tag:blogger.com,1999:blog-5682081471599286551.post2394623784295361888..comments2024-03-27T11:43:33.889-04:00Comments on Stapleton Kearns: Plein air painting idea 6Stapleton Kearnshttp://www.blogger.com/profile/00226409516935208164noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-5682081471599286551.post-24288584391068752842012-05-06T07:41:54.054-04:002012-05-06T07:41:54.054-04:00Stape,
If you spend a larger part of your session ...Stape,<br />If you spend a larger part of your session 'drawing in', the move onto the painting stage, does that mean you almost never do a painting 'off the cuff'?<br /><br />I would imagine that to capture a particular light effect, means turning up early, after doing a recce the day (or days)before..<br /><br />Great to have you back by the way...<br />JimSWOPShttps://www.blogger.com/profile/14136872792994711820noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-64843124565769371112012-05-04T19:42:50.616-04:002012-05-04T19:42:50.616-04:00So happy to have you back at it. This one was gre...So happy to have you back at it. This one was great. I often do the drawing and basic plan with a couple of thumbnails first and then sketch it on the paper (pastel). Then I come back when the light seems great and start painting....I always, always take several photos as I go along.Diane Edwardshttps://www.blogger.com/profile/04603535700749141234noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-78862821236121892562012-05-04T15:23:42.008-04:002012-05-04T15:23:42.008-04:00Stape, this all goes to quality and quantity of li...Stape, this all goes to quality and quantity of light and our ability to capture an impression of it. If we place down those shadow areas in a design that relates each mass to the next, we have captured our impression of the light angle, the amount of light and the quality. In the hours that pass while we fill in the canvas we can use both memory and what shadow design we placed down to keep that momentary light. It is up to us to put it down with passion and skill, recording our feelings of that scenery onto the canvas. <br />I agree that we need to spend as much time as possible in getting the arrangement, (composition) just right, or the painting will fall apart faster than a broken egg in a fry pan.Love2painthttps://www.blogger.com/profile/03527571963036683034noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-61031384278129106252012-05-04T14:09:13.500-04:002012-05-04T14:09:13.500-04:00Thank you for this awesome series on plein air! N...Thank you for this awesome series on plein air! Not to change subject, but I have to do some figure work right now: Can I apply some of your advice for plein air, such as "laying in abstract composition loosely and thinly with large brushes before refining" while painting a live figure?My3Starzhttps://www.blogger.com/profile/11549207108675671802noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-33829749101259064982012-05-04T12:16:29.524-04:002012-05-04T12:16:29.524-04:00lisGood to hear talk about sunny day v.s. cloudy d...lisGood to hear talk about sunny day v.s. cloudy day subjects. Something that catches your eye as suitable for painting on a sunny day almost never looks good from the same point of view when it's cloudy. And the other way around. I think it's best to have distinctly cloudy day paintings in one corner and sunny day paintings off in the other corner.<br /><br />Great question about how long should a painter keep working on the same surface on sunny days. I've known some very good painters who can go three hours at a stretch, but beyond that I think the results start to suffer. Personally I like to keep it at no more than two hours at one time, and return for more on later days. Just works better for me that way.<br /><br />Like so many other things, a painter has to grope her or his way toward which methods bring out their best talents. There is no one-size-fits-all. But there are time honored painting practices that usually have some very good thinking in back of them. I think this is why it takes years to learn to paint really well- you have SO much trial and error experimenting to do fleshing out which procedure is best for your temperament. <br /><br />One last thought- I know a lot of painters get super frustrated with how fast the darned shadows march across your subject and try to nail them down by working with a photograph. That can help with the shadows shapes, but it almost always invites new troubles with the shadows reading way too dark and all the same color. Direct observation has my heart as it's given me such better results over the years.Philip Kochhttps://www.blogger.com/profile/05191070779177407750noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-86839324581660781032012-05-04T11:18:20.758-04:002012-05-04T11:18:20.758-04:00Six posts in a row, with my cuppa joe- great way t...Six posts in a row, with my cuppa joe- great way to start the day!<br />Thanks Stape, I get so confused out doing plein air that every little gem helps.Judy P.https://www.blogger.com/profile/09176284042670900772noreply@blogger.comtag:blogger.com,1999:blog-5682081471599286551.post-27410212828511597422012-05-04T07:45:59.477-04:002012-05-04T07:45:59.477-04:00That is one idea I was thinking of trying...doing ...That is one idea I was thinking of trying...doing the drawing on one day, work out the design issues, then head back to do the lay in. <br /><br />There's this lovely but HUGE victorian home and grounds I've had my eye on. But not only is the house quite ornate and would take quite a bit of time to paint, but the property and scene has design issues. I think a multi-day approach would help to stay focused on doing the right design without worrying about the light window. <br /><br />I can do a small plein air, 12 x 16, in about three hours...not very fast. <br /><br />There's no way I could paint the scene in one go. <br /><br />Thanks for the post, Stape.Anonymousnoreply@blogger.com