Paintings from Deer Isle, Maine

Plein air landscape painting of morning in Stonington, Maine.

Morning in Stonington. 11 x 14 in.,oil on linen (on gatorboard).

These are some of my recent plein air paintings from a trip to Deer Isle, Maine. I was teaching for the Waltham Studios, and they have a blog post on the course.

Plein air painting of a Fourth of July Parade on Deer Isle, ME

4th of July Parade, Deer Isle. 8 x 12 in.,oil on panel.

I always have a great time in Maine. The landscapes are beautiful, the towns are picturesque, the people are friendly, and the food is great. It’s also much cooler in the summers, so working outside is much more pleasant.

Plein air painting of fog lifting on Deer Isle, ME.

Lifting Fog. 11 x 14 in., oil on linen (on gatorboard).

Field painting of houses in Stonington, ME.

Hillside, Stonington. 8 x 12 in., oil on linen (on gatorboard).

Plein air landscape painting of a fisherman's house on a grey day in Stonington.

Grey Day, Stonington. 11 x 14 in., oil on linen (on gatorboard).

Landscape painting of Greenhead Road on Deer Isle, ME

Greenhead Road. 8 x 12 in., oil on linen (on gatorboard).

Painting of plein air landscape painters near Sand Beach, Deer Isle, ME

Plein Air Painters, Sand Beach. 8 x 12 in., oil on linen (on gatorboard).

Plein air painting of an overgrown driveway.

Driveway, Reach. 8 x 12 in., oil on panel.

Plein air painting of the view from Church Street in Stonington, ME

View from Church Street, Stonington. 8 x 12 in., oil on linen (on gatorboard).

Plein air painting of lobster boats in Burnt Cove, Deer Isle, ME.

Lobster Boats, Burnt Cove. 8 x 12 in., oil on linen (on gatorboard).

Plein air landscape painting of fog on Deer Isle, ME

Fog. 8 x 12 in., oil on linen (on gatorboard).

Landscape painting of sunset in Stonington, ME

Sunset, Stonington. 8 x 12 in., oil on linen (on gatorboard).

I spent a few days painting Ames Pond just outside Stonington. The colors and shapes were different from what I’m used to, and the views reminded me of some of my favorite Russian and Nordic painters.

Landscape painting of Ames Pond, Deer Isle, ME

Ames Pond #1. 14 x 11 in., oil on linen (on gatorboard).

Oil painting of Ames Pond, Stonington, Deer Isle, ME.

Ames Pond #2. 8 x 12 in., oil on linen (on gatorboard).

Field painting of Ames Pond, Deer Isle, ME

Ames Pond #3. 8 x 12 in., oil on linen (on gatorboard).

Plein air landscape painting of Ames Pond, Stonington, ME.

Ames Pond #4. 8 x 12 in., oil on linen (on gatorboard).

I also did a couple of large plein air landscapes looking out towards the Eggemoggin Reach using my new carbon fiber easel and palette system. The idea was to create lightweight system that could fit into a small suitcase, yet would still be able to handle a big canvas in wind. You can see it in the image below:

Image of a carbon fiber easel and palette system for large plein air landscape paintings.

Carbon fiber system for large plein air work.

So far so good, but there are some kinks that need to be worked out. In high winds I use a system of tent pegs for added stability.

Large plein air painting of the view towards Eggemoggin Reach from Grays Cove on Deer Isle.

Grays Cove looking toward Eggemoggin Reach #1. 36 x 48 in., oil on linen.

Large plein air painting of the view towards Eggemoggin Reach from Grays Cove on Deer Isle.

Grays Cove looking toward Eggemoggin Reach #2. 36 x 48 in., oil on linen.

Larger Plein Air Paintings – Spring 2017

Plein air landscape painting of dawn over Florence, Italy.

Dawn over Florence #1. Oil on linen, 70 x 90 cm.

Here are some of the recent larger plein air paintings from our hill above Florence. I did a couple timelapse videos of the progress this time.

Plein air landscape painting of dawn over Florence, Italy.

Dawn over Florence #2. Oil on linen, 90 x 120 cm.

Plein air painting of olive trees in Tuscany in late May.

Olive Trees in May. 90 x 120 cm, oil on linen.


I’m working on a stable and portable system for working on larger paintings on site. I’ve just finished the first iteration and I’ll be taking it back to the US to try it out next week. These were mostly done with my older Italian steel field easel set-up, which also works really well.

The next two images are of the same painting. The first (below) was painting in the afternoon, but then I decided to glaze everything orange to capture the evening light effect.

Oil painting of an old olive tree in Tuscany.

Old Olive Tree, early version with afternoon light. 70 x 90 cm, oil on linen.

Large plein air landscape painting of an olive tree in Tuscany.

Old Olive Tree, final version with evening light. 70 x 90 cm, oil on linen.

Plein air landscape painting of fruit trees in bloom.

Fruit Trees in Bloom. 60 x 80 cm, oil on linen.

Plein air landscape painting of the garden at Villa Schneiderf.

Garden at Villa Schneiderf. 90 x 100 cm, oil on linen.

Apps for Landscape Painters

After my recent anti-technology rant, here’s a post on smartphone apps for landscape painters. 

These apps wont make anyone’s paintings better but they can facilitate putting oneself in a position where the focus is on the subject. The only surefire way to improve your painting with a smartphone is to use it as a black mirror.

I’ve switched recently to Android, so the links are to the Google store. I’m sure there are equivalents for iOS.

Weather

Image of the il meteo weather app for Android.

Il Meteo Weather App

The il meteo weather app for Android phones.

Il Meteo’s hour by hour prediction is usually very accurate.

Knowing what the weather will do is obviously incredibly useful. I wrote before about Il Meteo, the Italian meteorological website I use to predict weather for plein air painting. They also have an app. It’s the one I always check first as it’s accurate most of the time. It’s pretty general though, and for more specific information I use MeteoEarth ($10/year) which has cool little animations which show you wind direction, cloud cover, and precipitation for the coming days.

Image of Meteo Earth's weather prediction app for Android.

Meteo Earth’s animated cloud cover display.

It also shows wind speed and temperature but I prefer Windy for wind prediction, and after 25 years in Europe I still haven’t figured out what the numbers in celsius mean (I know 0 and 40). The third app I use for weather is Clear Outside, which forgoes the fancy maps and animations and just gives numerical values for everything. I find its prediction for cloud cover especially useful as it is normally accurate, and because it splits them into high, medium, and low clouds. It also gives the dew point, which can be useful for predicting how wet I’ll get when trudging to my spot in the early morning. 

Windy wind prediction app for Android phones.

Windy wind-prediction app.

Image of Clear Outside's numerical weather forecast.

Clear Outside’s numerical weather forecast.

Image of Clear Outside's app for the Android phone.

More Clear Outside, showing the dew point and humidity.

I usually check all three apps and follow the majority opinion. 

For people in other parts of the world, RainToday (it only shows up in the UK app stores) seemed to work well for simple, short-term rain prediction in the UK, and NOAA and MyRadar get good reviews from painters in the US.

Sun Prediction

Image of Sun Seeker app for Android phones.

Sun Seeker’s sun-prediction augmented reality view.

There are a bunch of these for landscape photographers. My favorite is Sun Seeker as it does an augmented reality view where it uses your camera to overlay the sun’s path through your view. It also gives the positions at other times of the year, which can be useful if you have a particular subject that you want in a particular light. The other one I check occasionally is Exsate Golden Hour, but really just to check the sunset and sunrise times. It gives the time for the ‘golden hour’, but I think it’s different for painters than photographers as I consider my golden hour to last much longer than the app does. It also predicts stuff like ‘expressive skies’ based on whether it’s going to be partly cloudy at sunset. For calculating sunrise and sunset The Photographer’s Ephemeris can also calculate mountains that will shorten the day at either end, but it’s a confusing app and I don’t use it. I mention it because landscape photographers seem to love it. They have a desktop version you can try for free.

Maps

Image of Kompass's topographical maps for Android.

Kompass topographical maps

I find topographical maps to be very useful in scouting for landscapes. I can often calculate a good view by studying the lay of the land before I even start driving to the location. And they are especially well-suited to scouting in Italy as I can often predict the picturesqueness of a view based on the layout of the buildings (older buildings are rarely on a grid, and are usually much better for landscape painting). My favorite paper maps of Tuscany are made by an Austrian company called Kompass and some of my favorite painting spots were found using their maps, so I was quite happy to see they now have an app. It’s not as nice as having a paper map, but it’s certainly more convenient. Their library isn’t very extensive, but they do central Tuscany quite well (the only building they don’t have is the one I live in now). When I couldn’t find Kompass maps for an area, I would often use the Italian state’s (IGM) maps which are available via other apps like MyTrails and BackCountry Navigator.

Istituto Geografico Militare maps on MyTrails app for Android.

MyTrails using the Istituto Geografico Militare maps.

Istituto Geografico Militare map on BackCountry Navigator app for Android.

Istituto Geografico Militare map on BackCountry Navigator

The other map app I’ve played around with is Komoot, which has navigation instructions for hiking and mountain biking, and does a good job of knowing actual trails in the areas around Florence where I’ve tried it. 

Image of Komoot's navigation system on an Android phone.

Komoot’s trail navigator.

Gaia GPS gets very high praise from hikers but, as it doesn’t show the buildings here in Italy, I prefer the other apps.

Lastly, Peakfinder and Peaklens can show you the names of mountains in your view, which can be useful for titling work.

Image of Peakfinder on an Android phone.

Screenshot of Peakfinder pointed over the rather uninteresting Arno valley.

Image of Peaklens looking over the Arno valley.

Peaklens’ augmented reality view (more or less the same view as Peakfinder above).

Drawing

I bought a Jot Pro stylus and tried a few drawing programs. I can see how it would be useful for thumbnails and for artists who feel more comfortable with digital media, but I still prefer a pencil and paper. I tried Autodesk’s Sketchbook, PaperOne, and Bamboo Paper. I think PaperOne was my favorite of the three as it felt the most like an actual pencil. Their lay-out leaves much to be desired though as the tools take up too much of the screen space. Autodesk felt the most polished of the three.

Thumbnail study done in PaperOne.

Image of a thumbnail sketch done in Autodesk Sketchbook.

Thumbnail study done in Autodesk Sketchbook.

Image of a landscape drawing in Autodesk Sketchbook.

Thumbnail study done in Autodesk Sketchbook.

Image of a sketch done in Bamboo Paper for android.

Sketch of Emma using the Bamboo Paper app.

Other stuff

I installed a bunch of photography apps, but just use the Android one at the end of the day. I’ve been using Lapse It Pro for making timelapses without lugging around my DLSR. I tried a few plant identification apps, including PlantNet, Tree ID – British Trees, and Whose Leaf Is It?, but I know most of the trees around here. I also installed an Emergency Room Map for Italy, and Wilderness First Aid at the suggestion of William Elston, but luckily haven’t needed to use either.

If anyone has any other app suggestions I love to hear about them in the comments.

Tuscan Plein Air Paintings – Winter and Spring 2017

Plein air landscape painting of dawn over Florence, Italy.

Dawn, Florence. 20 x 30 cm, oil on panel.

Here are images of some of my recent smaller plein air work from around where I’m living in the hills of Tuscany, just outside of Florence. The small village is called Vicchio di Rimaggio.

I’ve been slacking on the blog so there is quite a bit to post. I also have a lot on the burner at the moment as late May is always such a fun time of the year for painting outside.

Plein air painting of an old country road above Vicchio di Rimaggio.

The Old Road. 25 x 35 cm, oil on panel.

Plein air painting of a garden urn.

Urn, Late Morning. 25 x 35 cm, oil on panel.

Plein air painting of irises in bloom in the garden at Villa Schneiderf.

Irises, Villa Schneiderf. 20 x 30 cm, oil on panel.

Oil painting of a terracotta statue in the garden.

Terracotta Statue. 30 x 20 cm, oil on panel.

Plein air painting of a corner of the garden at Villa Schneiderf.

Garden Study #1. 20 x 30 cm, oil on panel.

Plein air sketch of the garden at Villa Schneiderf.

Garden Study #2. 20 x 30 cm, oil on panel.

Plein air painting of the garden at Villa Schneiderf, Vicchio di Rimaggio.

Garden Study #3. 25 x 35 cm, oil on panel.

Plein air painting of wisteria in bloom.

Wisteria and Scooters. 30 x 20 cm, oil on panel.

I’ve been painting a lot of olive trees.

Plein air painting of olive trees in the midmorning light.

Olive Trees, Midmorning. 20 x 30 cm, oil on panel.

Plein air painting of an olive grove in Tuscany.

Edge of a Cut Field. 20 x 30 cm, oil on panel.

Plein air painting of olive trees above Florence.

Olive Trees over Florence. 25 x 35 cm, oil on panel.

Plein air painting of an olive grove in the Arno river valley.

Olive Grove Sketch. 20 x 30 cm, oil on panel.

Some of these were color studies for larger pieces which I’ll post soon. Not all of my smaller studies get enlarged, but I find it useful to see how the view will look in paint before I launch into a big canvas. It also helps me to visualize scenes in paint, which is so useful for completing more finished work on a bigger scale.

Plein air color study of olive trees in the late afternoon sun.

Olive Trees, Late Afternoon (color study). 20 x 30 cm, oil on panel.

Plein air painting of sunset in Vicchio di Rimaggio.

Sunset, Vicchio di Rimaggio. 30 x 20 cm, oil on panel.

Oil painting of a classical concert in the church of San Lorenzo a Vicchio di Rimaggio.

Concert in San Lorenzo a Vicchio di Rimaggio. 20 x 30 cm, oil on panel.

Recent Plein Air Paintings (Ireland, Croatia, and Italy)

Plein air painting of Colclough Walled Gardens near Tintern Abbey, Ireland.

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.

Most of these were already posted on my Instagram feed.

Plein air painting of Colclough Walled Gardens near Tintern Abbey, Ireland.

Colclough Walled Gardens #2. 20 x 30 cm, oil on panel.

Plein air painting of the Walled Gardens at Woodstock Arboretum near Inistioge, Ireland.

Walled Garden, Woodstock Arboretum. 20 x 30 cm, oil on panel.

Plein air painting of Curracloe Beach, Wexford.

Curracloe Beach Painters in the Rain. 25 x 35 cm, oil on panel.

I left the next three in Ireland for the exhibition and didn’t have a chance to photograph them properly, but here they are in the field:

Plein air painting of Irish cows.

Ballymore Cows. 20 x 30 cm, oil on panel.

Plein air painting of boats at Passage East, Ireland.

Boats at Passage East. 20 x 30 cm, oil on panel.

Plein air painting of the bank holiday weekend in Wexford, Ireland.

Bank Holiday Weekend in Wexford. 30 x 20 cm, oil on panel.

These next few are from a weekend in Zadar, Croatia where we went for a friend’s wedding:

Plein air painting of the Riva in Zadar, Croatia.

Morning on the Riva, Zadar. 20 x 30 cm, oil on panel.

Plein air painting of a cafe in Zadar, Croatia.

Cafe in Zadar. 30 x 20 cm, oil on panel.

Plein air painting of the Riva in Zadar, Croatia.

Zadar, the Riva. 20 x 30 cm, oil on panel.

And finally, the paintings below are from the last couple months in Italy. I have a lot of studio work and commissions on the burner, so I haven’t been painting outside all that much.

Plein air painting of a garden scene above Florence, Italy.

Lunch in the Garden, Vicchio di Rimaggio. 25 x 35 cm, oil on panel.

Plein air painting of Jory Glazner painting near Vicchio di Rimaggio.

Jory Glazner painting behind the Villa Schneiderf. 20 x 30 cm, oil on panel.

Plein air painting of an afternoon at Vicchio di Rimaggio.

Afternoon Tea, Vicchio di Rimaggio. 20 x 30 cm, oil on panel.

Plein air landscape painting of the Grand Canal in Venice.

Grand Canal sketch. 35 x 25 cm, oil on panel.

Plein air painting of the Grand Canal from the Accademia in Venice, Italy.

Grand Canal from the Accademia. 20 x 30 cm, oil on panel.