Had a chance to get out again and work on a large plein air painting. This one was out at Sauvie Island where I worked with the block in on a hot 92 degree afternoon. I was able to get most of the basic painting done that afternoon outdoors. I finished this in the studio adding in the detail work and the sky where I could take my time.
Well this is a rework of one of my earlier plein air pieces. Sometimes I go back in and just change everything! This was the piece titled "Clover Fields" from a couple weeks back. On this one I decided to go with some brighter more dramatic wildflowers for the foreground. I also redid the trees, changing the overall shapes and adding more detail.
Green Spring 12x16 oils on board. May Gold 11x14 oils on board. Peaceful Valley 12x16 oils on board.
Well more rain today, I am sick off rain. Did I mention I am sick of the rain. Anyways, we had some nice weather over the last weekend so I was outside painting. Did these three at various local places around the Banks / North Plains area west of Portland. I try and work fast outside, just getting enough of a block to bring back to the studio to finish.
My goal in the finish is to add as little as possible to get the plein air painting complete. Of course can I change or add whatever I want on them. As some big haired painter guy on PBS TV said, "it's your world, you can add as many happy trees and clouds as you want".
Anyways, I have been working on green earth tones lately, trying to them soft and natural but still rich and beautiful.
From today's afternoon plein air. Working on greens in nature, these are much more warm and earthy than we think. In this piece I am trying to get the field colors as close as possible to what I was seeing. With my painting set up high on the easel, I am able to step back and compare the colors I put down on the edge of the board with the actual colors in the field. You can see the distant green grass on the right edge of my painting almost blends right in with the actual field. This gives me a nice close green which I can then use for the rest of the field. Same with the foreground grass on the right side. Give it a try some time.
I found these beautiful golden fields and decided this would be my plein stop for today.
The start of this painting was same as always, laying in the basic shapes and general color tones. This is about 20 minutes later, still working with getting the colors and layout correct.
At this point I have the foreground base a bit more saturated than the actual filed. I did this on purpose because I wanted to lay in the softer golds and white flowers on top of this brighter base, letting some of the underpainting show through. My block in is complete and now I have put another layer of paint down over parts of the base painting. The golden fields in the foreground now have some more neutral golds and off whites placed creating more color harmony in the painting. Decided not to add the barns, my main focus was the golden fields and I'm just not a big barn type guy anyways. I will stop and do the final details back in the studio. My total time on this one outside was around one hour and thirty minutes, just enough to get the basic color notes and composition down. The studio finish will be a snap from here!
Something new for me. One of my collectors wanted a set of urns showing winter and early spring as a circle of life theme. They are also into birding so I did a blue jay for winter and a goldfinch for spring on the lids. Painting on these worked out well for me and it was fun once I got the hang of it. So now I am thinking of trying a few more of course.
Both of these are in oils. The urns are about 14 inches tall.
New figure painting, Peach Lace 12x16. This time in oils on board.
I did the original version of this about a year ago when I was just starting out on my figure painting journey. I though it would be fun to do a new version a year later. I used a slow build up of thin layers to bring this piece to finish.
One of my favorite painters is George Innes. Everybody loves Innes landscapes and so do I. But I want to paint like George Innes. Not just do the same style compositions but really paint like he did. All that tonal texture and light to make those wonderful dreamy landscapes. So every month or so I do a few small paintings to check on my progress and my need to try and paint like .... well, George Innes.
Here are two from this week both in acrylic, for now.