Category: workshop

Posted on

The old folks flit, the young fly home

Drawing by Kamillah Ramos, an architecture student at SUNY Buffalo
I’m always a bit shocked when my former students return from college, for every year they come home with more mature features and more adult demeanor. May is the month when seasoned students flit and youngsters fly home, at least for a little while.
The water is much clearer than last month. The train still barrels right over the falls, however.
On Saturday, I had several of them with me on the Pont de Rennes bridge. It was significantly warmer than when Carol Thiel and I painted there last month, and the water is far clearer now that we’ve passed the April freshets.
Teressa drawing. (Photo courtesy of Kamillah Ramos)
If I have a theme I harp on over and over it’s the power of drawing. Drawings aren’t precious; recognizing that gives us the freedom to take chances, to screw up. The fear of failing is the most debilitating thing in the artistic process, so there’s freedom in the common #2 pencil. Drawing first allows an artist to focus on observation, making the painting phase far more fluid.
It was windy again Saturday, hence the water-bottle counterweight. (Photo courtesy of Kamillah Ramos)
So it wasn’t exactly a surprise that most of my students were drawing. All that industrial architecture was crying out for a pencil. And I was blown away by how much my college-age kids’ drawing had matured, along with their faces and their demeanor.
Bella tried watercolor for the first time.
Moved almost to tears by their growth I was—until I noticed two of them spitting over the rail. “We’re studying aerodynamics,” they explained.
OK, maybe one more year…
And Kamillah herself.
If you’re interested in joining me for a fantastic time in mid-Coast Maine this summer, check here for more information.
Any resemblance between these two is completely coincidental.

PS. This was in yesterday’s Democrat and Chronicle. It was our class in Highland Park two weeks ago:

Posted on

To each their own, within limits of course…

Look, Ma! No red! The red tones are made of quinacridone violet and  cadmium orange. (Finger Lakes marshes in autumn, 14X18, oil on canvasboard)

JG writes: What red do you like for plein air painting? Are there any substitutes for cadmium red that work as well but are cheaper?
Dear JG: I have pigments I like that others will find incomprehensible. That’s not just a question of personal taste; it is also a matter of where you live and the colors of the rocks, the soil, the foliage and the light.
I stopped using cadmium red many years ago because I could never use it up before the tubes hardened. It seems like a pricey paint to use as a modulator for greens. Where I live, there are few naturally-occurring true reds, even in the headiest autumn days, and cadmium red always seemed to obtrude unnecessarily. For a time I substituted naphthol red. It’s cheaper, tends to harden in the tube less quickly, and is less chalky when mixed with white. However, it tends (like cadmium red) to make muddy violets.
A few years ago, I stopped using red completely, and now I mix a combination of quinacridone violet and cadmium orange as an approximate substitute for red in the landscape. (I still use cadmium red for figure painting.) That gives me the weight of cadmium red, but it’s slightly less glaring, and the quinacridone violet permits me to mix to the blue-violet side without muddiness.
And while we’re on the subject, there are no greens in this painting, either.  (Catskill waterfall, 11X14, oil on canvas)
CB writes: I bought a paint labeled “Cerulean Blue Hue” that was a lot cheaper than the Cerulean Blue. What’s the difference?
Dear CB: A paint that is called a “hue,” such as “cadmium red hue,” is made of a blend of less-expensive pigments. There is nothing inherently wrong with these pigments, but they don’t behave the same as the more expensive ones, and you should at least know what you’re buying.
Every tube of paint made by a reputable manufacturer has a Color Index Name in really tiny type. This—rather than the seductive and often romanticized paint name—is what you should pay attention to. It’s a simple code, and no chemistry knowledge is necessary.
The vast majority of paints start with the letter P, which means it’s a pigment. Following that is a letter that indicates the basic hue family: R for red, O for orange, Y for yellow, G for green, B for blue, V for violet, Br for brown, W for white, Bk for black. Then there’s a number referring to the specific pigment itself. This is the best chart I know for paint pigments; it was designed for watercolor, but the pigment characteristics are the same through all media.
Generally speaking, there’s little to be gained by buying a hue mimicking a more expensive pigment. If you are comfortable painting with Cerulean Blue’s proximate, then it behooves you to learn what’s in it and mix it yourself, since you always have the greatest flexibility by working with pure pigments (rather than mixes) out of the tube.
If you’re interested in joining me for a fantastic time in mid-Coast Maine this summer, check here for more information.
Posted on

Painting at the Lilac Festival with my young friends

Lilac Festival, Highland Park, 11X14, oil on canvas, by little ol’ me.

My Jewish neighbors are celebrating Shavuot, which commemorates the day God gave the Torah to the nation of Israel. We Christians will observe Pentecostthis coming Sunday, when we will commemorate the descent of the Holy Spirit upon the Church. The two holidays are closely related, and they are both based on the idea of gifts from God.

We are often so quick to throw away God’s blessings. A friend told me that she was advised to stop eating tomatoes for health reasons. “But Galicia has the best tomatoes in the world,” she said. “I can’t not eat them. It would be a sin.”
Sam spent most of his time talking to curious passers-by.
For some unfathomable reason, the human animal loves making rules by which he denies himself pleasure. The first and deepest of these revolve around food. Whether we are talking about the dietary restrictions of religion or the modern rules guiding the “worried well,” the end result is the same: self-denial that purports to make us better on physical, moral, or spiritual planes.
One of the “delicacies” of the Lilac Festival is deep-fried turkey legs. I will not embarrass the young person who actually attempted to eat one. I hope he survives.
Last Saturday, I made a tentative date to paint at the Lilac Festival today with Bella, Sam, and Jake. Today dawned with that delicate, airy beauty that is unique to spring in the Northeast. But I have a lot of non-painting work to do, and I felt torn—should I be “responsible,” or should I go paint with my young friends. But I realized that I couldn’t knowingly toss out this gift of a beautiful day, given me to enjoy by a God who loves me. And it was wonderful, and it was a joy, and an old geezer stopped by and told me a great joke:
 â€śWhat is difference between a professional artist and a Domino’s pizza?
“The pizza can feed a family of four.”
Bella struggling to keep her easel upright.
There are still spots open in our mid-coast Maine plein air workshops! Check here for more information.
Posted on

I’m honored to have been selected to participate in the 2013 Castine Plein Air Festival

The first year I did Rye’s Painters on Location, I painted a lovely, long, low sailboat from a spot overlooking Mamaroneck Harbor. Living as I do in the Great Lakes basin, I’ve drawn and painted boats frequently enough. What I had overlooked was the tide, which confused me with constant angle changes.
My last painting for Rye’s Painters on Location. Mamaroneck Harbor, 18X24, oil on canvas. 
Mercifully, the boat’s owner was among the bidders that night and I escaped with my pride intact. The last few years I painted in that event, I worked in the same harbor, but from floating docks. This was much easier from a drafting standpoint but tough on the legs after two days.
Penobscot view, February 2013. Not Castine proper but close enough. How much more beautiful this will be come summer!
Such are the vicissitudes of painting in a plein air event. You can think you understand the subject, but still be confused at the point when your brush hits the canvas.
Last February, I took my family on an odd little pilgrimage up Castine way, looking for the West Brooksville childhood home of one of my chums. It was unutterably beautiful in February; imagine how lovely it will be in July!
Off-roading in Holbrook Island Sanctuary State Park, in my little Prius. Take that, you 4-wheel-drive vehicles!
Every inch of the coast of Maine is simply beautiful. One would be hard-pressed to come up with a favorite stretch of rock-bound coastline. And even within particular regions, there are so many choices! What will I paint? My pal recommended Our Lady of Holy Hope on Perkins Street, or sunrise at the Tidal Pool, or the Main Square. Any other suggestions?
At any rate, come watch me paint in Castine on July 27, and be sure to say hi when you see me. Or take my Maine painting workshops in the Rockland area—once a month through the summer months (check herefor more info, or email me). 

Posted on

Ice Tsunamis? Seriously?

It is almost this cold in Rochester right now…

There has been a bitter wind blowing from the west for the last several days. It snow-squalled lightly in Western New York this weekend and it is flurrying in Saranac Laketoday. But at least we’re not experiencing ice tsunamislike those in Minnesota and Manitoba.
How does the plein airpainter facing a Little Ice Age (or floods, drought, hail, or locusts) prepare? I am a fan of the National Weather Service’s Hourly Weather Graph.
Another of my favorite things… the National Weather Service’s Hourly Weather Graph. It tells me everything I need to know.
Above I’ve posted a screenshot of this afternoon’s graph for my neck of the woods. The most pressing issue is that the temperature will rise and the wind will drop this week…not just for us outdoor painters, but also for the organizers of Rochester’s Lilac Festival. And it’s certainly useful to know that the rain is done for a while.
But I could get that information from the newspaper. What the graph gives me that I don’t find elsewhere is the Sky Coverage forecast. This evening and tomorrow evening, the cloud cover should diminish at dusk, giving us the potential for beautiful sunsets. I can set my schedule accordingly.
Of course, different parts of the graph will be more useful in different parts of the country. We’re seldom overheated up here in the far north, but if I were in Arizona, I’d care a great deal about the Heat Index.
This year, I’ve been watching the weather in two places: Rochester, NY and Rockland, ME. Maine tends to be warmer in winter and cooler in summer than we are here inland. Makes for good painting, so if you’re interested in joining us for a fantastic time in mid-Coast Maine this summer, check here for more information.
Posted on

That finely-tuned, whole-body drawing machine

Bella and Jake practice standing in counterpose.

Yesterday, I stepped up to Jake’s easel to demonstrate stealth gesture drawing. Our subject was Bella, who was deeply absorbed in drawing tiny redbud blossoms. Bella, who is athletic and graceful, was standing like a column in front of her easel, a perfect plumb-line from her head to her pressed-together high-tops. “How do you even do that?” I asked her. “I would fall over.”

What is perfect for gymnastics or dancing may not be perfect for drawing. Nobody would ever accuse me of perfect posture. Nevertheless, I work standing at an easel for hours at a time.
I pondered my own stance while drawing. My non-dominant (right) leg was bearing my weight. My left foot was turned so the outside of my toe-box was touching the ground. This provided a pivot point to control my position, allowing my spine to move in concert with my drawing arm. Not that I stand like this all the time, or that any two successful artists do it the same way, but a good drawing stance is dynamic.
The Peplos Kore, c 530 BC, was clearly drawing (ahem). She’s also standing in counterpose (contrapposto). Although she’s using her left hand, her weight is on her left leg. (Acropolis Museum, Athens)
“Bella,” I said, “try standing on one foot and see if it changes your drawing style.” The difference was significant. Her mark-making was immediately lighter and more controlled.

Jake didn’t just stand around in counterpose… he also drew this house.

We all know that painting while seated yields different results from painting while standing. (The former gives better control; the latter yields freer expression.) So it stands to reason that standing differently gives different results as well. The human body is a wonderful, finely-tuned machine. Change one parameter, and everything else adjusts to fit. 

(On that note, did you know there is not one but many arches to the foot, and they act as springs? Awesome design, that!)
We have a good time in the studio, on the street, and in the park.  And if you’re interested in joining us for a fantastic time in mid-Coast Maine this summer, check here for more information.
Posted on

Memories of Maine…

When I was in Maine I was interviewed by a reported from the PenBay Pilot… and here is the story. I’ll be teaching workshops in this area next summer; I can’t wait to get back!

Posted on

Ten days on the road

Painting John Porter on the porch of the Irondequoit Inn. Normally, you develop a painting all over, in layers, but not if your model has temporarily disconnected his oxygen to pose. (Photo by Carol Thiel)

September and October are New York’s grandest months, when our state throws off its sartorial rectitude and arrays itself in scarlet, purple, and cloth-of-gold. And the last week in September was the best possible time to be at the Irondequoit Inn with 14 of my fellow New York Plein Air Painters (NYPAP). This organization is being wonderfully revived by painter Marilyn Fairman, who organized the event.

A tiny study of trees and reeds, by me.
However, there’s a reason Native Americans considered the Adirondacks their summer home. Its cold is brooding, often accompanied by rain and mist, and the weather is fickle.  Last autumn, the mercury was hitting 80° F, but this year it was pouting in the 40s and 50s, with rain and wind. That often corresponds to the best fall color, but it’s chilling to work in. However, we are all dedicated outdoor painters, so of course we soldiered through.

Painting at Oxbow Inlet
(Photo by Mary Beth Vought)
At one point, I trekked through a drenching downpour to find Janet Yeates turned out like the Gloucester fisherman and Ruth Crotty in knee-high Wellingtons, the hood of her rain slicker pulled tight around her face. Both, of course, were too stubborn to quit. Ruth was tarping down her easel under a pine tree, muttering, “What else could possibly happen?”

“Lightning?” I asked.

Mercifully, I was wrong.

The start of our retreat coincided with the end of a workshop given by National Geographic photographer Ralph Lee Hopkins. The end of it coincided with the start of my painting workshop. The Irondequoit Inn was a whirling parade of the visual arts, running for two weeks straight, and it would be difficult to express just how energizing it was.

Snag at Piseco Outlet, by me.
My trip started with Bruce Bundock’s opening at Locust Grove in Poughkeepsie. The show should have been called Friends in Low Places, because Bruce’s gift is finding the sublime in the pedestrian. This review features one of his finest paintings, but this painting currently is my favorite: a classic composition that might typically be used for a villa on the French Riviera, but which he translated to a raised ranch along the Hudson, with a tanker in the background. Since it’s Bruce’s day in the sun, I might as well add that he was recently profiled for his day job as a preparator at Vassar, here.

Value study by workshop participant Carol Thiel.
For several years, my goal in landscape painting has been to capture the sense of tapestry rather than the sense of distance.  I find that much more difficult than building a global scene comprised of discrete objects like buildings, islands, lakes and hills. I’ve gone past the point of liking or disliking the results; I am simply compelled to paint this way. Nothing was different this week: as my friends and then my students turned out fantastic paintings of the woods, fields and lakes, I continued to slash and burn amongst the trees.

One afternoon we finished up early and took a canoe trip in Piseco Lake and up the mouth of Fall Stream. We each brought small watercolor kits, but no painting was done (although the paper was certainly damp by the time we finished). But we did look at the mists, the black water, and the gold-drenched grasses on their earthen hummocks.

Watercolor of Piseco Outlet by workshop participant Shirley Ernst.

At 94, John Porter is the Piseco Company’s oldest living shareholder. I’ve had the good fortune to spend time with him during the last three autumns. He’s a retired woodsman, and wonderfully knowledgeable about both natural and human history. He’s getting a bit frail these days, and mostly looks at the woods from the front parlor. On the last afternoon of my workshop, we were working on architecture. I had set up a painting of the lovely old green chairs and dinner bell on the Inn’s commodious porch. The rain vanished, the sun came out, and it was suddenly warm. John joined us for a few minutes, so I put him in my painting. I’ll share it with you when it’s done, because to me it’s a wonderful memory of a precious day.

Posted on

Last chance! A week of instructed wilderness painting, only $775 inclusive!

September 30-October 5 2012



Paint in the unfettered splendor of nature with celebrated artist Carol L. Douglas, in the bewitching, boundless and historic Adirondack Park—a week of unparalleled instruction at some of the wildest, most scenic painting locations the nation has to offer. Your outdoor adventure will be balanced by the comfort of an all-inclusive accommodation package at the historic Irondequoit Inn.
Eric and Liz Davis
$775.00 inclusive!
·         Basic package: includes 5 nights lodging and meals.
·         Private non-smoking room with shared bath in either lodge or cabin accommodations
·         15 meals served communally
·         Breakfast: Monday-Friday
·         Box Lunch for off-site painting sessions,
M-F
·         Dinner: Sunday-Thursday
·         Coffee and Tea Bar
·         Sunday afternoon welcome reception
·         Morning and afternoon instruction sessions,
·         Monday-Thursday
·         Group critique session, Thursday evening
·         Available on request:
·         Non-painting partner accommodations
·         Private portfolio critique
·         Private Room and Private Bath: add $125
·         Suite with Private Bath and Kitchen: add $250
To register:
Call the Irondequoit Inn at 518-548-5500
For more information:
Eric and Liz Davis

Posted on

Oh, my! What should I buy?

My basic palette in my pochade box. 

I am happy to share my plein air supply lists with both my own students and others:

·         Watercolor supply list.
·         Oil painting supply list.
·         Pastel supply list.
I have friends who are tremendously efficient plein air packers. I freely admit I’m not up to their standard, but I do paint outdoors a lot, and successfully. Consider these lists not as gospels, but as starting points.
There is no one “best” palette for plein air (or any other kind of) painting. There are so many pigments available today that the artist is faced with—literally—millions of possible combinations. The medium you’re using, your own taste in color , what you want in opacity and drying time all affect your final choices.
And the exact same paints being used for figure painting.
A little knowledge of pigment development is helpful in whittling down selections. The newer the pigment, the more intense and more durable it will be. A palette of earth tones might have a hard time coping with the addition of dioxazine purple or phthalo blue, whereas a vivid 20th century palette will fail to notice a delicate Renaissance lake color.
This is not to say that you should choose only an “Old-Masters” or an “Impressionist” palette—my own palette has paints from every period. But you can avoid a lot of waste by avoiding obvious mismatches.
The earths and earliest synthesized colors:

The oldest pigments are the earth pigments: the ochres, siennas, umbers and carbon blacks. These have been in use more than 15,000 years. They are as solid and everlasting as dirt. Over time artists have been tremendously wily about expanding their narrow range.
The Egyptians created the first chemical pigment, Egyptian Blue, around 5000 years ago. They also pioneered the use of minerals as pigments with malachite, azurite and cinnabar, and devised a method of fixing dyes to solids (“lake making”) which is still in use today. The Chinese created vermilion and the Romans gave us lead white.
Renaissance alchemists must have been more focused on turning lead into gold, because although they made a few refinements to paints, they left the fundamental kit unchanged.
The industrial revolution:

The Industrial Revolution brought us a pigment revolution. Just a few examples are:
Cobalt Blue – 1802
Cerulean Blue – 1805
French Ultramarine – 1828
Zinc White – 1834
Cadmium Yellow – 1846  
Aureolin – 1862
Alizarin Crimson – 1868
Without the explosion of brilliant color in the 19thcentury, there could have been no Impressionism, no modern art.
Modern pigments:

The third tier of pigments are the highest-stain, most durable of colors, developed mainly for industry: “Hansa” yellows, titanium white, synthetic iron oxides (the “Mars” colors) phthalocyanines, quinacridones, perylenes, and pyrrols. Some have replaced 19thcentury colors that have proven to be fugitive (such as quinacridone violet to make “permanent” alizarin crimson). Some have an uneasy place on the palette because of their extremely high stain, such as phthalo blue.
My basic field kit.
References: “Bright Earth: Art and the Invention of Color,” by Phillip Ball. It is certainly the most fun book about color ever printed.

Gamblin Artist Colors has optional palettes here. (What is true for oils is generally true for acrylics.)
The most comprehensive guide to watercolor pigments I know of is here.
And my favorite resource for pastels is here.