Archive for the ‘landscape painting’ Category

Dorris Ranch

July 27, 2014

Day one of the Field to Studio workshop at the Emerald Art Center in Springfield, OR. Nine artists joined me for three days of working on location and in the studio.

Field Study

Field Study

Field Study at Dorris Ranch in Springfield, OR

Studio Painting

The studio painting was done on Wallis Sanded paper starting with alcohol washes, and finished with soft pastel.

About the forth wash with hard pastels, alcohol,l and a hake brush

About the fourth wash with hard pastels, alcohol, and a hake brush

Hard pastels are applied lightly in layers with each layer washed in with at least 90%1 alcohol. This gives the underpainting a stained glass translucent effect upon which to further develop the painting with softer pastels.

 

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Field to Studio

July 24, 2014

This past week I had the opportunity to work with a great group of artists at the Emerald Art Center in Springfield, OR. The emphasis of the workshop, Filed to Studio was gathering visual information on location so we could come back to the comforts of the studio to produce a painting. I have outlined below the steps we took along the way.

Big shapes, simple with emphasis on designing the painting. I tried a couple of different formats and decided on the portrait orientation to emphasis the vertical presence of the trees.

shapes

Value map using three values of tomboy markers and the white of the paper to limit the value structure to four values.

value map

Notan, a further simplification of values down to just black and white to see the underlying structure of the painting. f at this stage the shapes looked uninteresting or the distribution between the darks and light were two balanced I would revisit the composition and make adjustments.

notan

My field study,  a 5 x 7 on Wallis Belgian Mist sanded paper to capture the color nuances of the scene. Done in about 20 minutes.

field study

 

Photgrahic references show how much the camera doesn’t capture, but are useful for details. As it turned out I didn’t really even look at these when back in the studio. How liberating is that?

photo reference

Sttudio painting done on Ampersand Pastelbord using a watercolor underpainting.

Delta Ponds

 

The best part of the workshop was how enthusiastic all my students were. They were not only willing to dive in and try new approaches but were so encouraging with each other and supportive of their fellow classmates. Read what  a student had to say.

Good News

March 27, 2013

river_raptureRiver Rapture, pastel on panel, 16×20, © 2013 Marianne Post

I recently was notified that River Rapture was juried into the Northwest Pastel Society International Show. The exhibit will open in May at The Art Company in Tacoma, Washington. This is a scene from one of our favorite hiking spots in the Cascades below Paulina Falls, just south of Bend, Oregon.

 

So Far

September 18, 2012

This past week I finally had a chance to revisit “starts” from  my five day Richard McKinley workshop in Bend. This was my first experience attending an Art in the Mountains event. Boy, does Tracy Culbertson, workshop coordinator, have the venue of all venues. The Cascades and downtown Bend are a mecca for inspiration. Coupled with a stellar instructor, and companionship of a fellow artist from California it was five days of instruction, beauty, discussion, and determination to go the next mile.

thumbnails of Sparks Lake

Thumbnails of major shapes, value map and notan design

As a plein air painter, the grandeur of the vista can be overwhelming. Having spent hours in the field, I would like to think I am comfortable in the wilds. But the reality is that I still try to depict the scene as I see it. Finally I was given permission to not only move a tree or a mountain but to capture the sencse of place without being wed to the what’s in front of me. In fact.I got to the point afer five days, to turn my easel away from the scene and paint from memory. What a liberating concept!

It all started with some thumbnails to define the shapes, value plan and composition. Then a quick field study, in this case a small 4×6 supplied me with color notes. Now back in the studio, I did a watercolor underpainting, referring to my field notes. After a day in the studio here is where I am so far. And it feels good!

Watercolor underpainting of Sparks LakeWatercolor underpainting

Work in Progress, Sparks LakeWork in progress, 16×20, pastel on panel

Revisiting Special Places

August 27, 2012

Morning Glow, Sparks Lake, Oregon

Morning Glow, 12 x 16, pastel on panel, Sparks Lake , Oregon
©Marianne Post

Next week, a new show featuring the work of six Willamette Valley pastel artists opens at the Jaqua Gallery, Emerald Art Center. This is my first exhibit with this group of incredibly talented artists. And for this show I included works from what I call my special places. Many of the paintings are scenes I have painted many times before at different times of day or from slightly different vantage points. Familiarity never dulls the joy I get from capturing their essence. The changing light, the different seasons, the blazing sun, the coolness in the air, remind me of just how generous nature is. She could let up a bit on the mosquitos, though!

Jaqua Gallery Exhibtion

Does Painting Purple Mean I am Old

July 16, 2012

Height of Summer, 12 x 6
pastel on panel

This past week, California artist friend, Cheryl Crews, joined me to paint in the lavender fields of the Willamette Valley. We literally went from one end of the valley to the other in search of purple fields. On Wednesday we joined up with my local plein air group, Vista and Vineyards to paint at Moon Shadow Lavender farms in Albany, only to find our picture on the front page of the Albany Democrat Herald. Check out their Facebook page.

While Cherryl painted in oils and I in pastels our violet palette got a workout. One of my paintings from Mountainside Lavender Farms in Hillsboro garnered an honorable mention at the Yamhill Lavender Festival art show this past weekend.

Trying Something New for A Change.

May 18, 2012

Garlands Nursery

Garlands Nursery, pastel on LaCarte sanded paper

This past Wednesday was the first outing of the local plein air group. Traditionally the first venue we paint is Garlands, the local, quintessential nursery. It has everything any green or purple thumb could ever imagine. It also has many places to duck undercover in case the weather doesn’t cooperate.

Forecast: warm and sunny
But this week the weatherman predicted clear sky and mid 70s. I decided before packing to go that morning, that I would try using some orange La Carte sanded paper, a real departure from my usual Amperdand Pastelbord. My thinking was that the orange would work to my advantage in setting the stage for a sunny day painting, and also work as a complement to all the green I was bound to encounter. And I admit, “I’m trying something new.” could also be my excuse in the event of a really lousy painting.

Warm and cool
My approach was to depict the light of a sunny day, by starting with warm colors in the sunlit masses and cool colors in the shadows, regardless of the local color. I gradually brought the masses to their real color but always letting some of my first marks show through. I also left the edges loose so that the orange paper would unify the painting and add shimmer to the piece.

The end result was okay! I had a lot of fun getting this “to work.” I’d try it again, actually. But perhaps I should invest in a lot of blue La Carte to use on those Oregon gray days we so often encounter! Have you stepped out of your comfort zone lately and tried something different for a change?

From Sketch to the Studio

January 19, 2011

In keeping with my daily sketch challenge I ventured out (the sun was shining) and found a grove of trees that danced amongst the sunlight and shadows. So I settled in and spent about 30 minutes capturing the play of light and shadow. I haven’t posted a “work in progress” (wip) painting in awhile so I thought this would be the perfect opportunity to show how I approach a painting.

This is the 30 minute on location sketch.


Back in my studio I did a drawing on 12 x 16″ mounted Wallis sanded paper. I usually don’t do such a detailed sketch but I just got caught up in the moment and went with the flow. Since I had so much graphite on the surface I sprayed it with Perlafix fixative. I also hoped with the use of the fixative that some of the drawing would survive the next step, the watercolor underpainting.

Watercolor underpainting.

And after about fours hours into the painting with soft pastels this is where I left off. Obviously still lots to resolve but I like the direction this is going.


Wetlands Revisited

February 22, 2010

work in progress, pastel on Pastelmat

Last Fall I painted along the Consumnes River. Upon scoping the area for a vantage point to paint, the fog lurked over the wetlands. And just about the time that I set up my easel, the sun strained to break through the veil of mist. The atmospheric condition mother nature presented was awesome. How fortunate to be an artist and witness the beauty that surrounds us.

This morning the fog hung over the hills in Vacaville and it reminded me of that time in November. Serendipitously while packing the studio today I came across some Pastelmat peach colored paper. I had to put a halt to packing and from memory relive that glorious November moment.

Since a lot of my supplies are either packed or stashed some place that I can’t put my finger on them I used  technique that I haven’t done in awhile. In thirty minutes I blocked in the masses,  just enough to capture the feel. Then taking a paper towel I smeared the surface to give the “underpainting” a gauzy feel. A few more minutes and a few more marks is where I left off. Still more to do, but working from memory is challenging (there’s that word again!) and invigorating. Reality  and the clock reminded me that boxes were waiting to be filled. I’v made a deal with myself. SIx more boxes than I can paint. Is that yet another “challenge?”

Storm Runoff

February 15, 2010

Storm Runoff, 9 x 12″ soft pastel on Wallis paper
2010 Marianne Post

Completed in the studio over a watercolor underpainting. I couldn’t decide whether to leave the telephone poles in or out, Decided on keeping them since I liked how the shadow of the nearest pole acted as another path for the eye to follow.