This morning I sketched storm clouds over our mountains while waiting to pick up my daughter, and this afternoon I tried to express it in paint. The mts got away from me so I tried some palette knife texturing. It is what it is…LOL
In October our group went out to paint in the Franklin Mountains State Park which is a beautiful place to hike, camp and commune with the desert landscape. Here are steps in my process of expressing what I saw and felt that day.
I try to paint in the shade, both for my comfort and for not having a glare on the paper. I was painting in the picnic shelter of a campsite in this wild state park that is the only such Texas park with an urban area city limits. And only five miles from my house. I have to get out and paint here more!
I added more details. The shiny gray areas are shapes covered with masking fluid to have lighter shrubs after darks are painted on top.
Then I got carried away and made the darks a big block of the bottom without a pathway through the painting. I also didn’t like the curved yellowy sotol shapes in that area.
I thought the lit area and the rocks on the right had some merit, so I lifted up part of the foreground left area and made rock like shapes there. And that is where it is right now. I think I may crop it and frame, but not sure now. Any suggestions?
I will probably paint this again in the studio, and definitely go out exploring in this wild place to find more sites to paint. Stay tuned!
Don’t forget that you can purchase prints cards and ornaments of my work at my online store: https://squareup.com/store/rcmurphree_watercolors
I found out recently that these two paintings were accepted to different local shows.
Balcony View was selected for Ardovino’s Desert Crossing’s 16th annual Celebration of our Mountains. That opening is Thursday, September 22nd from 6-9 pm at the Sunset Hall at Ardovino’s.
Along the Rio has been juried into the Arts International show, opening October 8th from 6-8 at 500 W. Paisano’s Crossland Gallery.
I will be at both openings. I hope to see you there!
Today’s painting of the day is a watercolor value sketch from a photograph of a nearby church, St. Francis on the Hill. I see this in the distance on all of my dogwalks and it has a European feel to it, nestled in the foothills of El Paso mountains and looking into the mountains of Mexico.
First I started doing several pencil value sketches choosing a point or several on the photograph to audition. One of my presents this year was Powerful Watercolor Landscapes: 37 tools for painting with impact by Catherine Gill so I followed examples in there on finding your “what” that grabs you. For me it was the light on the distant mountains and the dark foreground with some of the church.
Isn’t it funny how simple things become clearer? when she was writing on how to do value sketches quickly, she said make everything that’s NOT white a med shade and then add the darker values. Simple, huh? it works!
Of my three sketches I liked the bottom right and did up a painted sketch to get the values right. But it wasn’t quite right. My eyes were drawn to both the lighter church and the mountains, and there was no clear point of interest smacking you over the head. Going back to the sketch, I saw that I had the church too light.
I think this final preliminary sketch works much better because the focal point is much more clearly defined. It’s quite useful to do these exercises because when you read them in the books, they seem clear and easy, but it’s in the actual DOING of the work that you learn…or at least I do!
So that’s my offering for today’s challenge in the 30 in 30. While not a finished painting, it’s working and keeping the brushes wet daily that’s the goal! thanks for stopping by…
Happy accidents happen when you play around — at least in watercolor! Here are some of the steps that led to this experiment that I am calling finished.
Step one was dampening the paper with clear water and then putting in pigment drops. The consistency was more pigment than water, but not pure pigment. Various artists refer to these consistencies as various everyday objects. Joseph Zbukvic discusses this in his book Mastering Atmosphere and Mood in Watercolor as either tea, coffee, milk, cream, butter (see also Brienne M Brown’s explanation and wonderful watercolors). Michael Riordan referred to them all as forms of dairy: skim, 2%, whole, cream, butter.
After that I carefully put in more darks to develop shrub/tree area.. I’m put detail really only in the area of the focal point rather than putting it on the periphery or outer edges of the painting where it would distract from the story of Shade.
In step 3 I also filled in some of the distracting white sparkles in the foreground that I thought might distract from the focal point. In our workshop, Michael referred to this as “tinselitis”.
Step 4 has the shadow of the tree to ground it. This was a fun little piece to play around with. It could have gone many other ways…but as in real life, there is no “reset” button! It is what it is!
Today my plein air EASEL is scheduled to arrive!! I hope it’s soon. Thanks for stopping by…
When I was unhappy with my clouds in “Storm Approaching” there was some extra time, so I figured I would try another clouds/mountains landscape. This one is it, and I’m happier with the clouds because they are expressed confidently and freshly. But the rest of it? hmmm….I think the mountains are a bit wonky as is the cloud shadow, but regardless. it is what it is!!
The last workshop day (Friday) was plein air and it was a chilly, windy, cloudy, spitting rain cold day for here. We were huddled under a shade structure watching the demo and trying to scout out places to paint. I wished I had brought a hat and gloves! You can see the earlier cool of the day in the photo of birds in the desert brush. This might be an interesting photo to paint from some day.
Michael gave us a several good tips on finding a subject when painting plein air: Look for the area of deepest contrast and work out your back, middle and foreground. Move around other components, like trees or bushes, from elsewhere in the landscape if they make the composition more effective. Also if you’re doing architecture, roofs are lighter than you think because they reflect the sky. I guess now is a great time to say that he has a new book coming out in February where all the stuff he drilled into us, and tons more I’m sure, will be in.
Eventually the weather warmed up and the sun came out, followed by sprinkles, and it was a beautiful afternoon. I think I was just tired from the whole four days and the driving and parenting stuff in the evenings, and didn’t want to do another landscape. They’re not really what I’m passionate about.
So with his cautions I tackled a more difficult subject, santa rita prickly pear plants that were getting old and tough. And because it was plein air, I sketched a value sketch but didn’t take a photo. Silly me. Those cactus pads are pink/purplish when fresh, and as they age, these ones got very cool gradations of peachs/lime greens/purples/browns, and they really drew my eye. They were sprawled on the ground and a challenge to work out (invent) a foreground and background.
So in the end, it was an off day. I didn’t come out with something I’m proud of, but I sure did have fun mixing deep colors wet in wet and playing on how to pull out edges to make the stiff bristly bits on the edges of the pads.
On the left is a play piece I made and then on the right, the not -so-fresh planned one heavily cropped!! but still, it was fun, and I was proud of myself for persevering to get something halfway representative. And yes, on more than one bush, I’ve seen prickly pads that are distinct heart shapes, as the little one here in the center.
And I had my first sighting of the year of white crowned sparrows (winter visitors) squeaking to each other in the brush, and a I had to shade my eyes from the warm fall sun to get a gorgeous sighting of a hawk (either sharp shinned hawk or coopers) flying low overhead. WOW! you can’t get better than that for a day that started out dismally!
I fixed this up a bit, now that I have it home, and I wanted to talk about it a bit.
If you notice the photo this is based on, in an earlier post, you will see there is no distant mesa or mountains to the left, and that in reality, there was a tree there. I took out the tree because it didn’t help the story I was telling, and Michael suggested the distant area to give a background and it works well. The middle ground is the rock/mountain and figure, the foreground the steps.
One key that he emphasized in his style of painting was to mingle paint on the paper and get in, do what you need when it’s wet and then don’t go back in. When the bead of paint is still on the paper, the paint is wet enough to keep putting in thicker mixtures of pigments, and this makes them come alive. Doing this keeps the luminosity of the paper and isn’t deadened with thicker layers of darks on top of other layers. It’s hard to see on the monitor, but the darkest area behind the girl kind of glows. It’s done with indanthrone blue, quin burn scarlet, ultramarine and quin burnt orange. I put the thickest amount of pigment in the middle bottom with less on the side where the light would illuminate into the interior more.
Painting the figure was a lot easier than I thought it would be. That gives me confidence to add figures to other landscapes, when I do them which isn’t often so far, but the figures help show the scale of mountains or rocks.
We talked a bunch, in our critiques, about cropping to make a painting or a sketch better before painting. When I sketched this one, I had it on a paper that was closer to 8″ x 10″ and the focal point (white against darkest dark) was almost smack in the middle of the page. Wow! big faux pas of course because it makes a static composition, not interesting… but then it makes the painting not a standard size…it ended up 5.25″ x 10.25″.
SOOO….I’m seeing a mat cutter on my Christmas list! Big Smile!
The painting and block were here when i arrived. Clouds are the topic of the day, so while i wait for my underpainting to dry, here is Gila Discovery. More info on it and the process once i am not on my phone!
The El Paso area is bisected by a mountain range. The mountains are a beautiful rocky presence in the life of the city. For most of the year, they are subtle shades of ocher, sand, gray, blue, purple, and browns, tinged into a watermelon color for the several moments of the gloaming before sunset. We get 7″ of annual rainfall, and most of it falls in late summer/early fall. It’s called our “monsoon” season which is a laughable name in some respects! It is during this period that we see the subtle green glow of grasses on the mountain. It’s an exciting time for me and lets me feel like a true El Pasoan (even though I’ve lived here less than 20 years) because I know that freeway travelers passing through will not even notice this green glow.
I traveled over the mountain today through the pass created when the road was built, and set my plein air paint set up on a covered picnic table in the state park area. You can see it here. The weather was cool, even with the sun’s heat, and I spent an enjoyable couple of hours painting and experiencing nature on a quiet Sunday morning.
This piece started out as a smooth wet in wet wash of a blue sky going into pink and then yellow layers near the bottom. Once it was dry, I looked at it and followed the faint lines of irregularity in the washes and instead created a scene of distance. I used a 1″ flat brush for most of the near mountain and the color minglings, and then blotted out some areas to suggest foliage and sotol plants. Flat brushes hold less water than round brushes, and I got more of the linear lines of the mountain texture using the flat.
If you’d like to see other artists’ work for Day 6 click here. Thank you for stopping by. Feel free to leave me a comment or question.