Finishing Touches on Plein Air Colored Pencil Pieces - "Old And New River Birch-Shirley Plantation Winery"

Trying to get your creative groove back during a pandemic involves a lot of experimentation.  What inspires and what needs to be completed fight the usual battle when you are your own boss.  I won't necessarily say it's a fair fight cause after all we are creatives right!  Often what inspires often wins the war.  However this time the "what needs to be completed" won out!  Today I'm sharing a trick I use to make it a more fair fight.  

Old And New River Birch - Shirley Plantation 8 X10 Colored Pencil on Ampersand Pastelboard
(A Plein Air start and studio finish.)

The recently finished painting above began life on a Plein Air painting excursion (pre-pandemic) two years ago with the gallery I show at and it's other painters.  Off to the James River plantation area in VA.  We set up at the Upper Shirley Plantation Vineyard for a paint out and subsequent exhibit to benefit the Rice Rivers Center of VCU.  The Virginia Commonwealth University Rice Rivers Center is a leading authority on river research focused on expanding environmental knowledge and preserving the health of our natural resources.Located on 494 acres along the historic James River, midway between Richmond and Williamsburg, Virginia,     

If your new here or to colored pencil work in general, it is a slow media and not one many use for plein air painting!  While I have finished several Plein Air pieces on site, I may need two days on location to finish or need just a little work at home after a long day on site.  This day was early Spring and cold winds off the James were brisk that morning!  There were many onlookers enjoying the day as it warmed up, with wine in hand.  And I always enjoy talking with folks.  Although it does slow my process even more.  

This location was just out back of the winery and restaurant along the banks above the river edge.  What drew me to the spot was the early morning light hitting the bark on these two River birch. One strong and youthfully sprouting tiny new leaves and the other much older and slow to leaf out!  The younger tree was in the brighter light of a springtime sun.  The older shadowed by a much taller tree out of view and competing with other plants and greenery for its place.  

If you know me, you know I love trees, and have been accumulating a series of tree paintings, sketches and so many reference photos..............If I'm out and looking for something to sketch I usually find it in a tree.  Plein Air pieces are like the sketches in my journals, they write the story of what inspires me to create a painting.  I absorb the temperature, observe the atmosphere, and just plain get lost in their branches. It's one of the best ways to really get to know a place or a tree for that matter!

OK now for the trick I mentioned above for getting paintings completed when they have lost their sparkle or inspirational vibe.  But first a little history: 

As we grow up and develop our own way of fitting into the world and becoming a productive adult - we learn or develop coping mechanisms for getting things done when we loose the "fun" bit pushing us thru to completion.  Cleaning your room or eating your vegetables before dessert come to mind.  

It could be having grown up the people pleaser I inherently became (no judgement here please).  Or possibly it's the "I'll show you" attitude I have when told I can't do something.  I prefer the later.  What resulted from an older sibling telling me as a 10 year old "You never finish anything you start".  I now have a monkey on my shoulder when I don't complete a task.  

Unfinished paintings that I either loose interest in (which is rare) or Plein Air work when time runs out and weather conditions change, sometimes make their way to a short pile in my studio.  As a compulsive list maker,  I add a new line to my Excel spreadsheet for my Art Inventory List when I start a new piece.  I number all my works at that point and dedicate a line to it's place in production/completion.  Sometimes it has no title but I know the size, substrate and genre it is.   Just like any good list maker, the check off is the reward - and for my inventory sheet it's the "Completed Date" column I use as my check off reward!  

As a result either "the pile" or every time I look at my Inventory spreadsheet I'm reminded of what's not yet completed.  Simple tasks like switching out my work in a gallery or show exhibit requires my making changes to the "Current Location" column, I'm reminded.  I guess I'll have to do a separate post on my spreadsheet if folks are interested so please comment below if you would like to see it or know more.  

None the less an artist needs to have an inventory list for their work.  You will forget titles, sizes, prices, how it's framed and of course the ever important "where it is" or "what show has it been entered in?" If your just starting out create one - if not on your computer grab a notebook and write it down!  You will forget trust me it's just like the mystery Tupperware container/science project in your frig.  You'll forget. 

Ok off my soapbox!  

Back to the trick I use to get to finishing a piece:  

When I'm stymied and I feel a need to complete a piece, I go back through my photos taken while on site.  If it's a plein air painting waiting to be finished, resetting the stage in my mind helps. Sometimes when flipping through my sketchbook or travel journal I stubble upon the page where I noted the day, lighting conditions and location.  Since I've spoken about journaling and it's importance in my life on posts before I won't go into it now. But if you're new to the blog you can find a few here and here. 

Any sketch I do, helps write it's story into my memory so much more than a simple photo shot could.  And all I need sometimes is a reminder to pull it back from the abyss of incompletion.  The really seeing a place or object in that place comes from having drawn it. 

"I have learned that what I have not drawn, I have never really seen"

Frederick Franck (1909 - 2006) Dutch American sculptor

Enjoy completion, it checks off an item on your list, it rewards your total paintings finished goal as well as you get to revisit a moment that was special in your life of days. 

Gloria Callahan

A Note To Myself - "The Space In Between" - Artist Life

Slocan Lake View

Colored Pencil on Ampersand Pastelboard

6 X 12"

Note to my Readers: This post was written prior to my last finished colored pencil piece "Welcome Wellies" you can see it here.  At the time I thought it might never get finished. I wasn't quite sure I would share this on my blog as it's personal to my journey as an artist and adult but here goes....... 

The Space in Between, the skills in between the mastery or the sales.  The paintings in between or not yet finished, or maybe never finished.  Much like the Seasons in-between of nature, all have their place. The droning on of Winter’s chill and the awakening of Spring's warm temperatures.  My painting above gives me the feeling of the space in between.  If you'd like to see the post of this painting's story you can find it here.

We all need a period of rest, all plants and animals do too! However they never seem to need reminding.  A refilling of the well, rejuvenation of spirit, or re-found motivation, of new directions or purpose.  It all plays a part in the process.  The process of becoming and of creating.  I’m a stubborn sort, impatience I’ve written about before.  I’m also a perfectionist in many aspects of art, life and self.  However much I would like to release the perfection seeking, it’s part of me.  The “imperfection" of all this seeking is not lost on me.

Acceptance of “me” the real me and not the one I’ve read I should be.  It’s an elusive and lofty goal.  So right now I’m just working on the space between this goal and where I’ve been.  The right now moment where I sit, this current season of my life, the imperfect aging body I have - This space in between the artist I’ve been and who I want to be.  Acceptance of how far I’ve come.  Sitting in this space in between I can’t help to see possibilities of a future.  

So today I choose to accept the Space in Between.  Much like those first waking moments in the morning, between being awake or re-closing your eyes in denial of it.  It’s not easy some days.  The pull of staying warm in what we know like those soft blankets in our bed.  And opening our eyes to the bright morning light and risking the cool air to start our day.  

The vulnerability in those moments in between choosing can consume us and keep us from trying.  Although they can be exciting and full of energy if we let them.  Like the child on Christmas morning ready for the adventure of what may come.  

Sometimes we get caught up in the what’s next!  Rushing thru the check list, done, done, check mark!  We forget it’s the "In Between" days or stages of a project where we find the Joy of doing.  True it can be less exciting than the actual checking off.  But from what I know of artists’ block getting back into the process of doing (the In Between of completion), can be the hardest part.  Learning to enjoy this stage or find joy there is key for the long haul.  

So I sit in this silence of the In Between, I sit with where I am. Just like one can choose to go out on a mid Winter’s day to sit in the Season.  Drink it in, rest assured you are in the now. Enjoy the small promises of the sun peaking thru with the crispness of breeze in the air.  Learn to love the in between for there you will find the best of days in this space between.  

What is your Season In Between?  Where do you find the joy while waiting?  

I promise I'll get back to creating soon, but thought I'd add this new section to the blog for those who additionally need inspiring thoughts. If you'd like to see more of these make a comment and I'll try to oblige. 

Gloria

Travels, Art Journaling and Plein Air Colored Pencil Paintings

Slocan Lake View, BC, CA- 6" X 12" Plein Air,  Colored Pencil on Ampersand Pastelboard
Available For Sale

As life gets back to normal after traveling for almost a month in September.  I'm playing catch up on all things art related and business related.  But BOY! did I have fun! For an artist who gets recharged by traveling and being on the road, seeing the Pacific Northwest (specifically the Oregon Coast and up to British Columbia, Canada) made the top of my list for my 2018 travels.  I'm an east coast girl so I know it pretty well, north south and mid Atlantic.  Although I've enjoyed previous trips to Washington State and Montana, getting to enjoy the PNW for 3+ weeks as an artist and spend time with my sister was a joy.

I travel journaled for most of the trip and those images will come in another post, stay tuned.  I still need to put a few finishing touches to a couple pages :))  Journaling is always a great way to get the feel of a place for me art wise.  Observe the lighting, atmosphere and vibes of a place. (And the afore mentioned are so different than here in VA.)  Travel journaling kind of gives my head time to adjust to actually making art on a trip. It also gives this "name challenged" brain of mine a place to write location names, places and people I see along the way.  The dates on photos correlate to the dates in my journal so I know where I was on each day.

The scene above was of Slocan Lake's south slip, where ferry boats would come into Silverton in the early part of the 20th Century bringing supplies and miners families to town.  My sister has a lake house there and her view of Slocan Lake is beautiful also.  So many photos to paint from so little time! My reference photo taken for a few tweaks after I returned to Oregon is below.  While the photo is close to what I saw, the camera greatly changes the tones on the far mountain range I observed.  They were not the very blue as seen below.  While pretty I wanted to capture the actual view.

Photo of Slocan Lake View for reference

You see the human eye can see so many more values and colors than the camera. Which clones major darks and cannot see the subtle tones our eyes can.  Plus for this morning out it was really about the fog that still settled in the highest mountain ranges and the lightly dusted glacier of Idaho Peak seen in the distant right.  With some editing of the scene, (removing a couple small trees that interfere with the distance focal point) I hope I can give just a little of my experience of a moist, foggy day to the viewer.  The dew in the grass and shear quiet of the location.  While it was only mid September the tourist season was ending in Silverton.  The campgrounds nearby emptied in the few days we were there and brisk high 30 degree temps hit in the mornings at lake level.

I took so many photos while in British Columbia of the scenery, mountains, rivers and lakes  I will have no shortage of landscape images to work from.  If anyone is from that area who stumbles upon my blog I hope you feel I did it justice.

Of course the piece is for sale and you can contact me at my email: gloria@gloriacallahan.com if your interested.  All of my Colored Pencil works on Ampersand board are created using artist grade lightfast pigmented colors, and are protected with fixative and 6 light layers of archival UV Acrylic Varnish.  

Now off to frame this little guy!

More 2014 Plein Air Colored Pencil Works

I promised you more Plein Air pieces and here they are:

"Pier 22 Annapolis Docks" a 8 X 6" Colored Pencil on Ampersand Pastelboard completed during a weekend workshop on location at the docks.  My BFF and fellow plein air junkie, Kathy Scott also worked at this view in her native oil paints.

In Sept. we attended a plein air workshop from Oil Painter - Barbara Nuss who's book on Composition we both own and hold in high regard.  Which can be purchased from her at her website HERE or at a Barnes and Nobles.

Now again most workshops I attend in plein air are for other media, not colored pencil.  But I always feel you can learn from other artists in their approach and palette.   I just translate in my head the colors they mix or demonstrate into my well known Prismacolor shades.  Black Grape, Moss green etc.

To the right is Kathy's 10 X 8" piece done in Oil "Dockside Bar"  Her piece was also finished in the studio afterwards.  To view more of Kathy's work her website can be viewed HERE You can see the differences two artists observe in the same view.  It is the artist's prerogative to add or remove elements they find distracting to their subject.

The view across from the main dock area was in constant motion.  The large sail boat Woodwind II from my piece, came and went in the 4 hours we painted in the sun.  A large bay charter boat came and went from slip 22 every hour and a half.  Blocking our view and making us move our set up spot initially.  But such are the perils of working in the fresh air!  

The above shown pieces were from our second day of the workshop, Sunday.   On the prior day, Saturday we watched a demo Barbara completed from the window of the Quiet Waters State Park in Annapolis, MD, while we waited for the rain to clear.  Then it was out to the South River view to take it on for ourselves.

So my "South River View" an 8 X 8" Colored Pencil on Ampersand Pastelboard came to be.  Now again, my colored pencil works are usually near 75% complete on location, with the build up of layers and saturation of color added afterward.

We concluded our trip to Maryland with a detour thru Chads Ford, PA to see the homes and studios of N. C. Wyeth and his son Andrew.  What a treat!

I do have a few more works yet to see the finishing touches from other 2014 plein air adventures in CP.

Stay tuned!
Gloria

Powhatan's James River Plein Air - Sticking it out in the Rain!

                                           Powhatan's James River Plein Air Study 8 X 10

Now that summer is half over I thought I had better catch you up on what I have been up to recently besides teaching summer open studio class in my home studio.   The above plein air study was CP painted on Ampersand pastelboard last Wednesday.  My cohort in Plein Air travels, Kathy Scott and I painted at the new Powhatan James River State Park.  She in oil and as usual I worked in CP.  We had planned to get an early start before the impending rain or heat and humidity of the Mid Atlantic set in.  But after a brief walk around we were forced to work under the pavilion on our morning's pieces.  The view was at more of a distance from what I had originally decided to paint so I worked from memory of the view I liked the best, supplemented with short jogs out into the rain to re-familiarize myself with the original view.

The rain of course was not my only challenge today.  You see I had a board from a failed attempt to plein air in my bag which had a slightly rendered image on it already, a statue in a garden surrounded by rocks.  Although it appears in the photo below like a landscape sketch it was really in a vertical format 10"h X 8"w.  After erasing the board as best I could, then turning it into a horizontal, you can see what I was left with in the image below:

Not the best when using a translucent media like colored pencil, but I actually had little hopes for this new piece given the rainy day we were working in and the distant view of my desired composition.  As you can see in the reference photo taken below,  my view from under the pavilion showed little of my original vision.    

But 3 hours later when the rain had stopped and a few faint sun rays came out, we were invaded by a YMCA camp bus of little people ready for a "Nature Talk" by the park rangers.  So we packed up and vowed to return on a sunny day.  I worked for a short while when I arrived home the next day tweaking the far bank and foreground areas.  You can see my statue underpainting is hidden (actually she is under the tree bases and along the front bank of the river).  

Lessons learned:  #1Yes, you can salvage a failed start and cover it in CP just like in other media, on Ampersand that is.  #2 I was proud of Kathy and myself having stayed the course in the rain.  We found a scene stuck with it and worked thru the conditions. #3 I think I captured the atmospheric moisture in the distant shore as still kept  the lighting and shadows of my initial view before rain set in.

Besides being a great friend and CP artist herself Kathy is always ready for an adventure!  Here is Kathy Scott's plein air from our trip: A 10" X 8" oil painting titled: The James River In Powhatan.   More of her work can be seen at her website:  http://kathyscott.fineartstudioonline.com  As you can see Kathy chose to keep the rainy feel of the day with her piece.  Her view was certainly different than my own, but I'm sure you will agree, a lovely calming view of the James.

                                         

Our trip was the second in a series for me of James River views from the central VA area in which I live.  More to come for this series.  Next blog post will continue my plein air travels with CP from this weeks trip to a the Harrisonburg area of VA and more!  

Have a colorful week!  

Gloria

Plein Air Colored Pencil Painting - On The James River

A week ago Richmond had it's second Plein Air Event sponsored by Brazier's Gallery 

on West Main Street.  Nationally known artists from around the country and locally competed in an week of plein air painting with the beneficiary our local Richmond Symphony.  Having participated in a past Richmond Symphony fundraiser and as an ex flute and piccolo player, it's a great group to support.  Two of my friends and I went down for the Fast and Fresh painting on Sat. morning where artists where set up on Monument Ave. in various locations to paint from 9am to 11am, with a judging and sale afterwards.  I have to tell you I met some plein air painters I had only read about in Plein Air Magazine, I was a groupie for sure.  Oil, watercolor, pastel and acrylic all media represented except my beloved CP.  But what this morning out had accomplished was just what I had hoped it to, inspire and motivate my two friends to try plein air working for the first time.  Resulting our plan to do so this last Thursday.  

 On June the 20th my two art friends and I,  plein air painted at James River Park in Chesterfield County, VA.  I of course worked in Colored Pencil while the other two worked in oil and acrylic.   Working with other painters is not new to me as I am often the only one working in colored pencil.  My usual goal when working outdoors with painters is to accomplish as much as possible in the same amount of time as they are willing to work onsite.  My slower to develop media means I'm usually the last to leave with less accomplished.  I accept that fact and by now I have learned to set a few goals for myself for each outing.  This time the goals were to get as much done faster than I have ever done in the past and to get a good feeling of atmospheric perspective.  I worked on an 8 X 10 hardboard that I had primed a while ago, a pale greyblue color with Colorfix's Blue Haze Primer, creating a sanded surface.  It seemed the perfect color to work fast and fresh on my own (see reference to the plein air event above). 

Above is the cropped view of my photo taken before I started. 

After scouting out a location at the park with a view of the James (which was very muddy after some thunderstorms the night before). We set out to work, my friends for the first time ever working plein air.  I thought to myself, "if it's their first time then I just may be able to accomplish a lot this time".  I usually work on white Ampersand Pastelboard (my favorite because of the ability to get truly light - lights) colored pencil being a translucent media.  This meaning the blue under-color of my primed board will show thru and change my hues and brightness.  On this bright and relatively cool June day I would be able to work more quickly not starting with a white surface.  Here is what I was able to    

accomplished in a 3 hour period of time (above).  Now this photo turned out a little more warm in tone than the second one to the right, not sure why.  The right one is also a bit bluer than the original due to my great photography skills, not sure why either.  ARGGG.  After arriving home and a quick bite to eat a late lunch, I took the above photo and sat down to work less than 30 more minutes on tweaks and missing info like: the ripples in the water and deepening the tones a little.   Really, I only worked a short time on this.  You will notice I added a smaller version of a tree on the on site photo to the lower left foreground, to point your eye into the painting a bit more.  Not sure if I like it but it's there to stay.   

What I learned this outing:

 #1 You cannot use watercolor pencils for an underpainting on the Colorfix primed surface, it will lay down well but when hit with water the color beads up on the surface and does not sink in like it does on the Ampersand Pastelboard I usually use.  When I have worked on the pastelboard I work 5 X 7 but this blue primed sanded surface allowed me to work 8 X 10 and get a lot done.  However it would have been faster if I could have underpainted with the WC CP's.  With this subject matter the blue hue of the board did not impact the overall tone much.

   

#2 Working with inexperienced plein air friends allows me time to get more done, thanks Kathy and Suzanne for trying this with me.  Next we are off to Suzanne's.

#3  There's nothing like getting out to see other professional artists plein air paint to get the inspiration juices flowing.

#4  I have great friends who will accompany me to paint plein air and to go out of their comfort zone and try new things.   

So everyone get out there and do some sketching, painting, observing.  Whether it's fast and fresh,  or as slow as CP we all can benefit from working outdoors.  First time or not we all have something to learn.  I'm already contemplating my next plein air goal in colored pencil.  Have a colorful day!

Gloria

Car Show and Wine Festival - New Work

                     1954 MG TF Landscape  12 X 16 Colored Pencil on Ampersand Pastelboard

I finished this piece last Wednesday just in time to get it photographed, varnished and framed for our local British Car Club Car Show at New Kent Winery this past weekend.  We have and arts and craft area in which I show my art.  My husband and I are members of the club but currently our 1953 MG TD is in many parts and pieces as it undergoes a total renovation.  So until it's completely done and road worthy I draw other great cars from our club.  This one is our club president's car and it certainly is a beauty.  (our TD is much the same style)

Creating this work involved a few changes to the original photo so I thought I'd show you what I had to work from.  The day the photo was taken in Aug. 2011 was very sunny and a typical VA warm humid one.  The meeting was during the mid day when sun was not the best for photos.

I removed the large white tent behind the car on the right and added more of the vineyards like on the upper left.  I chose to create a more fall-ish coloring starting on the trees since our show is a fall show and also to add some warmth to all the greens in the reference.  The photo made the car look so much blacker of a green than it really is, due to the lighting on this day.  Working on the sanded surface helped me quickly create the gravel surface, by just skimming over the surface with Prismacolor sticks and using some stippling with CP's.  I went for a warmer gravel than in the photo to keep color harmony in my work.  Being a slave to the photo is not always a good thing, so remember to compose your piece to make a better painting than photo.   As you can see the sky was a complete wash out in the photo so I made this one up from all of my observations of skies and clouds.  Mental photographs are a great resource and you always have them in your head.  All you have to do is take the time to really see some of the great skies we take for granted.

The show was a great success with over 250 classic European cars.  And I made some great contacts for Car Portraits!  Which is really just a still life in a landscape.  Enjoy your colorful day and next on to a new piece from my Provence Trip.

   

Provence Trip and a few Plein Airs finished

                                                   Lourmarin Plein Air Study 5 X 7

 

                                                   Roussillon Plein Air Study 5 X 7

Well finally I've scanned two of the Plein Air pieces done almost completely on site.  Both are on
Ampersand Pastelboard this first one on white and the 2nd one on the green pastelboard.  I prefer the white as the green or colors make bright whites a chore.   The Lourmarin turret turned into a home was completed with a underpainting of Watercolor Colored Pencils (Caran D'Ache) with layered  Premier Prismacolors completed on top.  Before starting the piece I photographed the scene and did a quick graphite study for composition purposes in my sketch book.   (I tried to scan it but the sketch doesn't want to show up well, sorry.)  I used the wc cp's to quickly tone the background area leaving the sky untouched.  When the wc cp was dry which happened quickly on site because of the dry warm day in July.  I then worked the sky.  Wanting to capture the atmosphere from morning haze still in the Luberon mountains behind.  Working small in Plein Air cp has become a must for my getting near completion in one day, but the sanded surface helps work much more quickly.

The Roussillon piece was started on a very windy morning sitting in the parking lot across from this hillside town.  Roussillon is where natural sienna pigments are found in the ground and the hues are amazing.  I did not do a composition sketch before starting this, nor did I do a WC CP underpainting, just straight Prismas onto the board.  Because this board was green to start with I mapped out a sketch with white cp lightly to build the drawing.  The day was so windy I had to leave halfway done and finish back at the hotel.  Building the colors due to the green Ampersand base coat, first with white.  Final finishing came when I came back to the states, but mainly tweaks and small details.  There was so much to get into this small 5 X 7, but the feeling of the village and it's colorful earth pigments is there. 

So there you have it, a recap of 2 of the pieces I did while on my France Plein Air Trip.  Colored pencil really is better thought of as a sketchbook media when on site.  But when you use a sanded surface, work small and use an underpainting of WC pencils things can move faster.  Perhaps not as fast as other media, but getting a saturated look is possible.  When wanting to work bigger I still use pastels, but  I do not love the mess I create nor are my pastel skills highly evolved.   And taking pastels on this long France trip would have meant more weight for my luggage.

Soon to post my Central VA British Car Show piece, just have to get it photographed.   Have a colorful Day!
      

Last day in Paris and Monet's Home and Garden

 Claude Monet's garden is about 1 hour 15 min., from our hotel via our special tour bus, and was everything I had hoped it would be and then some.  The artist's home is inviting with the rose arbors lining the garden side of the house.  And the gardens it over looks are so filled with blossoms you hardy knew which direction to look.  My only disappointment was it was so busy (we got there when it opened) there really was not a place to even do a quick sketch.  And we only had 2 hours to see it all.  Inside no photos are allowed but for those who have not seen it, it's decorated to the exact duplicate of the photos displayed inside. With replicas of his paintings hanging in his studio. My favorite part of the house was the blue and white kitchen.  His bedroom was a cheery space that's windows opened up onto his magnificent garden.       

The bridge view today is much the same as in some of his famous paintings but appeared to be lower than I expected.  I suppose it's because he painted from his boat in the water, giving it a higher angle and view.  But again many crowds to contend with thus no drawings ala Plein Aire.

We concluded our afternoon with a trip to the Musee de l'Orangerie  on the grounds of the Louvre gardens.  Containing a tribute to Monet's Water Nympheas series that took over 4 years for him to paint. They fill the walls of 2 long oval rooms. The link here will give you a teaser. www.musee-orangerie 

So that was a good ending for our Monet day.  
Au revior,

Gloria

Provence Plein Aire - Roussillion

View of Roussillion, France and it's Ocher  pigment in the mountain.

Yesterday was our trip to the perched town of  Roussillion, where the ocher pigments

My beginning for the view of Roussillion.

were mined, in all shades.  Finding the town which is only about 15 min. from Bonnieux was a little tedious as 2 of the roads were washed by mud slides.  So the third option 25 minutes later panned out.  Climbing in switchbacks the whole way up "Bubba" our new vehicle made the trip up smoothly.  Such a change from the vehicle I started out with.  Thank you Hertz!  

Lavender fields in many areas were out (not as much as farther south) and proved good photo ops.  As the driver I had to stay in the vehicle so I'm waiting for the copies my car mates ran out to get while I hung on to the edge of the road.  Look for them in follow up posts when I get back.  Being the designated driver has it's downfalls as I can't shoot so many of the quick shots of this wonderful landscape while driving, like my car mates can.  

As you can see my start for the view of the town was slow to develop.  The Mistral winds were at first a thankful gift for this hot day but soon became.a force to be reckoned with.  As the ochre colored sand and dust blew across the parking lot where I sat in the shade, I soon had more grit in my eyes and teeth than I could stand.   Here I'm working on a 5 X 7 piece of green ampersand pastel-board. laid out initially with 10 % french grey.  The drawing needs corrected some but the various little buildings are at varied angles which I observed first hand while in town.   This is as far as I got in about an hour and 15-20 minutes.  It was difficult to not loose your place while doing the sketch, while holding on to your supplies n the wind.   I hope to add some more to it from my photos.  More to come.  

Have a colorful day! Au revoir,

Gloria

Our Hotel/B&B "Le Clos du Buis" front view.  Today we recovered from several sleepless nights, jet lag and scoped out Bonnieux our temporary home town.  A hilltop village is so picturesque, friendly  and so  quintessentially French.  As typical, the streets are narrow and busy, but the pedestrian streets may offer some good set up areas for Plein Air painting tomorrow.  Or at least the quaint doorways along it were easy painting targets.  Lunch at a terraced brasserie was a salad with small crispy tomato pizza on top, looking over the Luberon valley below.

We were invited into a home with a rental apartment in it which was 12th century and part of the original ramparts of the walled town.  Most of the place was below street level (down 3 levels), the rooms were catacomb like and a cool earthen temperature.  The woman/owner had the cutest little Jack Russel terrier was very interested in our group of painters.  Her rear balcony overlooked the valley and the hill-town across named Lacoste.  A view to savor with a cup of morning cafe'.       

So there you have it my first full non travel day in Provence.  Dinner tonight is at the Hotel, family style with all 20 of us and the kitchen is smelling wonderful.  Garlicky yummy! Mmmmm.  I think my all day walking up hill has made for a good appetite.

Au revoir my followers,

Gloria  

Shrooms and 8 X 10 Colored Pencil on Pastelboard

This small new piece was finished last week.  The reference came about on a wonderful August day which was spent with my oldest Granddaughter Cora on her first Plein Air Painting day with me.  At the time she was just 7 and really enjoyed our day at Sunday Park in Brandermill.  These colorful little mushrooms were growing after a pretty wet week here, just loving the moist understory of oak trees sharing the spot with a small creeping ground cover.  (of which I haven't identified)

I actually started this piece as a demo back in Sept. at an outdoor art show, and worked on it for just minutes that day and on each of the 3 consecutive shows thereafter.  I find that having a sample of my artwork helps people to understand that it is indeed colored pencil on board.  Some have actually argued with me that it's not.  So this is much easier.  Since I was busy with the holidays and commission pieces this little gem was neglected until now.  The original reference was great on the details of the mushrooms but really bad on the dark forest floor, so I had fun winging it, and just plain old recreating the area from my mental notes and sketches from that outing.  I just love turning a leave and drawing folds.

So here you go, it always bugs me when I don't immediately finish a piece.   Enjoy the small things in your life today!   

Maymont's Three Graces

This is a 16 x 12 Colored Pencil on Ampersand Pastelboard piece that was finished a few weeks ago.  The reference for this was taken at Richmond's Maymont Estate a wonderful Victorian manor and local wildlife park.  The sculpture of the 3 Graces is one of my very favorites and with a setting overlooking the James River here on this cold day in early spring was just magical.

Still working on my landscape skills with colored pencil on board and finding my way to my landscape style.  Not sure this is it but when I started this blog I didn't want to show just my well done works but how the process of developing and growing as an artist goes.  Stumbling along the way when you try new genre or techniques is all part of stretching as an artist.  I have completed a several landscapes that I am happy with, and hope that I create many more.  For me still life and botanical work comes much more easily, but easy doesn't lead to new discoveries.

As I remain committed to colored pencil work as a painterly media I must learn to embrace experimentation in order to achieve my goals as an artist.   So here you go, one of my experiments.
Keep creating and stretching.                

      

Waiting For Harvest II

                                Waiting For Harvest II - Colored Pencil On Ampersand Pastelboard

I finally finished the second Waiting For Harvest piece and an addition to my Wine Series.  Again it is the same size as the first one (16 X 12) which was Pinot Grigio grapes from the Castello di Colognoli vineyards in Greve, Italy (which is in Tuscany).  These were Sangiovese grapes to be used for their Chianti wine that the family makes at the castle.  And one of my favorite red wines.  What attracted me to this cluster of grapes was the large knobby vine  and it was so large you knew the age of Tuscany was inside and out.  They were very sweet to eat and I believe were harvested just after we left in late Sept. 2009.

This will probably be the last of my wine series as I begin work on a commission piece for a client, that I will post after Christmas so I don't give away any surprises.

Enjoy your Thanksgiving Holiday everyone and have some wine it's good for your Heart!  Red Wine that is.
Gloria

Additional Painting To My Wine Series

                       Waiting For Harvest 16 X 12 Colored Pencil On Ampersand Pastel Board

In full swing of Art Festival/Exhibit Months, it seems my goals to get new work completed for the Wine Shows to come meet with distraction on a daily basis.  I attended the Exhibit at Glenview Mansion in Rockville, MD on Sunday of the CPSA (Colored Pencil Society of America) Disctrict Chapter in DC, of which I am a member.  The mansion is a beautiful and artsy place to exhibit with so many shows going on besides ours.  I have three paintings in the show and received nice comments from the other members on them.  A must see if you are in the area.

Now for the painting seen above, it's finally finished and I'll do another similar with red grapes soon but it will have a distinctly unique feature, stay tuned.  Both of the references for the 2 grape harvest pieces are from my 2009 trip to Castello di Colognoli, in Tuscany.  This of course the white grapes on the vine waiting for the harvest, thus the title.  The photos were taken late in the afternoon just after dinner and the warm setting Tuscan sun was setting.  The feeling of being there comes back to me as I work on these, remembering the sweet taste of these white grapes.  But I've started a wine still life to give me a break from all the grape drawing, and Still Life are one of my best sellers.

I've got frames to order and at least 2 more paintings to finish by then ......so back to it.

Landscapes in Colored Pencil - Bodie Island Light 24 X 18

I finished this colored pencil painting just before my vacation last week and needed to settle on it a while, you know like we all do with newly finished work.  Set it aside, look at it, put it in a frame to check it out, look at it some more and then leave it for a week to see - is it really done.  Well, I guess so as I photographed it today, and here it is.  Done except for the 6 - 8 final coats of UV Varnish which I'll do tomorrow.  I like to shoot it after I spray it with matte fixative but before the varnish as I think the added coats make it harder to photograph.  It's done on Ampersand Pastel Board.  So it can hang without glass, protected by the UV Varnish.

The lighthouse in lower Nags Head, NC is a familiar site for vacationers to the outer banks.  And is one of the reference shots from our Trip at the end of May.  The view is from the marsh lands looking back to the light from the deck platform.  Catching the reflection in the marsh water was a unique shot of this often photographed lighthouse.  One of the many pieces I will be working on for a gallery in the outer banks.  I hope you enjoy my take on it.

New Painting Photo'd and ready for framing

                                            Spring Thaw   16 x 20 Colored Pencil On Pastelboard

Now that the big Easter egg hunt for the grand daughters is over, dinner cooked (with too much ham left over) I was finally ready to get this newly finished painting photographed.  Getting a true likeness of my painting via the camera and then Photoshop is always an ordeal for me since I'm now on my own for this task.  (My son is off to bigger and better things.)  A photo reference of melting icicles with the VA creek rushing by, prompted this painting.  The attempt to capture the coldness of the ice yet the awakening of the moss and lichen growing on the rocks was my goal.  Full of abstract shapes - this really had me checking my left brain at the door!  It will go into a very nice Expresso /blackish frame that is 3.5 inches wide.

On other news, I have been assembling my newly purchased pastels for a trek into the PA Mountains for a plein aire outing.  With my sole goal of finding a faster medium to get more accomplished with a saturation of color and the Plein air experience.  No I'm not going to replace my beloved cps,  but I hope to use the pastels to do more saturated studies for future works to be done in cp, along with the gained skills of working from life.   And I really don't want the mess of pastels in my studio, outdoors the dust and mess will be easier to live with.  Now I may go around an entire day with colored dust on myself for the world to see but my studio should still be clean.  Okay, I know I'm a bit of a clean freak when it comes to art supplies, but I have to admit shopping for those pretty colored pastels had a rush that put me over the potential messes to come.  The Terry Ludwig set of 60 Maggie Price came today and they look so good!  I'll save the set up for my Plein air box/kit for a future article, that is after I figure out how to pack for just this one new media.............

Back to the wonderful work of painting,
Gloria