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

Back To The Blog - Summer and Fall Plein Air Colored Pencil Works

Finally after a very busy Fall I am getting back to blogging.  My apologies for letting things slide here on the blog.  But on the positive note I have been creating out in the Open (Plein) Air.     Which was one of my goals for 2014.  The piece to the left is one started on site in June at a location in the Bellevue area of Richmond, as part of the VA Plein Air Painters group of which I am a member.  It is currently on exhibit at "Stir Crazy" the local Bellevue area coffee shop, as part of our group exhibit.  The lovely home at 1622 Pope St.  is featured only in part here because this was not intended to be a home portrait.  But it was to be a study in the dappled light falling on the lawn and seen thru the trees between the lots.  

Thus the title: Dappled Light - 1622 Bellevue SOLD

The scan of this piece is reading a little red and with a slight cast of acid yellow which does not appear on the original piece.  But I gave up trying to tweak it in Photoshop.  If it does not sell at the show I will photograph the piece again to get a better image truer to the original's color. 

10 X 8 Colored Pencil on Ampersand Pastelboard.  I would say 70 percent of the image was done on site with the final saturation of color completed in the studio.  We worked about 4 and 1/2 hours on site that day.  

Prior to putting the finishing touches on this work I had started several pieces in plein air this season and am in the process of putting finishing touches on the rest.  Our Plein Air group considers works done en Plein Air, works that where 85% of the image is finished on site. (No matter the media)  So this one is noted as Plein Air and Studio for that reason in the show.   Accomplishing 85% in one working period out of doors is a feat I have only accomplished a few times in CP and the results are smaller works generally.  Unless I can use a toned board, but that effects the overall colors in the works due to the translucent nature of CP.

Look forward to the next installment on my 2014 Plein Air Season and my new addition!

Gloria Callahan

  

Colored Pencil - Plein Air Summer

                                                     Sunday Park Plein Air  6" X 12"
                                           Colored Pencil on Ampersand Pastelboard

Summer 2014 started with working "En Plein Air" (in the open air) with colored pencil and it's still going strong.  So while my posts have been a little farther apart I have been working on getting my speed up and working in new and various sizes.  2013 and prior I mostly worked in 5 X 7 sized pieces and one 8 X 10 but I had vowed to work a little bigger in plein air this year.  Many other media painters work their plein air just as small but they may get 2 pieces done in the time I work on one.  No matter, it's all in the doing as far as I'm concerned.  The above piece was at a local park here in July  at Brandermill's Sunday Park.  A small park in Chesterfield County, VA.  Quiet during the week and just a perfect spot for working on my speed.  I liked the long format of this board and had previously only worked on my backlit fruit series on it.  See here or here for a sampling of that series.  One of which I don't think I ever placed on the blog is:

                  Backlit Citrus 2  6" X 12"  Colored Pencil on Ampersand Pastelboard  SOLD

While I liked the long format for the still lives mentioned, I'm finding I also really like this long format for a larger vista.  So I will be sure to do more plein air pieces on these boards.

The largest piece plein air I have tried was 9" X 12" on a 5 hour session plein air and a few hours at home.  Virginia is blessed with at least one lavender farm in the Blue ridge mountains east of Harrisonburg.  My favorite plein air pal and side kick, Kathy and I ventured out for an overnight in the area on the hunt for plein air sites.  White Oak Lavender Farm was our first stop, day one of the trip.  As a gardener, woman and foodie it's a little distracting at a place like this because you just want to buy up their plants, scented lotions, lavender balsamic vinegar and lavender blueberry jam.  Yes, you heard right lavender balsamic vinegar!  But I digress.....

Although it's a great place in a quaint Shenandoah setting, it's not the quantity of lavender you see in Provence.  But since I was bummed my friends were in France and I was not this would do nicely.  Our hard winter was hard on the lavender and so a little imaginary enhancements were added in the following piece to even out the farm's replacement plantings in some areas.

                                                          Lavender Fields 9" X 12"
                                           Colored Pencil on Ampersand Pastelboard

While I think capturing the distant Blue Ridge mountains and more distant rolling fields of the farm went well, most of the work on the foreground field of lavender was completed at home.  Lavender is very hard to capture well, but I did my best.

Did I tell you that working outdoors in a field of lavender is dreamy!  No other word for it d-r-e-a-m-y!   As the breeze on this overcast day blew by, the scent was ethereal, not over powering just light on the wind.  Kind of like the approaching rain heading our way.  It held off until just the end of our session when we could not wait any longer to make our purchases in the farm's gift shop.

I'll add some more plein air work in another post but for now you can see some of what I've been up to.

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

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!