Thumb in the Dunes 2

Hello, again O:-) If you're having some closer looks into Edgar's book, too, Caroline and Phoebe, perhaps you could tell me about the meaning of the decorative approach to composition. I must say I've just got the feeling that he's not fond of it, but I haven't understood what he was talking about O:-) Could you explain?

Thumb in the Dunes

This was a very light dune I saw on the Baltic Sea and I find nature has done a good job with the composition O:-)

Recent Pen & Ink Sketches

Here are two Pen & Ink sketches I've done in the last two weeks.  They are minatures, 4" x 4".  I start with a   quick and rough thumnail sketch.  Then I go to watercolor paper and do a light sketch in pencil to get the right position.  Then alternate pen and wash with a brush.

Thumbnails again

I'm reading Edgar A. Payne's "Composition of Outdoor Painting". It's a great book to learn with and that's why I'm back to do those tiny drawings again.

A Little More Info

I posted thumbnails and three underpaintings done at the workshop. Also there are photos of The Little Everglades Ranch; a thousand acre working farm with Belted Galaway Cows, Hanavarian horses, sandhill cranes and the most beautiful old Florida landscapes one could ever find in Florida. Early one morning before the workshop began I witnessed an early foggy morning that required me to pull the car over and take the pictures. Thought you would enjoy them.

Back From Deborah Paris Little Everglades Workshop

I just returned from an exceptional five day workshop with Deborah Paris at the Little Everglades Ranch in Dade City, Florida. There were 13 students very eager to learn what Deborah had to teach. Probably the biggest effect on people was the realization of the need to brush up on the skills of field sketching; going back to the basics of drawing which most of us lacked in our early years of art education. The artists through the ages up until the 20th century were trained to draw and it became second nature to them. We spent the first two days out in the field sketching thumbnails and value studies. Some people had the courage to put away their camera and draw the landscape learning to look for those values, work up a composition that was acceptable (with a little help from our friend Edgar Payne) and edit the sketch into a design that would make a good painting rather than painting exactly what was there in nature. People really saw the value of Slowing Down and Thinking! Then we brought the sketches back to the studio and started working on underpaintings. Deborah gave a color demo showing the colors she likes to use and explained the glazes and scumbles technique. She brought with her examples of her latest works and shared indepth her growth process in tonalism. She has a vast knowledge of American landscape artists and is able to present a timeline of American landscape art that is so impressive one only wishes they had a tape recording of it to play over and over. Deborah also has an excellent way of working with artists at all levels; beginners to professional artists. Each artist can receive information at the level they are at. (Much like reading John Carlson).

The time flew by and the last day arrived way too soon. We each lined up two to three pieces along the wall and Deborah gave the most informative critique I have ever been in. It was a thrill to see and hear what people had to say and how much they had learned. Everyone left the workshop very fulfilled and inspired to do so much more. I think people became believers in Field Sketching and the value of Thumbnails. Hope so anyway.

It was a Two Thumbs Up Week!

latest works

I am finding working very small is so useful to learn how to compose my landscapes a bit better. They are mostly ideas and there have been thoughts on trying to capture more intimate misty trees, as in being in a wood, to standing back and sketching and painting trees. I am not keen on acrylics but have managed to find a handful of colours recently that are more natural. I used a glazing medium and started off painting in flesh coloured tones then moving onto bamboo and terte verte colours. As the paint dries so quickly it is useful for a learning purpose for me to establish what colours I can use for a bigger painting. The top sketch was done in water soluble graphite pencils and they are great to use out on location when you don't want to have to carry lots of paints out with you. I am relying more on memory and from making notes too when outside. I learned a great deal on working out in the field on Deborah's latest classes which were very helpful in getting me to work more from life and not to rely on the camera.