Colclough Walled Gardens #1. 20 x 30 cm, oil on panel.
I’ve been moving around a lot and haven’t been posting much, so here are paintings from the last three months. The first few are from the AITO plein air painting festival in Wexford, Ireland. It’s always a great to be back in Wexford and they always find us great spots to paint. I focused on gardens this trip, as subjects to enlarge in the future.
There are inspiring natural effects which take place in weather which is not really suited to plein air painting. I wrote earlier in the year about painting in snow, rain is another such condition. For cityscapes and roads especially, painting while it is raining can offer reflections in the wet pavement which make for some wonderful designs and unusual compositions.
After the Rain, Broad Street, Charleston. 12 x 8 in., oil on linen.
The Fin-de-Siècle Museum in the Rain. 30 x 20 cm, oil on panel.
There are, however, difficulties with using oil paint in heavy or persistent rain. First, when the painting surface is covered with a sheet of water it can be difficult to get the colors to stick. Then poorly mulled paints can bleed with the water. Next, heavier drops of water can hit the delicate paint layers, leaving small craters in the color or washing away the paint altogether. And finally, with enough perseverance, one discovers that the the old adage ‘oil and water don’t mix’ is only partly true: Oil paint will eventually mix with the water to form a thick emulsion which can be difficult to control.
The obvious solution to this is to keep water off the surface, either by painting somewhere with shelter or to carrying one’s shelter to the spot. A top-hinged trunk door can work very well for painters with one on their car (thanks Roy), as shown in this photo of my set-up under the trunk of a car on the Hardangerfjord:
Using a trunk door as a portable painting shelter in Norway.
Recently I built a small, lightweight rain-bonnet which attaches to my easel above the panel. As I wanted something that would fit in my backpack the set-up is quite small. It works fine in normal vertical rain, but isn’t all that successful with the horizontal and upward-directed rain that you get in places like Ireland. Once I’ve tweaked it to better functionality I’ll try to get them out to the public.
Rain bonnet for plein air painting in rain.
Another option is an umbrella. I have an Easyl umbrella from Artwork Essentials, which is made from opaque cloth and designed for blocking sunlight, not rain. The problem with an opaque or dark umbrella in the rain is that it blocks what little light is filtering down from above. This can be especially problematic when painting in cities or forests where much of the ambient light is already blocked from the sides. A better solution would be a white umbrella like the ones made by Best Brella. While I have no personal experience with their products, I’ve seen painters with other clip-on white umbrellas and they let in adequate light for keying values properly.
Dark umbrellas block too much light in overcast conditions.
A serious problem with painting in heavy rain is that it can absolutely ruin materials. For brushes, the thickness of the emulsion and water sinking into the wood handle can expand the metal ferrule which, in turn, causes hairs to come out and destroys the form of the head. When working outside in dry weather I can get away with washing my brushes once a week if I use them everyday. When painting in heavy rain I find I need to get the paint and water out of the brush at the end of every day, and even then some don’t make it.
I haven’t had problems with wet panels warping, but I have seen water soak the linen and cause it to shrink. This can lead to bending of the stretcher bars as seen in Leo Mancini-Hresko‘s photo below. The solution would be heavier stretcher bars with a crossbar, and/or restretching the canvas after the painting is finished.
Warped stretcher bars due to the linen shrinking while drying.
As for rain clothes, there are better sites to peruse for gear. I’m personally a fan of Gore-Tex Paclite as it’s cheaper than, and doesn’t breath as well as, the fancier alpinist/backpacker stuff. I find that clothes that don’t breath well are better for us stationary landscape painters, yet some venting is better so it doesn’t feel suffocating or clammy. I have an old Patagonia Paclite jacket that I’ve used for a number of years if I know it’s going to rain. I wash it and reapply Grangers waterproofing once or twice a year. As I mentioned in the post on winter clothes, alpinist and climbing jackets are stitched together in a way to minimize the pull on your sleeves when you lift your arm. This works better for painters than normal jackets as we also keep our arms up much of the time. A dark and/or blue jacket is also a good idea for painting en plein air as it wont reflect a strong color back onto the canvas if the sun comes out.
I’ve experimented recently with a lightweight Helium II from Outdoor Research and one of the new Derzimax jackets from Bergans of Norway. Neither was particularly impressive, the Helium packs small and weighs little, but it wets out quickly and feels clammy. The Derzimax jacket keeps me dry, breaths well (which can feel cold when stationary), dries quickly, but weighs four times as much as the Helium, and twice as much as my Patagonia.
Painting in freezing rain can be a problem as one needs all the warmth of insulating layers, with a waterproof shell on top. In the past I found the only way to do this was with the aforementioned layers or a very heavy parka, both of which are constricting and heavy, and annoying to paint in. This year I picked up a lightweight Crux eVent down jacket from Up and Under in Cardiff (great UK gear store), which should be both warm and waterproof for painting in winter rain. I let you know how it works out. eVent is suppose to have problems if it gets dirt or grease on it, and I assume the same would go for oil paint, but it was the only lightweight, articulated-shouldered, one-jacket solution I could find.
Painting in the rain on Curracloe Beach in Ireland.
For rain pants I use a Berghaus Paclite shell that can be found pretty inexpensively on Amazon.co.uk.
Bathtub test: Meindls (bottom) didn’t let water in after hours, La Sportivas (top) leaked like sieves.
It took me forever to find actual waterproof shoes that were light enough to travel with. While I love the grippy soles of La Sportiva approach shoes and trailrunners (red Frixion soles), their Gore-Tex iterations are a trainwreck . When wearing them my socks will get wet after crossing a lawn covered with dew. I’ve had good luck with Meindl boots so I’ve been using their X-SO 30 shoes with Gore-Tex Surround and, combined with waterproof gaiters, they keep my feet dry for hours in the rain. The downside to Meindl is they can be hard to find, expensive, and they look like they were designed by a 1980s glam rock group. On the plus side they’re still made in Germany and last for years.
Custom cuben fiber backpack for painting equipment.
For keeping my gear dry, I had a Cuben Fiber (now Dyneema Composites Fabric) backpack made by an artisan in Florence. My main interest at the time was actually to keep medium and turpentine from getting out of the backpack, should something leak. But the Cuben Fiber is completely waterproof, so my paintings and brushes are protected once they get back into the bag. I was a bit concerned about how Cuben Fiber would react with the medium and especially with the turpentine, but it’s worked great so far. I’ve used it daily for six months with turpentine and medium on the inside and outside of the bag there are no ill effects. It wipes off easily too.
If anyone has other thoughts or suggestions, I’d love to hear them in the comments.
Donald Jurney was a big influence on me when I was starting out as a landscape painter. He and his wife have recently started a fellowship which offers $5000 to any emerging or mid-career representational painter for travel to Europe, to study and paint while there. There is also the possibility of an exhibition in Massachusetts in the year after the trip. You don’t have to be a landscape painter, but you do have to be an American resident over 21 years of age. The deadline is December 15th of every year. Best of luck to all the applicants.
Hazel Morgan painting the Woodford valley. 25 x 35 cm, oil on panel.
Here are some images of plein air landscape paintings from this month in England and Wales. I was teaching a weekend plein air workshop in London for LARA, and then a week-long course in Wales for the Welsh Academy of Art. In the interim I painted with my old friend Hazel Morgan in the countryside around Salisbury.
Woodford Cows. 20 x 30 cm, oil on panel.
Late Afternoon by the Avon. 20 x 30 cm, oil on panel.
Salisbury Cathedral. 20 x 30 cm, oil on panel.
One thing I love about painting in the UK is how many talented plein air painters there are to meet up, talk shop, and paint with. While in Wiltshire (and Dorset) I had a couple of painting afternoons with Charles Church and Oliver Akers Douglas.
Charles Church painting cliffs in Dorset. 30 x 20 cm, oil on panel.
The Durdle Door, 35 x 25 cm, oil on panel.
Barley fields above Tisbury. 20 x 30 cm, oil on panel.
I intend to write a blog post about techniques for painting in the rain, and hoped to test new gear in the UK. Unfortunately we had very little rain, and blue skies for much of the time. I’ll have to wait for the Italian autumn to try my new set-up.
Sheep on a Welsh Hillside. 25 x 35 cm, oil on panel.
Children playing under a tree. 20 x 30 cm, oil on panel.
Narrowboats. 25 x 35 cm, oil on panel.
Tretower Morning. 20 x 30 cm, oil on panel.
Patterdale and Whippet studies. 20 x 30 cm, oil on panel.
Brecon Beacons cows. 20 x 30 cm, oil on panel.
Lastly, here a couple of paintings from my weekend in London. I painted with Roy Connelly and scouted extensively for views with both Roy and Julian Merrow-Smith.
Prince Albert Bridge, 30 x 20 cm, oil on panel.
Cleopatra’s Needle on the Embankment. 20 x 30 cm, oil on panel.
Morning Light, North Santee Delta. 11 x 14 in., oil on linen.
Here is the second batch of my South Carolinian Lowcountry landscape paintings. These were all painted on a plantation in the North Santee River Delta about an hour north of Charleston.
Road in the Marsh. 43 x 35 in., oil on linen.
While the weather was good most of the time, the biting flies made working impossible anywhere except out on the dykes in the marshes. And there I had a lot of alligators watching while I painted. It was also pretty windy, so I was using a 4×4 as a windblock for some of the larger pieces (and as an alligator block too as I don’t trust large wild animals, even if the locals all said it was safe).
Rice Trunks. 31 x 39 inches., oil on linen.
Swallow Boxes. 12 x 8 in., oil on linen.
For the above painting I used a new rain-bonnet I made for my carbon fiber easel. When I have a second I wanted to do a blog post on plein air painting in pouring rain.
Rain bonnet for plein air painting in rain.
Gray Day, Minim Creek. 8 x 12 in., oil on linen.
Minim Creek Sunset. 11 x 14 in., oil on linen.
Twilight, Rochelle. 8 x 12 in., oil on linen.
These are all for my exhibition opening this Friday at Ann Long Fine Art in Charleston.
Here are the paintings from my second week of painting in South Carolina. These are also for my show with Ann Long Fine Art in Charleston on the 27th of May.
The paintings were done en plein air on a farm an hour south of Charleston on the Toogoodoo Creek, outside the town of Hollywood, SC. I didn’t leave the farm for a week as I find I can get much more work done if I’m not scouting over great distances. When I start driving and looking for views I find way too much to paint, and can never settle on something.
Creek Study. 14 x 11 in., oil on linen.
Mist, Ashe Farm. 8 x 12 in,. oil on linen.
Toogoodoo Dawn. 8 x 12 in., oil on linen.
The Lowcountry is flat and either marsh or live oak and pine forests. The get a ton of water here so the oaks get massive and are really beautiful subjects for paintings.
The Old Oak Alley. 31 x 39 in., oil on linen.
I worked on larger plein air pieces as I had a fair amount of time on location. The weather was also wonderfully stable for most of the trip.
The Cathedral. 35 x 43 in., oil on linen.
Study for The Cathedral. 8 x 12 in., oil on linen.
Queen Street, Sunday Morning. 12 x 8 in., oil on linen.
Morning Light from the Battery. 8 x 12 in., oil on linen.
I’m currently in Charleston, South Carolina painting for my exhibition on the 27th at Ann Long Fine Art. Here are some of the paintings from the first week.
After the Rain, Broad Street. 12 x 8 in., oil on linen.
Charleston is one of the most beautiful cities in the US. The food is great and the people are all very friendly. It’s a great place to visit and to paint.
White Point Gardens. 8 x 12 in., oil on linen.
Broad Street. 11 x 14 in., oil on linen.
Many of the streets down where I’m working run close to east to west. Combined with the position of the sun this time of year, the north-facing shadows barely change length for the greater part of the day. Which means I have much longer to work on any north-facing subject.
Garden in Charleston. 8 x 12 in., oil on linen.
Sidewalk, Meeting Street. 8 x 12 in., oil on linen.
Longitude Lane. 11 x 14 in., oil on linen.
The weather has been great, very Californian with the cool breeze and warm sun. It has been windy though so many of my paintings are on smaller linen-on-panel boards.
Afternoon Break. 8 x 12 in., oil on linen.
Evening Light. 12 x 8 in., oil on linen.
Church Street Palms. 12 x 8 in., oil on linen.
I have some larger work still in progress and I’ll update when they’re finished. I’m off to the countryside this morning to paint more of the Lowcountry.
I was teaching a workshop with Oak Hollow Studios in Carthage, North Carolina this week. The class went well, and the weather cooperated, thankfully. Spring workshops can always be a bit risky.
Here are a few of the paintings I did during my free time:
Canoe, Backlit. 8 x 12 in., oil on linen.
Canoe Backlit #2. 11 x 14 in., oil on linen.
It was very, very green. March and April are months I often skip working outside as the bright greens of Spring can be a bit much. Small vignettes can work well though. And sometimes it’s just fun to really hit those acid greens.
Sycamore and Lupine, Toro State Park. 11 x 14 in, oil on linen.
Here are some recent paintings from the Central Coast of California. I’ve been painting regularly in the area since I first started plein air landscape painting in the early 1990s while studying art at UCSC. I say this every year but it’s always great to come back.
It’s the tail end of an El Niño year, which sometimes results in spectacular wildflower blooms, but unfortunately there wasn’t much of a show this Spring. So we painted a lot on the beaches.
Watercoloring, Marina Dunes State Beach. 8 x 12 in, oil on linen.
Carmel Beach. 8 x 12 in, oil on linen.
Patio. 8 x 12 in, oil on linen.
I spent a week down in Big Sur doing a large commissioned landscape as well.
The Temple, Big Sur. 35 x 43 in, oil on linen.
It was difficult doing a painting that large on site as the wind really picks up around midday. You can see the working situation on the last day in the short time lapse video below:
I was wearing really grippy approach shoes which helped a lot. It was about a ten foot drop off the rock where I was painting and it can be difficult to concentrate on painting and not slipping. I’ve switched to approach shoes in general for landscape painting as I find I’m often working or scouting in spots where slipping is a real risk. Here I was wearing La Sportiva TX2s which are a great minimalist/onebag/ultralight shoe with a very sticky grip.
Here are a couple of smaller pieces from the same spot.
The Temple, Big Sur, Evening Light. 8 x 12 in, oil on linen.
The Temple, Big Sur, Midday Light. 11 x 14 in, oil on linen.
Here is a short, two minute, time lapse video of a large studio landscape I painted over the last couple of weeks. After buying a ton of winter gear for plein air snowscapes we’ve had a really warm, snow-free winter, and I’ve had colds and flu for two months and been stuck inside the whole time. On the bright side, I did manage to get a lot of studio work finished.
This painting was enlarged from a plein air sketch I originally did on Diaz Beach at the Cape of Good Hope in South Africa two years ago. I also did a number of drawings to design the composition and I had photographs that I used for information in the areas which my sketch didn’t cover. Even though I had thought out the composition that I wanted with drawings, as you can see in the video I often make changes after I get started as it is easier to see what works and what doesn’t on the large canvas.
I’ve added some annotations in the video to explain some of my decisions while working and I explain some compositional rules. I feel it’s important to reiterate that, while I believe it’s important to understand rules in painting, often the paintings that we remember -the ones that really stay with us for a long time- are precisely the ones which break those rules.
That said, the compositional error of having major elements all the same size is something I do feel hurts a lot of paintings, some of mine included. It is something artists should be aware of.
Diaz Beach, the Cape of Good Hope. 120 x 150 cm, oil on linen.