One thing I meant to ask is how you stop yourself from going crazy outdoors when you try to paint the sky and light as your composition is forever changing. Notan first?
Ha! It’s a little bit more of an exhilarating race painting this outside, for sure. I try to pick out the “snapshot” of what I want, hold onto that mentally as I’m
blocking it in, quickly. As thing are moving, I use what I see to build my initial composition and idea. The clouds don’t stick around, for sure. But the “type” of sky is usually there for a while, long enough to use for information to finish the study with. Although, I’ve seen every cloud just evaporate, disappear in minutes before too. In that case, on to a different idea.
Love watching you paint and also teach color theory along with it and understanding how you are making decisions regarding color. Questions: Will you varnish this and if so what do you use? This may sound like a silly question, but I saw another painter so the same thing: I have started painting on paper and wondering how to tape it. It looks like black electrical tape and not sure why you have those smaller pieces of tape on the sides that look like wings. Is that to keep it stretched more tightly so it doesn’t buckle? Thanks!!
Thank you, Donna. Very happy that these are beneficial for you. That’s the reason I do them. On smaller pieces like this, I use a Kamar spray varnish. It’s easier and has a nice finish to it. The tape you see is black artists tape. Found in most art supply stores. It removes easier than masking tape. The “wings” you refer to are just to hold down the edges so they lay flat. I only used one piece of tape per side that was narrow, and it didn’t overlap onto the backing board. A wider tape would. Thanks for watching!
Wow really great instruction. Especially the part about shadows having evidence of compliment when light is absent. Think I had that right. Did I simplify that too much? Gorgeous skies and abstract ground plane. Thanks!
Thank you Lucy. Yes, you’re right. But, the light is not “absent”, the grasses are in shadow light. They just aren’t being hit by the direct light source. I get windy in the mouth, and perhaps too detailed, because those distinctions are misleading if not explained. It’s all light, direct light, shadow light, reflected light.
Thoroughly enjoyed this demo, Marc! Thanks especially for posting a high-res photo of the finished work - can really see the nuances of your brushstokes
Finding the demos in real time and your voiceovers with a wealth of information extremely helpful. Thank you!
I’m thrilled to hear that. Thank you Susan.
I did really enjoy this as I am a 'sky' person. Integration of the earth to the sky colours really made the whole piece come alive in my view.
One thing I meant to ask is how you stop yourself from going crazy outdoors when you try to paint the sky and light as your composition is forever changing. Notan first?
Ha! It’s a little bit more of an exhilarating race painting this outside, for sure. I try to pick out the “snapshot” of what I want, hold onto that mentally as I’m
blocking it in, quickly. As thing are moving, I use what I see to build my initial composition and idea. The clouds don’t stick around, for sure. But the “type” of sky is usually there for a while, long enough to use for information to finish the study with. Although, I’ve seen every cloud just evaporate, disappear in minutes before too. In that case, on to a different idea.
Thank you Donna!
Love watching you paint and also teach color theory along with it and understanding how you are making decisions regarding color. Questions: Will you varnish this and if so what do you use? This may sound like a silly question, but I saw another painter so the same thing: I have started painting on paper and wondering how to tape it. It looks like black electrical tape and not sure why you have those smaller pieces of tape on the sides that look like wings. Is that to keep it stretched more tightly so it doesn’t buckle? Thanks!!
Thank you, Donna. Very happy that these are beneficial for you. That’s the reason I do them. On smaller pieces like this, I use a Kamar spray varnish. It’s easier and has a nice finish to it. The tape you see is black artists tape. Found in most art supply stores. It removes easier than masking tape. The “wings” you refer to are just to hold down the edges so they lay flat. I only used one piece of tape per side that was narrow, and it didn’t overlap onto the backing board. A wider tape would. Thanks for watching!
Wow really great instruction. Especially the part about shadows having evidence of compliment when light is absent. Think I had that right. Did I simplify that too much? Gorgeous skies and abstract ground plane. Thanks!
Thank you Lucy. Yes, you’re right. But, the light is not “absent”, the grasses are in shadow light. They just aren’t being hit by the direct light source. I get windy in the mouth, and perhaps too detailed, because those distinctions are misleading if not explained. It’s all light, direct light, shadow light, reflected light.
Thoroughly enjoyed this demo, Marc! Thanks especially for posting a high-res photo of the finished work - can really see the nuances of your brushstokes
Thank you Jan! Glad it helps.