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

Workshops and Motivation To Do What We Love - Paint!

Workshops and Motivation To Do What We Love - Paint! 

OR

 In other words:  Conquering doubt and the pains of stretching in your skill set.

"Late Summer -  Plein Air Study" - Oil on Gessoed Hardboard 9" X 12"

The above oil painting is from my most recent plein air outing at Powhatan State Park along the James River this week.  All but the clouds were done on site since they seemed to be everywhere except over the field I was painting.  And my goal was for this to be a sky painting!   I haven't done many with the Cobra water miscible paints but I'm happy with this one.  

But I digress from the reason for this post. Note this is a long blog post sorry;((

It’s funny how ending one large time consuming project in your life - leads to self examination and sometimes an inability to get back to the art you love.  If your like me, you channel yourself in household chores that we may have left for “the project”.  Or you keep yourself busy with the "office to do’s" in an artists life.  Computer work, website updates and getting caught up on the accounting of your business, can provide necessary distraction..... Errr Umm procrastinations.....  All the while dabbling in but not really completing any of the works you have on your easel.  

Knowing this about myself I had signed up for a wonderful workshop from an artist who’s use of color is inspiring, clean and just plain makes you happy.  And HAPPY is what I needed to get much more of lately.  Her name is Dreama Tolle Perry and you can find her joyful paintings and workshop info  HERE.  

Dreama'a 3 Day Workshop in Paris KY, is in oil and for me this was the first workshop I’ve actually done in oil.  Even though I have studied with other wonderful accomplished oil painters -  Charlotte Wharton, (who’s plein air insightful workshop I did in pastel) and Barbara Nuss (who’s plein air workshop I did in my usual colored pencil). (Click on their names for links)

Out of my comfort zone and into the fire was how I felt.  After all I had only completed one oil plein air sketch to date before I went on this adventure.  Dreama’s lovely loose brushwork is much different than the tight style I’m known for.  Her easy going start to her casual paintings is completely opposite from my controlled composition and exacting line drawing whether “en Plein Air” or in the studio.  Oh and did I say her expressive brushwork is just short of gobsmacking!

All of this coupled by her enthusiastic “joyful” demeanor was contagious.  So on Day One - I laid out her translucent color palette in my water miscible oils, picked up a brush too big for my comfort zone and started on this lovely image provided by Dreama. I was thinking, learning to use her format of working thru a painting "alla prima” (fresh - wet on wet) shouldn’t be hard, since I had only tried 2 other paintings in the oils before. After all I had no bad habits to unlearn, and Dreama made it look so easy.  However day one provided a big challenge for this detail oriented mind.  But I love her joyful use of color and I was determined to “Get” this new media. 

Day Two - Da Dun Dahhhhhh (Cue: doom and gloom sound effects)  Let’s just say day two enabled me to have a refresher course on what it was like to start a new media, no matter how experienced you are in other media.  

Humbled and grappling with how to control my brush and this new oil media left me frustrated and feeling defeated.  I was trying to channel Dreama’s style and failing big time!  I looked around and saw 17 other artists enjoying the day and their paintings and wondered what was wrong with me?  Even my supportive friend Kathy Scott, oil painter and roommate for this trip, was having a great time.  Day Two's painting was a complete “wiper”.  Or at least one that will never see the light of day!  I went back to the hotel whipped and feeling defeated.  It took more than one glass of wine Kathy so wonderfully provided before I felt better.

That night I had to dig deep and think about the “why” and the “how” I was going to recover from Day 2, and get thru Day 3.  We had some really good artists in the group from all over the US and one from Israel!  And they could do it.  Then it dawned on me……Cue: Light bulb symbol…... What I realized was that all of the other artists were working with Dreama’s palette but in a style they were comfortable with, their own.  I was not.  This was no failing with Dreama’s teaching, it was I believe, a result of the inner conflict I’ve been having with where my art is going.  After all I was new to oil, I didn’t have “a style” in this media yet.  

So Day Three - Paint from our own reference.  I needed a new outlook.  And Dreama’s words of wisdom on that very Day, helped me realize "I needed to fill myself with the joy to create and work in my own style and however that developed would be just right for me”.  (Paraphrasing here but she said something like that).

Sometimes what we need to hear, comes at just the right time to be heeded in all areas of your life. And for me this was truly one of those times.  (Cue: angelic singing) 

"Fleurs"  Oil on gessoed hardboard 5" X 7"

My piece for Day 3 came out much better than I had thought it could have on Day 2.  More importantly I learned how using transparent colors keep your colors clean and bright.  Dreama's approach is truly a great start to my oil painting future, from her palate to her infectious optimism.  I may bring forth more detail because that’s what I love, and it’s OK, but I will heed her words as I find my future in my art.   

If you can't see it below, Here’s a link to Dreama’s video of our workshop. HERE

Thank you Dreama Tolle Perry for being an inspiring teacher, artist and the voice of "what I needed to hear when I was ready to hear it" at your very special workshop.  Oh and for exposing me to Paris, KY! ;)))  

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