Cross Training

Cross training is essential to becoming a robust artist.  Typically the three requirements are; painting from life - still life and figure in the studio with landscape in the great out doors, painting from reference including photo in the studio, and paint from the imagination in the studio.  Most artist favour one of these and for that reason one should work in the other two modes to enhance learning and seeing.

This is photo reference of the twin peaks on Georgian Bay near Collingwood.  My challenge is to make a painting with the peaks but in the shoulder season after the snow has disappeared and before the spring greens have taken over.  So I have to imagine what that would look like in the morning light, ski hills in shadow, last years vegetation, spring colours, some sort of composition.  Fortunately I paint outside all year long.

The colour in the dog woods is quite striking.  The woods are in the early stages of budding and the new growth is taking on a myriad of colours.  What to emphasize and what to subordinate?

Cross training is essential to becoming a robust artist.  Typically the three requirements are; painting from life - still life and figure in the studio with landscape in the great out doors, painting from reference including photo in the studio, and paint from the imagination in the studio.  Most artists favour one of these and for that reason one should work in the other two modes to enhance learning and seeing.

This is photo reference of the twin peaks on Georgian Bay near Collingwood.  My challenge is to make a painting with the peaks but in the shoulder season after the snow has disappeared and before the spring greens have taken over.  So I have to imagine what that would look like in the morning light, ski hills in shadow, last years vegetation, spring colours, some sort of composition.  Fortunately I paint outside all year long.

Before Green, 20x24, Oil on canvas

The study was painted with cobalt blue, viridian, lemon yellow, yellow deep, yellow ochre, alizarin, manganese violet, and titanium white.  Hogs bristle flats from #6 to # 14 were used.

Studio Day for the Garden

We need the rain.  It is even pretty dark for meaningful work in the studio today.  So I painted a bit from memory and imagination.  

I picked this painting up from a black and white show.  The colour version sold in January.  I painted this version from the colour painting for an annual black and white show.  Monochromatic painting is always a good training.  For a change up I used transparent chromatic black.  It can be mixed with Emerald Green and Quin Red.  They are complements if mixed in the right proportions.  For this exercise I used a tube of chromatic black with Titanium White.  To my amazement the tint went on "warm" over the white, and "cold" over the black.  It makes some sense when you consider the components.

The composition was changed for this version making the sky more prominent.  The original was done on location in the late afternoon sun in January.

Shelter in Chromatic Black, 12x12, Oil on canvas

In keeping with the simplification principle I used one #12 flat hogs bristle brush for the painting which was done direct, wet in wet.  This particular brush ( a cheap wispy one) finally has been broken in so that it produces a fairly predictable mark.  That took 7 months.  Hopefully it will be useful for another month before becoming a "specialist".

Last Kick Refreshed

This painting has been adjusted in order to correct the original values as painted outside in bright light.  Not only was the light bright, but I was in mottled light as I tried to get both the painting and the palette out of direct sunlight.  The resulting contrast was off significantly from the objective.  This happens quite often as the eyes shut down and fool you.  It happened again yesterday while painting in the north Hockley.

Last Kick at It, 10x12, Oil on canvas

Here the snow was brightened slightly, the chroma of the foliage was increased slightly, a few small hi lites and accents were emphasized.

The palette was paint from the day's painting and a #6 flat hogs bristle was used.

Two Weeks in to Spring

After delivering some pieces to a gallery near Blue Mountain I came across this scene showing the north facing slopes of the ski hills with the fields recently tilled at the base.  Quite an interesting site with an adventure waiting as I turned south after this exercise and explored the escarpment interior.

Transition, 12x12, Oil on canvas

Here the warm cool colours were employed in a primarily cool painting with cool shadows and warm light.  The detail was merely "indicated".  That is suggestion rather that meticulous stiff detailed rendering.  This approach offers the viewer more participation in interpreting the painting.

Two brushes were used.  Hogs bristle #12 and #6 flats.  The palette was short consisting of cobalt blue, cadmium lemon yellow, alizarin, and titanium white.

OK, so the snow is ending

For the latest snowfall we went to the far end of Mississauga road again.  It was supposed to be dull and heavy overcast with more snow.  I got up at dawn and it looked like they predicted.  Then as I ate breakfast I noticed it seemed to brighten quite quickly.  Looked like it would burn off to me.  On my way north the sun broke through.  We set up to a bright beautiful day.  I climbed down the bank close to the river and out of the sun under a tree.  Excitedly I squeezed out and quickly killed the white canvas.  The composition just painted itself.

Last kick at It, 10x12, oil on canvas on birch board

The challenge turned out to be the brilliant light and the reflection off the snow.  The tree that provided shade broke down as the sun moved.  The glare was incredible.  When this occurs your eyes shut down and you tend to paint darker and duller than you think.  At least I avoided chasing the sun.  Back in the studio this becomes apparent.  So this painting will get a little attention before going out.  I'll work from memory.

The painting was done with a #12 and a #6 hogs bristle bright brush.  The palette was cobalt blue, viridian, lemon yellow and alizarin crimson along with Old Holland titanium white.