, but I wanted a moody, Maritime feeling to the painting.  So, I softened the light, choosing to add some spotty sunlight at the end.  In addition to the photos, I also used a plein air color reference, which was itself painted on a moody, Maritime day.  You'll note that this reference has an odd shape.  It is a narrow piece I sliced off a larger painting that needed cropping.  (I ended up selling the other portion.  I'll sell this narrow piece for $50+shipping if anyone's interested.)

Along the way, I felt that the painting needed something else.  An astute student, who in the past has helped with chicken-wrangling at some of more rural workshops, suggested a chicken.  Before actually painting one in, though, I decided to Photoshop it in first (or rather, Photo-Paint it in) to see how it'd look.  I really liked the surreal feeling the chicken added to the piece, but decided the painting would be a hard sell to tourists who might want a chicken-free scene.  So, I added some floats instead.

In the process of making adjustments, I corrected some perspective problems and added a little soft sunlight spilling down on the blue boat.  What makes this panorama a "natural divider" diptych?  The little island rock in the center serves to split the painting; each half could be a complete painting on its own.  It's much more subtle a divider than in some of the earlier paintings.

"Five Boats" (finished) 12x24 oil/panel
$1500 - contact me

A River Runs Thru Us - Verde Artist Challenge Opening

As you may recall,  back in April I  painted with some other artists on Arizona's Verde River as part of the Verde Artist Challenge.  Hosted by Verde Valley Land Preservation, the event was created to raise awareness of both the natural beauty of the river and the dangers facing it through a series of exhibitions and sales.  I'm proud to announce that the first exhibition will be held at the Manheim Gallery in Old Town Cottonwood, Arizona.  The opening is Saturday, July 27th, from 6 to 8 pm, at the gallery, which is located at 747 N. Main Street.

If you'd like your own personal copy of the invitation, click here for an Adobe Acrobat Reader version.

Unfortunately, I'm in Canada for the summer and won't be at the opening.  If you're in the area, though, I hope you'll go and meet the other fine artists!  Here is the piece I have in the show, and yes! It is for sale.

Cottonwood Shadows, 9x12 oil

Road Trip: Mount Desert Island and Pemaquid Point – Day 3

View from the Light of the Pemaquid Lighthouse

Our second day at the Pastel Painters of Maine retreat (my third day), started off with a sunrise walk around Pemaquid Point.  Sunrise here is early – 4:57 a.m – and things were pretty quiet.  Around 7:30, I headed out to breakfast with a few folks at the adjacent restaurant (Seagull Gift Shop and Oceanfront Restaurant).  But as I went out, I met three painters coming in.  They'd already been out and painted before breakfast.  These are dedicated painters!

Pemaquid Point View 12x18 pastel

I was scheduled to do the traditional Saturday morning demonstration, so after breakfast I had a chance to scope out a few possible locations I'd identified on Friday.  The shadows had moved just as I had expected, so I settled on a spot and at 9, gathered the troops.  I don't think I've ever had so many painters in the field watching me paint.  I believe all 31 of them looked on from a variety of perches including picnic tables, folding chairs and stools.  The demo went well, and after the others departed for their own choice locations,  I was able to spend the rest of the morning on it.

View of  Painters from the Light of the Lighthouse

Done with the demo, I took a break.  I'd been painting in the shade and, believe it or not, I was actually chilled.  (Meanwhile, a few miles inland, temps were reaching 90.)  I moved into the sun and toured the lighthouse.  I got some great shots from the light – 30 steps up a spiral staircase plus seven steps up a ladder – of the painters.  Then I ate a quick lunch and checked e-mail.  We have no cell reception here, but we do have a great wi-fi connection.

Pemaquid Rocks Study 9x12, pastel

I was also scheduled to host the 4 p.m. group critique, but I wanted to get one more  painting in plus a much-needed shower.   I set up in the shade of the “fuel house” with a view of Pemaquid's spectacularly linear rocks reaching out into the water.  This was a quick, intuitive sketch for  me.  I used a black Conte stick to draw with first, and then laid pastel loosely over these gestural lines.

By 4, I was ready for the troops.  Paintings were laid out, and for an hour, we had a great discussion on the paintings – what worked, what didn't.  I was pleased with the overall high quality of the work.  Although this is a pastel group, several of the members also work in oil, watercolor and other media, so there were a few examples of these as well, which gave us an opportunity to expand our discussion.

Dinner followed quickly after.  This time, we headed five miles up to New Harbor and to Shaw's.  Shaw's reminds me of Thurston's in Bernard, only this place is bigger and with more going on.  It's also  where you take the Hardy Boat cruise to Monhegan.  New Harbor is a very scenic bay inlet with very  paintable buildings and boats.  Since I forgot my camera – how could I possibly do that? – I will have to go back in the morning to take some reference photos and perhaps to even paint a bit.

Weather for the proposed Monhegan trip tomorrow looks iffy.  NOAA is calling for seas of 4-7 feet and has already issused a small craft advisory.  Unfortunately, I need to be home sooner than later, so I'm not going to Monhegan, anyway.  But, I do plan to paint in the morning.  Many in the group are spending another night.  Even if we couldn't paint tomorrow, I would go away satisified.  We've had two very beautiful painting days!

Road Trip: Mount Desert Island and Pemaquid Point – Days 1, 2

Pemaquid Point Light

Each year, the Pastel Painters of Maine gathers at famously scenic Pemaquid Point to paint.  This year, I realized I had some room in my schedule, so I decided I'd go.  I was delighted when they asked if I would also present the traditional Saturday morning demonstration and do an afternoon critique for them.  So, yesterday, with Trina's blessing, I packed up the car and headed down the coast.

The Margaret Todd 9x12 oil

I wanted to spend a day on Mount Desert Island, so I made sure to arrange a night at a friend's house.  (I stayed with Gail Ribas, director of Acadia Workshop Center; she and her husband have become good friends of ours over the years.)  I arrived in the fog, but by the time I got to Bar Harbor, the fog had started to “scale,” as the locals put it.  I wanted to paint boats on my visit to MDI, so I was happy to find the schooner Margaret Todd at dock and not scheduled to leave until afternoon.  The fog made for a particularly mysterious scene.

Thurston's 9x12 oil

After a little lunch, I wandered on down to Northeast Harbor, which usually has some good boats.  But,  it is still early in the season, and the sailboats aren't really out at their moorings yet.  I prefer to paint working boats, anyway, so I drove to Bernard, near Thurston's Lobster Pound, where I can almost always find a hard-working boat.  I found this scallop dragger sitting at dock.

By the end of the day, I was beat, but the weather had turned out fine, so I took a nice hike at Ship Harbor before heading to Gail's.

This morning, I headed out at the crack of dawn for Pemaquid.  Hot weather was forecast, and I was shocked when I got all the way to Waldoboro, where you turn off the main highway to follow the peninsula to Pemaquid,  and the car thermometer already read 81 degrees – and it was only 9 a.m.!  But it was breezy and cool at the lighthouse.  I unpacked my gear and headed down to meet the other painters.

By the way, I painted in oil all day at MDI, and I decided to use up my paint and paint in oil my first day at Pemaquid.  (I'll return to pastel tomorrow for the demonstration and for the rest of the weekend.)

Pemaquid Fuel Oil House 9x12, oil

After my first painting, which was of the “fuel oil” building, I checked into my room at Hotel Pemaquid.  This is a beautifully-kept historic hotel with a carriage house.  The carriage house is functioning as our studio, should the weather turn.  From my second floor room, I have a good view of the ocean.  I could probably even see Monhegan Island, if the air weren't so thick out over the water.

Bell House 9x12, oil (painted with a knife)

I worked through lunch and did a second painting.  This was of the brick bell house.  (You can tell I am fascinated by these little structures; they could almost be hermit homes.)  Afterward, at the afternoon critique session, I caught up with my friends Caren-Marie Michel and Nita Leger Casey.  We all had dinner at the little restaurant next door.  This is a really great group – serious painters who know how to have fun.  I'm looking forward to tomorrow!

Hotel Pemaquid