I dropped off my mom at the airport at around 5 am and headed to the island. This was an opportunity to get warmed up. I had not been painting as much and I was going to paint a subject that was unfamiliar to me.
I went to the Balboa Ferry to paint a quick nocturne. I only had a hour of darkness so I had to be very quick.
I had about 45 minutes of painting before I stopped. I have painted in many changing conditions but this was the most dramatic change that I have had to paint in.
I figured I completed about 30 percent of the painting before having to stop. I can usually paint until I am finished regardless of the lighting. If I had the time I could have used my imagination and memory to get the painting to an acceptable finish.
I packed up and wandered along the harbor warming up my composition skills using my new camera. The morning was beautiful.
I packed up and found a waffle house by the paint out location and read my latest Plein Air magazine. At this point I could not be any more ready for the painting that was to come.
I got there and met Debra. When several more painters showed up, she invited us to wander around the shipyard. She suggested many different painting options. I was really intrigued by the various tools and equipment used at the yard. She then gathered the group and told us what she was going to paint.
- block in really quickly
- add just enough detail at this point to give composition direction
- only paint for a couple of hours to make sure the light stays right
- separate the light part of the painting from the dark part of the painting-compared the sky to the other parts of the painting to make sure the relationship was right
- starts with a plan and sticks to it from the start
- sets her pallet up with the color wheel going clockwise from orange at about 7 o'clock
- she spoke about finding the right pigment based on the symbols on the tube of paint which is universal
- she says she just mixes up a couple of color and just goes
- in the studio she will lay down more colors so she can get to her colors quicker
- uses spackling knives to get straight lines of masts in her boat paintings-talked about putting different colors on different sides of the pallet knife to indicate light direction
- better to keep your purples on the blue side to prevent the finished painting being pink and red
- when ever she can sneak red into a painting she will
|The following are the things I wrote down during her demonstration.|
- focuses on where the light is-trying to get the big pieces of light and dark to get the direction organization of the painting-light dark light patterns appeal to her sense of design
- worked at getting the shape of the boat right before doing anything else to the painting
- did not want to paint anything on the back of the boat because she wanted to keep the design simple-it was not necessary
- she did not paint the reflections on the side of the boat for the same reason
- starts her stroke with a dot to get the location right before she commits to it
- she is looking to balance the colors within the painting
- added yellow to the gray rudder to add sparkle
- did reconstruction with clean brush-when she does it
The finished painting