Extremely instructive post. A very strong argument for painting outdoors, especially to mix colors true to nature. Here is my lingering question. At what point in this process do you compose the painting. By compose I mean work out the placement of the objects, the lighting, the values? If this composition process does not occur then you are painting exactly what you see. But I do not think you do that!
I have a new puppy in my life so for awhile I am reading more than painting , so your new forum is perfect timing. Thank you for always helping your students near and far. Although I only experience my greens in the summertime or late spring this is valuable information to me. I see this growing into an intuitive and interesting virtual place of learning for me. Thank you Marc.
This substack is going to be an interesting ride for me as I rarely if ever paint from life. Reality in the moment overwhelms me— your comment that you should know why you are painting first sounds masterful, (I envy you!) but I rarely know until after the struggle. I like paintings that are excavations of risk and revealed process. That said there is always an unconscious first “glimpse” I’m trying to get back to/uncover.
So glad you are doing this form of blog! And I second Golden. I am crazy for their Open Acrylics. I’m always looking for ways to knock back the sense of a plastic film (ugh, matte medium has never really done much for me) but when I get back to my easel for a new round of work I am thinking of mixing in marble dust. Not sure how that will effect the drying and adhesion of Open Acrylics.
Sorry I was trying to post a picture of my dog. I could not make it work. On another topic, I have years and years of goal training 8n my background. It would be impossible for me to start a painting and not know where I wanted it to be in the end. No meandering for me! But I admire others who can tolerate that. This blog is working fantastically.
Thank you! I agree with the others - you write beautifully! About the greens, I was in an online mentoring group during COVID and the artist talked about his Hallmark days and the 3 greens rule! As a newbie to plein air (almost 2 years now) I must say the problem for me is how to not put in 10 different greens (I’m exaggerating a bit) but you get the point). I admire how you simplify your value/color choices and I spend much time staring at your website. Right now, living in Florida, and trying to simplify a forest scene (for example) is a challenge. I do like to add a bit of the complementary color to my greens ( even if it is less than a pin prick’s amount in quantity) just to push things towards a gray (my personal choice). The paintings you posted are lovely; especially love the high key painting, In Motion.
Happy St. Patrick's Day 2023!
I love the one called, "In Motion". I could look at that one all day!
Love these emails! You’re a great writer.
Extremely instructive post. A very strong argument for painting outdoors, especially to mix colors true to nature. Here is my lingering question. At what point in this process do you compose the painting. By compose I mean work out the placement of the objects, the lighting, the values? If this composition process does not occur then you are painting exactly what you see. But I do not think you do that!
Your favorite brand of acrylics? Do you use any Medium? Are there any in person workshops coming up with you and Dottie?
I have a new puppy in my life so for awhile I am reading more than painting , so your new forum is perfect timing. Thank you for always helping your students near and far. Although I only experience my greens in the summertime or late spring this is valuable information to me. I see this growing into an intuitive and interesting virtual place of learning for me. Thank you Marc.
I actually lost both my dogs in the last 4 years. Beginning a new dog dynasty. Well I know you were not ice skating in the south!
This substack is going to be an interesting ride for me as I rarely if ever paint from life. Reality in the moment overwhelms me— your comment that you should know why you are painting first sounds masterful, (I envy you!) but I rarely know until after the struggle. I like paintings that are excavations of risk and revealed process. That said there is always an unconscious first “glimpse” I’m trying to get back to/uncover.
So glad you are doing this form of blog! And I second Golden. I am crazy for their Open Acrylics. I’m always looking for ways to knock back the sense of a plastic film (ugh, matte medium has never really done much for me) but when I get back to my easel for a new round of work I am thinking of mixing in marble dust. Not sure how that will effect the drying and adhesion of Open Acrylics.
I love In Motion and Sillhouette: Paintness.
Sorry I was trying to post a picture of my dog. I could not make it work. On another topic, I have years and years of goal training 8n my background. It would be impossible for me to start a painting and not know where I wanted it to be in the end. No meandering for me! But I admire others who can tolerate that. This blog is working fantastically.
Thank you! I agree with the others - you write beautifully! About the greens, I was in an online mentoring group during COVID and the artist talked about his Hallmark days and the 3 greens rule! As a newbie to plein air (almost 2 years now) I must say the problem for me is how to not put in 10 different greens (I’m exaggerating a bit) but you get the point). I admire how you simplify your value/color choices and I spend much time staring at your website. Right now, living in Florida, and trying to simplify a forest scene (for example) is a challenge. I do like to add a bit of the complementary color to my greens ( even if it is less than a pin prick’s amount in quantity) just to push things towards a gray (my personal choice). The paintings you posted are lovely; especially love the high key painting, In Motion.
Many thanks for sharing what you’re doing!