I will admit to being a bit out of practice on painting still life, but I chose painting a sushi window display over painting boats, marinas, or buildings in Annapolis during Dueling Brushes. Please, give me a good landscape or skyscape any day instead! Yet it's all in good fun. Doing a store front beckoned me even before I arrived.
I used a Dakota KOOOL Binder containing Wallis Belgian Mist along with a collapsible wooden Ikea table and a Dick's tripod chair with a back, to which I could attach the Guerrilla umbrella. I like to get up and view from a distance often.
The pastels are a hard pastel combination of Van Goghs and Cretacolors in two small Van Gogh boxes, Faber Castells, and a compilation of old pastel bits, mostly Unison, WN, AS, Mt Vision, and Ludwig varieties fitted into an old Rembrandt box. The set up was very easy to bag and go. Sushi required many colors I don't normally use, so putting them to work was a joy and I was happy with my diverse palette.
More Annapolis sights with a few other pastelists in the adult and kids's divisions...
As my first time to exhibit in Washington, DC, my pastel painting "See No Evil" will be at Hill Center's Regional Juried Exhibit until September 1, 2013. It is located at 921 Pennsylvania Ave SE with the hours on the card. Let me know if you went by to see it!
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.
These are some local places for landscape painting; most are within an hour of the Beltway. Look here for the complete album, a couple hundred views from my photography collection, which are mapped here.