Thor's Hammer, Bryce Canyon, UT ~ Potomac Artworks

8.01.2011

Thor's Hammer, Bryce Canyon, UT

In leading a demo for a floating pastel underpainting, I chose the photo of Carolyn, fellow Pastel Society of Virginia member, to use as an example, which was an unusual move for me, as I only paint from my own photos. However, this image was so compelling.

The underpainting didn't cover the entire surface. I mostly worked in darks and greens, saving all the lights for later. This way, the edges I wanted to be sharp and colors deep wouldn't be hazed by floating chalk from the lighter pastels.

Almost entirely done in Pastel Society of Virginia meetings, this painting was so much fun to model and sculpt.

Thanks, Carolyn.

Thor's Hammer, Bryce Canyon, UT
pastel
9x12 Pastelbord

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The Charm of en Plein Air

Much of my work is done en plein air, French for "in the open air." People often associate it with the Impressionists, but the move to paint outside preceded them by a number of decades. The trend to appreciate landscapes as a genre at all was new for the time.

Several characteristics contribute to the distinctive beauty of en plein air painting. They are generally smaller in size in order to be able to capture a scene in a single sitting. Because of the time limit and environmental factors such as the sun and shadows moving, they often lack extensive details and might appear slightly fuzzy or unfinished. Lastly, they tend to have a freshness and spontaneity which makes them impossible to compare to traditional and methodological studio work. That said, my own studio work tends toward the same feel as en plein air, which then identifies my overall style: softness with an edge.

My aim when painting en plein air is for alla prima paintings, which roughly translates for me as "what happens outside, stays outside." It adds another level of difficulty to the work.

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8.01.2011