This summer on Salt Spring Island, I was fortunate to paint en plein air a few times with my Mum and Dad. I keep saying it but really, there’s nothing like painting on location for a rewarding experience, both in life and in technical and skills learning. So what did I learn this time?
Before I go on, let me tell you what attracted me to this scene. I have passed this place by car so many times and thought, I’d like to paint that! Why? Well first off, I’m a sucker for paths and roads that take us somewhere (obvious or hidden). I also love the light patterns made by trees over such paths. And I love yellow houses! This scene had all these elements in spades.
I’m home from my wonderful trip to Ontario where Cam and I visited various family members. Kicking myself for not taking more photos! However, I did have time to do one pastel en plein air 🙂 It’s one that I did of a beautiful view of Big Rideau Lake from Cam’s Mum’s porch. The weather was changeable, rotating from heavy cloud and grey skies to blue sky with white clouds. Ahhhh the unpredictable delights of painting on location!
The Plein Air Progress
Here’s the view through the screen. (Yes, I was cheating a bit sitting inside a screened porch but I still consider it a plein air piece!)
The view I painted. Lots of blues and greens!
1. The Thumbnail. I was especially attracted to the darkly encircled view of the brightly lit trees in the middle ground.
2. The charcoal drawing on Wallis paper
3. The first layers on – light, middle and dark values. You can see that I’m ‘reading’ the middle ground trees and the water as the same value.
4. Adding more pastel. You can see the water and middle ground trees emerging as different shapes now.
5. The above in black and white. You can see that I need to darken the left side quite a bit to evoke the same feeling captured in the thumbnail!
6. Beginning to define the shapes of trees and negative space of the lake
7. Almost there. Greens added to the foreground trees. The gray clouds disappeared and were replaced by white ones and I could even see blue sky so that went in too. The various tree trunks of the middle ground trees were finally added.
8. Let’s have a look at the pastel as it stands in black and white. A much closer feeling of looking at the light from the darkness. Just a few more tweaks..
9. Gail Sibley, ‘View From Sherwoods,’ pastel on Wallis paper, 9 x 12 in. Small tweaks made and I called it quits. CAD$575 unframed
10. Here are the Sennelier pastels I used. The sticks to the left of the charcoal were tried but hardly used. I introduced another green into the small starter set I use. I just couldn’t resist that dark olive green. Hmmmm, I’ll need to remember to replace that blue that’s in three small pieces – that’s all I have left of that particular colour!
I was so happy to have done any work en plein air while away. It would have been nice to have done more but since the main reason for our trip was family visiting, I put all my focus and energy into doing just that! And I’m ever so glad as I had an amazing time first with my sister and her partner, then with Cam’s family (I have now met them all!), and finally with my cousin Alex and her partner. All very special times.
Look forward to hearing from you. Please leave a comment and tell me what you think of my newest plein air work.
One of the most common questions I receive about plein air painting is, “How do you decide what to paint when there is so much to choose from?” My answer? Using a viewfinder can help enormously! The landscape can be so overwhelming and using a viewfinder will help you isolate the part that appeals to you the most.
I recently made a video about using a viewfinder. Have a look at it below.
When using a viewfinder, you will need to close one eye otherwise you’ll see crazy double vision! If you can’t close one eye, then squinting will help but it’s definitely not as useful or satisfying as the one-eyed look.
Using a viewfinder to help you design your thumbnails
The viewfinder I show in the video is one called ViewCatcher. It’s the one I use myself. You can try out all sorts of formats with this viewfinder – just remember to use the same proportions on your paper. For example if you decide on a square opening, make sure your paper is square. If the format of your paper is pretty much decided, for example you have a piece of 9 x 12 in Wallis paper mounted on foamcore, then create a 9 x 12 in window in your viewfinder. The ability to change from one format to another is one of the main reasons I like ViewCatcher!
Create your own viewfinder
You can of course create your own viewfinder by cutting out a rectangular hole in cardboard. If you regularly work on a 9 x 12 in paper which is a 3:4 ratio, then go ahead and cut out a hole measuring 3 x 4 in or if smaller, then 1.5 x 2 in – anything that retains that 3:4 ratio. If you always work square, then cut out a square opening.
Make sure you leave enough cardboard around the hole (like that shown below) to block out the rest of the view. That way you can concentrate on what’s happening in the opening as you move it slowly over your subject. A large surround also helps the viewfinder retain its shape while traveling in your art bag.
Having said all that, I think that the ability to switch easily between formats in the Viewcatcher makes it worth the money. Also, it won’t get bent in your art bag like a piece of cardboard might.
Here’s a viewfinder made from matboard that I’ve had for ages. Note the heavy weight of board means it has kept its shape but you can also see the corners are a bit battered.
Using a viewfinder to crop a landscape
Let’s have a look at what I mean by using a viewfinder to help you compose your painting. I’ll take an uncropped photo and then crop it in various ways to show you what can happen.
Uncropped photo taken on a trip to France
First let’s try out two square crops:
Square crop of original photo. You can see there is more attention on the water in the canal
This is the second square crop where you can see the focus is on the background and sky
Next let’s look at the same areas but in a vertical rectangular crop:
Vertical crop focusing on the water in the canal. The bridge is now a prominent feature.
Vertical crop with attention on the background hills and sky
Now let’s try horizontal crops:
This horizontal crop tells the whole story of what’s there without the distraction of the background.
In this horizontal crop, there is a tension between the waterwheel and the bridge – both fight for attention.
Although I’m cropping a photo, I’m sure you can imagine how this would work on location. Which crop of those above is your favourite? What other ways would you crop the original?
Remember that using a viewfinder will help you not only with choosing what to paint in a landscape. It can help with any subject be it figure, still life, portrait, urban view. Anything!!
Using a viewfinder to help with your drawing
Not only does a viewfinder help you compose your painting, it also helps with the creation of your drawing. Find where lines intersect the edges of the viewfinder and note their position related to the whole ie. a third from the bottom, a quarter from the top. You can also relate the angle a line makes as it moves across the space to the vertical and horizontal lines of the viewfinder itself, for example the line and angle of the rose’s stem.
Here’s the image of the rose with the marks I mention in the video.
The marks made are the ones you can transpose to your paper. This will help you with your drawing of the subject.
Using a viewfinder to help with values
The other thing the ViewCatcher has going for it that I didn’t mention in the video are the two small holes. The colour of the ViewCatcher is 50% grey on the value scale of 1-10. This makes it ever so easy to check the value of a colour against the grey. Look at a spot through one of the holes – is what you are looking at darker or lighter than the grey of the ViewCatcher?
You can then move the ViewCatcher hole over your painting and check how the value there relates to the value of the viewfinder itself. You can also check how accurately you have captured the value of the colour you saw ‘out there’.
Check the image below – look at the top hole and see how light the background is especially when you compare it with the other hole that shows the colour of my hair.
ViewCatcher showing the holes used for value checking
Using a viewfinder to help with colour
These small holes in ViewCatcher can also help you determine the saturation of a colour – how much colour do you see compared to the grey of the viewfinder – is it greyer or more saturated with colour than you think? And what about temperature? Is it warmer or cooler than you think? Run the viewfinder over different areas to compare them one to the other. This is hugely helpful when you are unsure of colour saturation or temperature.
Viewfinder as gift
The other thing is, a viewfinder is a wonderful gift to give to non-artists as it will help them ‘see’ the world in a way they don’t now. I love hearing the ahhs and oohs as they move a viewfinder over whatever is in front of them.
This blog has turned out to be a review of the ViewCatcher as I like it so much!! You can pick one up in many art stores or order it from Amazon here: Viewcatcher from Amazon.com
I’d love to hear if you use a viewfinder. How helpful is one to your work? Do you use a handmade viewfinder or something like the ViewCatcher? Do you use one all the time or rarely? Let me know by posting a comment on the blog.
Well I’m home from Mexico where I had a glorious time, first with my sweetheart Cam for a couple of weeks then with my lovely niece Aly for a week. Have to say it’s taken me some time to get back to this reality.
I did this plein air pastel while in La Manzanilla. I was going to post a blog about it while I was there but I just wasn’t happy with the pastel. So today I worked on it in the studio. I like it better but I’m still not sure about it.
Let’s have a boo.
Here’s the spot that caught my eye. What I saw was the shape of the almond tree trunks against the light background. I also liked the turquoise colour of the building
I made a couple of thumbnails (sorry you have to turn your head sideways for the lower one!) to decide on my composition. I chose the top sketch.
1. Drawing in vine charcoal on Wallis paper (drymounted on foamcore)
2. First colours applied
3. More pastel applied. Introducing warmth to the turquoise wall
4. Beginning to adjust values
5. A look at the pastel in black and white
6. Feeling the wall is too blank and so or interest, added a plant. I also tried out a figure.
7. Realized the figure was too large and so reduced it and added a child figure. Also added warm coloured flowers to the shrub. This is the plein air pastel complete on site.
8. The final pastel as seen in black and white.
Back in Canada, I ponder the pastel. I think the bright purple spot in the centre captures too much of the viewer’s attention. I also feel the turquoise wall needs to be darker (darker than it is in reality – this is where artistic license comes into play!).
9. First thing I do back in the studio is to darken the wall. I also lightened the area of purple. As well, I added more colour to the figures and brightened the flowers on the shrub.
10. I started working on the shadow cast by the building and defined the leaves of the almond trees.
11. A look at the same pastel in black and white
12. I darkened the area behind the roof on the left side and made more tweaks. It’s complete for now. “La Manzanilla Almond Trees,” 12 x 9 in
Here are the Great American pastels I used
And here are the pastels I had to choose from. These are the Great American 18-colour General Purpose Assortment. It bugs me that there isn’t a pure orange! But still, it’s a pretty good set to get started with.
So what do you think? Did you notice anything about the plein air pastel as it relates to the thumbnail I chose??
One of the problems is that I didn’t follow my thumbnail!! Bad girl. You know how I go on about creating a thumbnail as a way to design your piece and then continue to use it as a guide as you go? Well, somehow, I did NOT accurately make the transfer from thumbnail to paper. I have no idea what happened. Distractions perhaps?? 🙂 Anyway, I think this is part of the reason I am not totally happy with the piece.
The thumbnail I thought I was following!
Look at how little of the wall is shown in the thumbnail compared to the pastel. In the thumbnail, I’m focusing on the design made by the tree trunks. (You can also see the hint of a possible figure.) In my pastel, I include quite a bit of the wall. I think that’s because I was so taken by the turquoise colour. You can see below that the wall is a prime part of the second thumbnail I tried. I think there is a residue of this thumbnail in the pastel painting!
The thumbnail sketch I didn’t use
Anyway, wanted to share this lesson with you. Follow your thumbnail sketch!!
I have this pastel. It was painted on location and then worked on in the studio. I wrote a blog about it (click here to read it). It received some wonderful comments. But I’ve never been completely happy with the pastel. I feel it’s an overworked pastel and just not the way I want it to look.
Since it’s been worked on so much, I decided to rework it into something else and capture the process for this blog. Although doing this was a risk, especially knowing a few people really liked the piece, I was ready to plunge in. I figured no matter what happened, since I was unhappy with the pastel as it was, whatever happened next was just fine. I may end up with a wonderful new piece or I may end up with a mess. If a mess, I can always wash the whole thing clean! And if a new piece, then yay!
Here’s the original overworked pastel:
Gail Sibley, “Afternoon Walk, Dukes Road,” pastel, 12 x 9 in
First off, I gently wipe the pastel with a paper towel to soften all the edges and blur the image.
Gail Sibley, “Afternoon Walk, Dukes Road,” pastel, 12 x 9 in. The wiping leaves the ghost of the original image.
Now where do I take it? Do I make it abstract? One thing’s for sure, I’m done working on the landscape that’s there. I’ve reworked it so much that I feel like it’s dead. But there’s still an interesting pattern of light and dark that I can work with. I’ll also look to see if there’s any other visible form, for example, figurative, or I’ll turn it on its side and see if there’s another landscape possibility.
I can no longer call the piece by its original title as now it’s a work in progress. I’ve decided to use the original light and dark pattern and I use vine charcoal to outline the main pattern I see.
Now what? I decide to choose a limited palette from the colours used in the original. I pick the yellow and a blue as the primary colours. I add magenta and a cool red. Then I began to add the chosen colours to the outlined shapes.
A new piece begins its evolution. The pattern of light and dark is still hinted at from the original painting but we no longer have a realistic looking landscape. (You can see I also tried a mauve colour which I immediately rejected and covered up.)
Hmmm, interesting I think. I continue.
More lines added, a couple more colours added.
I wonder about drips and add water along one edge. But I discover that drips don’t happen that easily in pastels. (You can see there’s a bit of darkness along the right hand side. That’s wet pastels.) I feel that how I’ve been working, hatching the pastel, has begun to look too much the same. Pretty, I think, and I don’t want pretty. I also feel the big swooping shape takes you right out of the picture. So I decide to introduce long lines across the whole picture plane to stop that movement as well as to add some discomfort to the prettiness. Will it work?
Lines added. These add complexity to the whole thing. When adding the lines, I was considering how the viewer’s eye moves around the painting. I want to keep the viewer there!
Stepping back, I think I’ve added more interest to the piece. But there’s still work to be done.
Worked a bit further. More lines added, more shapes delineated.
The same progression as above but in black and white. This really shows up the pattern of darks and lights.
I begin to see light filtering through slats of wood or metal. Like the elevated train platform in Chicago or the Eiffel Tower. With this idea in mind, I continue on. I decide to break up some of the large dark shapes further.
The piece as far as it’s gotten. I don’t know whether it’s finished or still has a way to go. Or is it an overworked pastel once again? Time will tell.
And here it is in black and white:
The pastel as it is shown in black and white.
The images above follow the vertical format of the original piece. Let’s see what happens when we look at it horizontally:
The same image rotated horizontally.
And here are the eight Sennelier pastels used.
I don’t know if it was a good idea to follow the light pattern that was there originally but that’s what I did and this is what I ended up doing and how the piece progressed.
I’ll need to sit with the painting and see what happens, to decide whether I’ll need to go further, stop, or let go of the whole thing again. I’ll let you know. In the meantime, I’d love to know your thoughts about what I did!!
Wishing you a splendid 2015. Let’s see what wonderful things we can create and discover in pastel together!!
PS. On my mind while working on this pastel was the 7th January shooting of 12 people at the Paris offices of the satirical weekly paper Charlie Hebdo. Although this painting doesn’t reference it directly, the awful event was in my subconscious for sure.
To see an amazing outpouring in cartoons by cartoonists from around the world, click here.
[tweet “”Death shadows us. Live fully!!” ~ Gail Sibley”]
PPS. It feels good to be back in the studio. I’ve been working at completing the Pastel Painting En Plein Air online videos (done) and I’m now beginning to choose a place to store the videos online, decide on and set up a portal for access, and determine a method for purchasing. All computer stuff i.e. NOT in the studio!
I have been back and forth to Salt Spring Island over the past few weeks, visiting my Mum and Dad and painting on location. It’s been so wonderful getting back to plein air painting. The weather has been superb – warm enough not to need a sweater but not so hot as to be uncomfortable. Just perfect!
I thought it’s about time I started sharing what I’ve been up to. So here’s the progression of a pastel I did in Vesuvius on Salt Spring Island. (This was the one time I went out alone so you’ll have to wait for another blog post to catch sight of my parents at work!)
Let’s take a boo.
1. Great American starter kit of pastels all ready for painting on location! (Thumbnail sketches in the background.)
2. The scene I painted. What attracted me to paint it were those daisies contrasted against the dark background. Of course the picket fence and the delightful yellow house weren’t too bad either!
3. I made a simple charcoal drawing on the white Wallis paper and then applied pastel in the three main areas of value.
4. The initial layer was rubbed gently with a paper towel to become a sort of underpainting. I have begun adding another layer of pastel.
5. I added more darks and began to delineate the fence by painting the negative space.
6. Getting more into the details of the scene, particularly the leaves of the rhododendron.
7. Finally I get to the daisies! This is as far as the pastel got on location. Is it finished? I’m not sure yet. The thing is, when you are back in the studio, the temptation is to ‘tidy’ things up and before you know it, you’ve lost the vitality that comes with painting on location. When the weather becomes overcast, I’ll pull it out again and have a look. In the meantime, it’s as finished as it can be 🙂 Gail Sibley, “Dowry House, Vesuvius,” pastel on Wallis paper, 12 x 9 in.
8. And here are the 15 Great American pastels I used.
There is really nothing like painting on location!!
Here’s a quote about painting on location that I think is so true.
Feel free to Pin it if you agree!
You can see some of Charles Muench’s work by clicking here.
Painting on Location – upcoming video and contest!
On another topic, as you may have noticed in my Summer Newsletter, I’m working on a video about painting on location that will be for sale. I would love your input as to what information you would like to see included. What are your questions, your hesitations, about pastelling en plein air? Please let me know in the next few days as I am hoping to finish the voiceover and editing next week. Anyone who offers some input will be included in a draw for a free copy when I release it!!So come on, ask away!
Thanks for being here. You know I’d love to hear your comments about this post!
A couple of weeks ago, I went to visit my Mum and Dad on Salt Spring. It had been a while since I’d spent some time with them and although I have good friends on SSI and always want to visit everyone, I decided to spend the time wholly with my parents. We planned to paint plein air and that’s what we did.
We ended up at Mistaken Identity Vineyards, a delightful place to spend part of the day pastelling en plein air. Here is the progression from first thought to final piece (finished in the studio).
The initial thumbnail sketch, 1.25 x 1.5 in – so the size in the post is way to large!!!
I did a second thumbnail to redesign the composition slightly – showing more of the vineyard and less of the trees in the distance. I also played around with the angle of the row of vines and went more with the alignment in the first sketch.
Here’s the sketchy charcoal drawing on Wallis paper – just a bare indication of the design. You’ll notice it’s WHITE Wallis where I usually use beige or toned-with-watercolour paper (as in my demo videos). This was something I hadn’t dealt with before, certainly not en plein air.
The Schminke pastel selection I had to choose from. These pastels come in a beautiful wooden box. They are perfect for plein air painting!
Here comes the first colour. I applied the pastel then brushed with a paper towel, trying to cover the glaring white paper! There was a deep shadow on the right hand side of the vines, hence the deep blue.
Now I pretty much have the white paper covered. It’s time to dive in! One of the things that attracted me to doing the scene was the light coming between the twisted stems of the grapes. Here I have begun the barest indication of them. I’ve also strengthened the far edge where the vines meet the background trees.
The first indications of a second layer
More pastel added. Moving along slowly, I build up layers. I am using a limited palette of Schminke pastels (as seen above) so need to create the colour I see with only a few pastels.
Pretty much how I left the pastel on site. By now the sun had moved around so much that the only cast shadows to be seen where right under the vines. Time to pack up and leave.
But that wasn’t quite the end of the story. Mistaken Identity Vineyards were holding a summer celebration that Sunday and it was just beginning to get underway. The local newspaper’s photographer, Jen MacLellan, was on hand and snapped a few shots of me pastelling en plein air.
So much for a quiet sneak onto Salt Spring. I hadn’t let anyone other than my parents know I was visiting and now everyone knew I’d been on the island!!! Cracked me up I’ll tell you. 🙂
Here’s a view of the vines I was painting:
Vines at Mistaken Identity Vineyards
And here’s the final pastel after a bit of tweaking in the studio. You can see I warmed up the backlit vines as well as the ground. I also added some mauve areas, for instance, in among the background trees.
Gail Sibley, “Pinot Gris,” pastel, 9 x 12 in.
So remember, beware of sneaking around in vineyards!
Before I leave, I wanted to let you know that I will be teaching a two-day plein air pastel workshop on Salt Spring 24-25th of August. If you are on my list of people interested in workshops, you will receive an email with more details in the next couple of days. If you are not on that list and would like more info, please let me know. And I encourage you to spread the word to anyone who might be interested! It’s open to all levels.
Thanks for spending this time with me. If you have any questions about this process or about painting en plein air, please leave a comment with your query.