A Month of Adventure: Estes Valley Plein Air and Blue Ridge Mountains Paint-Out

October 3, 2018 in Landscape

I spent half of August and half of September on a month-long adventure of travel and plein air painting. Two weeks were in Colorado at the Estes Valley Plein Air event where I painted almost every day in beautiful Rocky Mountain National Park near the town of Estes Park, Colorado. And one week was in the spectacular Blue Ridge Mountains, near Blue Ridge, Georgia. I completed 11 paintings.

It was an honor to be juried into the Estes Valley Plein Air event, which was sponsored by the Art Center of Estes Park, and managed by the very capable team of Lars and Kristi. I opted to drive, instead of fly, from Florida to Colorado to reduce expenses. I had a cabin to stay in while I was there, thanks to the generosity of my friend Dr. Cynthia Reedy, but while traveling to and from, I tent-camped. I used love being in the great outdoors, “roughing it”. By camping and driving, I saved a $500 flight and a $900+ car rental and probably at least $500 in motels. I also saved the trouble and expense of shipping my frames and canvases and tools and equipment. I did buy new tires before I left, which I paid for by instructing a course for the employees of the business I had recently sold. Even so, except for the fact that I have family in Colorado, traveling this distance for an event is worthwhile as a business venture only if sales are generated.

The mountains of Colorado were very smoky the first week, from the bad forest fires further west. The smoke washed out mid-distant and distant colors. The second week the winds blew the smoke down to Denver, clearing the skies in the high country, but the winds also made it very difficult to work with an easel. I adapted as best I could, at one point even clamping my canvas to the bottom of my tripod, with my palette on the ground. There were other challenges. It threatened to rain most afternoons, and a few times it poured.

My days began by waking up in the dark, packing my lunch snack, and driving the slow trip up the 9 miles of one-way gravel switchbacks of Old Fall River Road, to get up to Mile 8 where I could pull off and hike out a short distance to my view of the entire glacial cirque just below the Alpine Visitors Center. I had wanted to paint this view since seeing it anew the previous year when I went to Estes Park for a pain ting workshop with Morgan Samuel Price. Some days it was far too windy and cold or too gray to paint plein air. I think I made the hour-long drive 7 days but was able to work on this painting only 3 mornings. I wanted to capture the grandeur of the morning vista. To see in image larger, click here, and click again if “+” appears under your cursor.

Oil painting of the glacial cirque near Fall River Pass, just below the Alpine Visitors Center, Rocky Mountain National Park, near Estes Park, Colorado

Fall River Glacial Cirque, 15×30 oils on canvas panel, en plein air

The barometric pressure high altitude  is much much lower than at my sea level home where it is usually around 30 inHg. A barometer at the Visitors Center displayed 19.28 inHg. I did suffer a mild case of altitude sickness the first few days I drove to the top, mainly a headache and just generally feeling unwell.  After the third time, I wasn’t bothered anymore. The area of the glacial cirque was chilly. The air temperature decreases 3.6° for every 1000′ increase in elevation, and the Visitors Center sits more than 4000 feet higher than the city of Estes Park. In addition, it was almost always windy, or at least gusty, which increased the chill considerably. But when I am painting en plein air, my focus becomes so intense I often lose track of discomforts. A few hours into my painting up there on the first day that I painted, I noticed a small marmot out of the corner of my eye, and turned around; there were four marmot pups busy running and grubbing near me, one almost at my feet! I guess if you stay quiet in one place for long enough, they think you are part of the landscape! I’ve posted longer videos on Facebook — here’s a shorter one:

My sisters and brothers-in-law rented a condo above Estes Park the first weekend I was there. Trudy and Steve came up from their home in Westminster and Sherrie and Mark from Greeley, and one of their daughters, Caitlin, came up from her home in Cheyenne. I think their chief entertainment is creating irresistible, delectable foods, and this weekend was no exception. I have no idea how they stay so fit. We hiked up to Gem Lake from Lumpy Ridge, my mentor and friend Morgan Samuel Price joining us. Morgan was there to teach a workshop, which I had taken the year before. I of course could hardly breathe at that altitude but after the 2-mile climb, was it ever worth it when we finally reached our destination. Below, a photo of Gem Lake.

Gem Lake, above Lumpy Ridge, Estes Park, Colorado

The artists of Estes Valley Plein Air were invited to paint a nocturne or a painting in town, in Estes Park, and I opted for the nocturne. I started when the sun went down, about 8:30, and finished close to 11 PM. Meanwhile the temperature dropped, quickly. I was dressed in light jeans and a fleece sweatshirt. As I said before, I don’t notice discomforts while I am painting, but I certainly noticed that I was shivering towards the end. I couldn’t feel my fingertips when I put my gear away. I couldn’t believe it when I got in my car — the display said it was 46°! No wonder it felt a little chilly. Coming from the humid deep south, the dry Colorado air felt cold, but not that cold! If it had been Northwest Florida, I would have quit after just 30 minutes!

Nocturne oil painting of the south entrance to Riverwalk Park / Riverside Plaza in Estes Park, Colorado

Riverwalk at Night, 11×14 oils on canvas panel, en plein air

Another special category was a sweet little park called Mrs. Walsh’s Garden. It had a meandering path, a pond and small waterfall, and lots of hummingbirds. Even Peter Cottontail came hopping up to within 10′ of me, becoming a statue when he saw me, and then fleeing fast as lightning. The hummingbirds thought my bright shirt was a flower. Here’s a video of a hummingbird taking a bath on the rock beside the waterfall:

I enjoyed painting the gentian flowers below, one of the few times I have used color straight out of the tube, as intense as it could be. I may accent the hummingbird a little more when the painting returns to me from the exhibit at the Art Center of Estes Park. I think people don’t notice it unless I tell them to look for it.

Oil painting of a hummingbird feeding on gentian in Mrs. Walsh's Garden, a city park in Estes Park, Colorado

Mrs. Walsh’s Gentian Visitor, 11×14 oils on canvas panel, en plein air

One day I hunted high and low for a location where I would be sheltered from the high winds and finally decided to deploy my Under The Weather Pod for the first time. I staked down the two back corners of the floor, and tied the top two back corners to the tree behind me. This allowed me to set up my easel and paint without freezing to death or getting bowled over by the wind. I still had to be on guard for the twisting gusts, but I managed to complete a painting beside Big Thompson Creek in Moraine Park, below.

Oil painting of the Big Thompson River flowing through Moraine Park above Estes Park, Colorado

Moraine Wind, 11×14 oils on canvas panel, en plein air

We were asked to frame a reserve painting so the Art Center would have something to fill the space if a painting sold. My reserve painting is “Where Are The Sheep?”, expressing my frustration that no bighorn sheep ever came down to Sheep Lakes in the Fall River Valley the whole time I was there! A herd of elk grazed in the distance one morning, but nary a single sheep! Nevertheless, the colors were beautiful in the early morning.

Oil painting of Sheep Lakes in Fall River Valley near Estes Park, Colorado

Where Are The Sheep? 10×20 oils on canvas panel, en plein air

I also participated in the Quickdraw in Estes Park, which was held in the same area where I had done my nocturne. I am pleased to report that mine sold in the very entertaining auction held immediately after the awards were announced. We only had 90 minutes to complete our painting, which was the fastest I had ever had to painting, at least until Blue Ridge two weeks later!!

Oil Painting of the bridge over the creek at Riverwalk Park in Estes Park, Colorado

My Quickdraw Painting at Estes Park, 9×12 oils on canvas panel, , en plein air

The next time I drive across the country, I am going to take an extra day or two to see the sights along the way. I went past Amarillo, where just 30 minutes south is the Palo Duro Canyon, the second largest canyon in the United States. I was on a timeline, so I drove past, both going and coming back. On the return trip, I was heading to Blue Ridge, Georgia, to meet up with my painting buddies from home. We were all going to paint in the Blue Ridge Mountains Arts Association Paint-Out. We stayed in Young Harris, GA, at the mountain home of John and Theresia McInnis. Theresia is an accomplished watercolorist and hostess extraordinaire. Elia Saxer, Beckie Hart, Brady DeGrasse, and Charlotte Arnold came up to paint as well, and we had a wonderful time painting, eating, and socializing. And I am happy to report that one of my paintings, Stanley Rapids, was awarded third place in the BRMAA Wet Room!

Oil painting of Stanley Rapids on the Taccoa River in Fannin County, Georgia

Stanley Rapids, 10×20 oils on canvas panel, painted en plein air.

I also painted the terraced waterfalls of the creek running through Taccoa Valley Campground. My sensations while painting were th roar of the Taccoa River behind me, campfire smoke in the air, light filtering through the trees and glittering in the waterfalls, children playing, soft leaves underfoot.

Oil painting of the creek flowing through the Taccoa Valley Campground to the Taccoa River in Fannin County, GA

Toccoa Valley Campground, 15 x 30 oils on canvas panel

On the last day I looked up a stand-up paddleboarding friend who lives in Blue Ridge, and painted some of the critters on his farm.

Oil painting of two horses and two goats on Chris Tilghman's farm in Blue Ridge, Georgia

On Chris’s Farm, 11×14 oils on canvas panel

I learned a lot about my ability to organize for a trip like this, and for next time, what to bring and what to leave at home. Certainly I could have ordered my frames to be shipped to Estes Park so that I wouldn’t have had to carry them in my car — that would have lightened my load and improved my gas mileage a little.That also would have allowed me to sleep in my car instead of my tent on the one night that rain threatened. I doubt I will reduce the amount of oil painting supplies I bring, but I probably will leave my gouache set and my watercolors at home if I do this trip again. The thing is, you just never know when you might want to do a study, and I want all options available, even though I always make my paintings using oils. I was surprised to find that I needed my back-up easel and clamps that I had brought in case I broke mine. My panel holder broke one day – a screw became stripped, so I was very happy to have an alternate way to hold my painting, but the main reason I used it was to hold my sign advertising the Art Center of Estes Park where the paintings were to be exhibited. Up in the high country it was too windy to try to clamp the sign to my easel.

I met many of the other artists both locations, and am sure I will run into many of them again. I remain a little intimidated — some have been painting for 20 or 30 years or more, all during the time that I was in my business career. But all were very friendly, and the icing on the cake in Colorado was to meet up with and paint with my college friend Daniel Sprick, who came up from Denver for the Q&A after the showing of a PBS documentary on his development as an artist, put on by the Estes Park Art Museum. Dan is a recognized contemporary master painter, and he will be the keynote speaker at the Figurative Arts Convention in Miami next month.

Joan Vienot painting with college friend Daniel Sprick at Lumpy Ridge, Estes Park, Colorado, 8/29/2018

 

The Forgotten Coast en Plein Air and Plein Air South 2018

June 4, 2018 in Figurative, Landscape, Plein Air

I attended the Forgotten Coast en Plein Air and Plein Air South again this May, taking time out for painting between demo’s and discussions. I practice painting en plein air to study the transient effects of light, to become more adept at composing, to learn more effective technique, and to develop a stronger instinct for decision-making. Many times a plein air painting will be worthy of framing. All are learning experiences. My intention is to study something different every time I paint, even when I paint a scene I have painted before. Every painting is making it easier to paint the next painting, but I challenge myself even more the next time, so I can’t say that painting is easy. I can say that I am seeing better.

Oil painting of the marsh from the deck of Scallop Republic on the way to Cape San Blas, Port St. Joe, FL

Scallop Republic Marsh

I am happy to report that my Quickdraw painting, Scallop Republic Marsh, was selected by Quickdraw judge Lori Putnam to be one of the 40 on display throughout the Forgotten Coast event, and that it was purchased, as was Eastpoint Oyster Shack, one of my paintings in the Florida’s Finest en Plein Air Ambassador exhibit.

The more exciting news happened the week following the Forgotten Coast event, which was Plein Air South, a convention in the same location with back-to-back educational sessions, lectures, and demonstrations. Approximately 160 artists attended. We were invited to display up to 3 plein air paintings, the best to be selected by artists’ vote. I thought they were just going to award a Best in Show, but they also awarded second place, which one of my paintings won, Spring Dune at St. George Island, pictured below! I received $485 of paintbrushes from Rosemary & Co., my favorite brush manufacturer! (Iin addition to the $180 of brushes I had just purchased!) I don’t guess I will run out of brushes for a while!!

Oil painting of the massive primary dune at St. George Island State Park, FL

Below are the studies I painted over the two weeks, in between listening to the speakers and watching the demo’s. Click any photo to learn purchase information.

Oil painting of the marsh at the kayak and canoe launch on Cape San Blas, Port St. Joe, FL

Kayak Launch at Cape San Blas, oils, 6×12

 

Oil painting of the early morning shadow of the primary dune on Cape San Blas, Port St. Joe, FL

Cape San Blas Morning Shadows, oils, 11×14

 

Oil painting of the shape of the primary dune on Cape San Blas, Port St. Joe, FL, painted with palette knife

Early Summer Dune at Cape San Blas

 

Oil painting of site of oyster shell bagging by the Conservation Corps of the Forgotten Coast, for maintaining and restoring eroding coastline

Project Worksite, Conservation Corps of the Forgotten Coast, Oyster Shell Bagging, oils, 6×12

 

Oil painting of the light on the creek at George Core Park, Miss Zola Drive, Port St. Joe, FL

Creek at George Core Park, Miss Zola Drive, Port St. Joe, oils, 12×9

 

Oil painting of the early light at the St. Vincent Shuttle stop, off the tip of Indian Pass, Port St. Joe, FL

Warm in the Morning, Indian Pass, oils, 8×10

 

Oil painting of the artist's impression of the colorful sunrise at the tip of Indian Pass, Port St. Joe, FL

Sunrise Impression, oils, 4×6

 

Oil painting of artist's impression and memories of the marsh at the canoe and kayak launch on Cape San Blas, Port St. Joe, FL

Impression of the Marsh at Cape San Blas Canoe Launch, oils, 11×14

 

Unfinished, Rick on a Break, 14 x 11

 

Unfinished, Cape San Blas Light in Port St. Joe, 16×20

 

Joan Vienot, painting the Cape San Blas Light and lightkeepers’ cottages in Port St. Joe, hurrying to beat the rain!

 

 

 

 

2018 St. George Island Plein Air Paint-Out

April 24, 2018 in Landscape

Postscript, 10/21/18, 11 days after Hurricane Michael

I am in shock, seeing that places I painted are heavily damaged or perhaps even have disappeared. When I painted “Spring Dune”, the third painting pictured below, I remember feeling like the huge old dune was a big protective bear guarding the edge of the park. Today I saw video that gives me every reason to suspect that this dune does not exist anymore. https://youtu.be/EVkRgeqgcdI

The Plantation of St. George Island is a beautiful gated community situated on the west end of St. George Island, one bridge away from Eastpoint and and two bridges away from Apalachicola, Florida. The Arts Committee of the community, led by Bunnie Ison, produced the 2018 St. George island Paint-Out, an invitational plein air event. The artists participating were Catherine Hillis, Olena Babak, Craig Reynolds, Vernia Moore, Lynn Wilson, Debby Brienen, Randy Pitts, Janyce Loughridge, Randy Brienen, Karen Margulis, and Kelly Rysavy, Alison Menke, Natalia Andrea, Ed Nickerson, and me, Joan Vienot.. This was my first invitational plein air paint-out. I was a little worried because I thought that most of the other artists have been in invitational paint-outs before, and I had the impression that all were extremely talented. So it was to my surprise at the end of the week when I found one of my paintings, ” Marsh at Nick’s Hole” decorated with a 2nd place ribbon by judges Sandi Shaw of Pines and Palms Gallery of Thomasville, GA, and Ann Kozeliski of LeMoyne Gallery, Tallahassee, FL. The other winners were Alison Leigh Menke, Best in Show; and Natalia Andreeva,1st Place; and Ed Nickerson, 3rd Place.

Oil painting of the lime-green foliage and purple grasses of the marsh at Nick's Hole on St. George Island, FL

Awarded 2nd Place in 2018 St. George Island Paint-Out: “Marsh at Nick’s Hole”, 6×12, oils.

Oil painting o yellow beach flag on pole with stormy gray sky and waves in background, on St. George Island, FL

Yellow Flag Day

Day 1, Monday, April 9, 2018: On the first day of the St. George Island Paint-Out the weather was predicted to be rainy. I set up near on the boardwalk near a pavilion in St. George Island State Park. I was amused that despite the strong wind and boisterous surf, the warning flag for swimmers was merely a yellow caution flag. Where I live, a surf like that would have closed the waters — we would have had a red or even a double red flag. I decided that St. George Islanders must be a tough bunch. I painted the whipping flag and the surf, and called it “Yellow Flag Day”.

Oil painting of the massive primary dune at St. George Island State Park, FL

Spring Dune on St. George Island

After lunch on Day 1, I painted the big, protective, mother bear of a dune, the primary dune, looking eastward, in the St. George Island State Park. It peaked some distance from me so that I could not see it guarding the coast to the end of the island. The day continued to be blustery. That evening all of the artists were treated to dinner at the Clubhouse at the Plantation of St. George Island, and we were asked to bring the day’s paintings. I was floored buy the talent, skill, and expressiveness of my fellow artists. This was going to be a great week!

Old painting study for Shifting Sands, showing sand drifting over a boardwalk on St. George Island, Florida

Study for Shifting Sands

Ink sketch, study for Shifting Sands, St. George Island, FL

Sketch for Shifting Sands

Day 2, Tuesday, April 10, 2018: I left my host’s house at dark-thirty on Tuesday, and crossed the bridge from Apalachicola to St. George Island just as the sun was coming up. I stopped to catch a few photos of it, vowing to be there earlier the next day so that I could try to capture some of the color.

My host and fellow artist Lynn Wilson had mentioned the dunes in the Plantation, so on I went, on a mission to find them. I must have taken 100 photos — even though the day was fast becoming gray. One dune was drifting over a boardwalk, and I prepared to paint it by first sketching it and then painting a small 4×6 study of the basic shapes. And then the rain came. It got cold, and breezy, and I made a mad dash, lugging most of my gear back to my car before the torrential rain started. Time for a nice, big, late breakfast at The Beach Pit, one of our paint-out sponsors. When the rain stopped and I returned to my scene but it was not nearly as charming as it had been in the morning. So I changed my angle and painted the dune beside it, which had a huge scoop of out of it where the winter winds had blown the sand from the dune to now cover the boardwalk. I called it “Sands of Time.”

Oil painting of the scooped dune where the wind is carving it to drift over the adjacent boardwalk on St. George Island, FL

Sands of Time

Oil painting of the lime-green foliage and purple grasses of the marsh at Nick's Hole on St. George Island, FL

Marsh on St. George Island, also pictured above.

Day 3, Wednesday April 11, 2018: I had a half-day workshop for 3 people that lasted well into the afternoon. Painting while teaching is not the same for me as painting by myself — my demo’s rarely have the same immediacy, probably because I am explaining everything as I go along. The left half of our brain is the logical, sequential, linguistic side; the right side is the creative, intuitive, expressionistic side. The two sides are connected by the corpus colossum, so that the two halves can exchange and coordinate  information. I think my corpus colossum could use some calisthenics. I find running both halves of my brain at the same time to be quite a challenge. So as frustrating as it was, it wasn’t really a surprise to me that I was less than thrilled with my painting at the end of the workshop. It was excellent practice, but not a “keeper”, so I wiped it off. So I had no painting to show for my efforts that day. Frustrated, I walked out onto the dock at Nick’s Hole, and was greeted by my favorite scene on the island, the marsh grasses. I am always struck by the lime-green of the foliage in the barren sand where water sometimes floods in from the bayou. This year it is a particularly abundant, and begged to be painted. My painting of this scene was awarded second place by the event judges at the opening reception at the end of the week.

Day 4, Thursday, April 12, 2018: Finally, I got a chance to capture some of the color of the sky just as the sun was coming up. I painted one painting, and started a second one, but then it was too far into the morning — all of the color was gone. I would finish the second one the next day.

Oil painting of the sunrise at the south end of the bridge to St. George Island, Florida

First Light, St. George Island

 

Oil painting of the lighthouse on St. George Island, FL

St. George Light

Several of the artists offered demo’s or workshops throughout the week. On Thursday, Craig Reynolds demo’d the Lighthouse at the center of the island. I set up my easel to paint at the back of the class. I enjoyed the oh-so-subtle shadow wrapping around the right side of the white lighthouse.

Oil painting of the sunrise at the south end of the bridge to St. George Island, Florida

Sun-Up on St. George Island

Oil painting of the sunrise at the south end of the bridge to St. George Island, painted en plein air

Daybreak on St. George Island

Day 5, Friday, April 13, 2018: I finished my second sunrise from the previous day, and painted a third! I see neither the sunrise nor the sunset from my home, being surrounded by tall trees on the feeder creek to a bayou. Clearly I am thirsty for them. I predict some early morning walks on the beach in my future.

Oil painting in shades of yellow, of the lighthouse on St. george Island with blinding sunlight behind it

Seeing the Light

Friday was my birthday, and I can think of no better birthday present than to have spent this week painting on St. George Island! It defined happiness! Uncertain what to paint after the bright colors of sunrise, I drove to the center of the island, thinking I might do the street scene, but I looked up at the lighthouse and was blinded by the sun behind the lens and the catwalk railings. Why not give it a go, I thought. The resulting painting was definitely plein air but also was extremely expressive of my state of mind, without concern for the true color of the lighthouse but rather an attempt to show the blinding light. I was thrilled with the result. I have always been fairly disciplined in my plein air efforts, trying to be true to form and color, saving expressive painting for occasional studio works. This painting was for me a breath of fresh air.

Freshly inspired I drove back to the Plantation of St. George Island to again paint in the dunes area of Resort Village, but this time facing northward towards the developed area instead of south towards the beach. A path from the nearby houses in Resort Village passed through the wild on its way to the boardwalks to the beach. I set up my easel beside the path, my eye caught by two pines standing sentinel over the scrub. The late afternoon light was bright on the spring colors, and the shadows were casting beautiful blue-gray contours over the lay of the sand. Members of a family passed me a few times, and one, Carl, stopped and gave me his card when I was about to stop for the day, and he said, “I want that painting!” I told him it wasn’t finished yet, and he said that was OK, but he would be gone the next morning, to go ahead and finish it and to let him know when it was done. So I went to that evening’s Meet-and-Greet where I and Debby Brienen and Randy Brienen were the honored guests, and the next morning, Saturday, I finished “Carl’s Path”.

Oil painting of the landscape beside the path to the beach in Resort Village of the Plantation on St. George Island, FL

Carl’s Path

How can I sum this up? What a wonderful week! A mountain of thanks to Bunnie Ison and Buena Brown, and to my host and painting buddy Lynn Wilson, and to my resource person and Girl Friday, Barbara Iman, event judges Sandi Shaw, Pines and Palms Gallery, Thomasville, GA, and Ann Kozeliski, LeMoyne Arts, Tallahassee, FL, and to the Plantation of St. George Island, the visitor’s center, and the community supporters, and all the sponsors…

Community supporters:

St. George Island Paint Out Sponsors:

 

Goals, Objectives, and Challenges for the Coming Year

November 25, 2017 in General, Landscape, Plein Air

It’s about time to start thinking about New Year’s resolutions again. I prefer to think of it as setting goals to pursue, or objectives I would like to attain, or even challenges I am setting up for myself. Somehow I feel less threatened by those words than by “resolutions”, which seem to me to be things that I resolve NOT to do, like eating a carton of ice cream in one day, versus goals, objectives, and challenges which are things I plan to work towards. Here are some of mine:

  1. Paint every day either plein air or in the studio, for 30 or 60 days, maybe longer. To do this, I plan to have a palette and brushes ready all the time, in my studio, as well as in my plein air backpack. I have ordered a whole bunch of 6×6 panels for this effort. I can use larger canvases, which I keep on hand all the time, but for this goal to be achievable, I want to be able to finish my daily painting in just 30 minutes, so it makes more sense to use small canvases.
  2. Learn to paint shapes common to our local landscape. Or to paint them better. Shapes such as, palmettos, palm trees, blue herons and other shorebirds, tugboats and fishing boats and pleasure boats, paddlers, waves and choppy water, clouds, live oaks and scrub oaks, sand dunes, twisted dune pines, etc. If I spend a week on each of those subjects, that covers at least 2 months, without even considering that nothing is carved in stone, fortunately for this easily distractible artist, where every shiny spot of light cries out to be captured, now!
  3. Learn to simplify, simplify, simplify!
  4. Figure out what appeals to me about paintings I admire, and then practice that — compositional design, color combinations, contrast, development of focal area, etc.
  5. Practice putting people in some of my paintings. Participate in the upcoming figure painting sessions to be held every Friday at the Cultural Arts Alliance’s Foster Gallery on Grand Boulevard in Miramar Beach, Florida. Learn how to use the “Zorn Palette” to create skin tones (cadmium red light, yellow ochre, titanium white, and ivory black).

Here’s my first one, painted today.

Oil painting study of a palmetto bush

Recent paintings and studies are below. The first two, which are (first image) a pencil and nupastel quick-sketch of artist friend David Boyd drawn from a live pose, and (second image) a small painting of a posing elderly woman in her Sunday dress, were completed last May at Plein Air South, a gathering of artists for lectures, demonstrations, panel discussions, and painting sessions. I gave both to the respective models.

Pencil and nupastel sketch of David Boyd at Plein Air South, Apalachicola, FL, 2017

Oil painting of older woman in sunday finery, painted en plein air at Plein Air South

These next two paintings were completed at recent weekly Wednesday morning plein air sessions with the Emerald Coast Plein Air Painters.

Oil painting of the horse pasture at Alaqua Animal Refuge, Freeport, FL, painted en plein air

Oil painting of Four O'Clocks at Oak Marina, Niceville, FL

This painting below was painted with the DeFuniak Springs group represented by artist Jackie Wagoner last weekend.

Oil painting of the flower garden outside the library in DeFuniak Springs, FL

The paintings below were painted some time ago. I retouched or completely reworked some, and others simply have been pulled up from my piles of studies. I will be taking these to Panama City next weekend for the Fringe Gallery’s “Under $100” sale.

Oil painting of ethereal scene of sunset and a bridge

Oil painting of the gall colors on Mack Bayou, Santa Rosa Beach, FL, touched up from original painted in 2013

Oil painting of the grassy bayou, Point Washington, FL, retouched from original painted in 2013

Oil painting of the marsh at Sea Island, completely reworked since originally painted in 2013

Oil painting of the Pompano on dry land at Nick's Restaurant, Basin Bayou, FL, touched up, originally painted in 2014

Oil painting of a hibiscus bloom at Clay Garden Shop, Seagrove Beach, FL

Contact me if you are interested in any of these paintings.

 

 

 

 

 

A Wedding, Three Workshops, and Two Paint-Outs

November 18, 2017 in Landscape, Other Art, Photography, Plein Air

The last 8 weeks have been amazingly busy.

Oil Painting of Brian and Megan Robertson's First Dance

Brian and Megan’s First Dance

In September in my capacity as the 30A Wedding Painter, I painted a commission en plein air

Plein air painting of first dance at wedding, unfinished

Unfinished, en plein air

at a wedding, oils on stretched canvas, 24×20, finishing the details in the studio. The plein air painting captured the basics, but I needed to tie the composition together better in the studio, which made it quite a bit more formal, and I corrected the proportions of the figures. I scumbled the chandelier, which I had greatly exaggerated on purpose because it set the tone for the scene, and I softened the white curtain behind the couple to create a glow around them, with the foliage creating a heart-shape over their heads.

I enjoy painting at weddings. It is a command performance, so I have butterflies when I first start, but they disappear soon after I start painting. Typically I have contact with the bride’s mother or the bride or couple as much as a year ahead of time, which gives me plenty of time to find out their relative heights, the location of the venue, their colors and styles of clothing, their flower colors, etc. I have a page on my website dedicated to event painting called Weddings, Etc.

Painting of the pelican statue at Ft. Walton Landing, used to demonstrate effective shape-making and atmospheric perspectiveI presented my one-day workshop, Effective Shape-Making and Atmospheric Perspective en Plein Air, in Ft. Walton Beach in October, and in Santa Rosa Beach in November the day before our first local plein air paint-out. The discussion and exercises centered around the use of recognizable silhouettes or external contours for effective shape-making, and exaggerating receding space by making distant shapes lighter and bluer and less detailed, perhaps even completely silhouetted, and with “soft” edges.

My goal in workshops is to give tools and techniques to the beginner, and to review and practicing those tools for the more advanced painter so that he or she may use them with more authority.

The third workshop is one I took, instead of taught, again from the instructor I consider my mentor, Morgan Samuel Price, at The Art Loft in Dahlonega, Georgia. Sometimes the learning is faster than I can absorb, and when that happens, it is difficult for me to paint. Oil painting of Deer Leap Falls near Dawsonville, GeorgiaThat seemed to have been the case in this three-day workshop – only one day resulted in an effective painting, and I struggled to reach a finishing point. Morgan gave me a number of suggestions, but in the end, I had to make my own decisions, and simplification, eliminating busy texture, is what ended up making it work.

I continue to paint weekly with the Emerald Coast Plein Air Painters when I am home. Below are a couple of little studies I enjoyed.

And there is the occasional photograph demanding to be shared…

And that brings me to the paint-outs. A paint-out is an invitation to paint any number of paintings over a period of several days, and often also includes a “Quickdraw” timed contest of usually 2- or 3-hours to paint within a particular area, the paintings to be framed and judged immediately afterwards. The first paint-out was in Gulf Shores, Alabama, produced by Craig Reynolds for the Alabama Plein Air Artists and guests. I am a member of the APAA. Living in the Florida Panhandle, APAA paint-outs are closer to me than most of the Florida paint-outs. Below are the paintings I produced there.

Billy’s Seafood, 11×14

 

Standing Vigil, 10×8

 

Boatyard Cat, 11×14

The Cultural Arts Alliance of Walton County is the arts association where I live, in Santa Rosa Beach, FL. For 25 years the CAA has produced the Flutterby Festival, an autumn event geared primarily toward children, celebrating the migration of the monarchs and other butterflies through our geographic area. This year, they added a plein air paint-out to the event, and 20 excited and enthusiastic painters participated on the beautiful grounds of Watersound Origins. I won some awards, taking second place in the Quickdraw, and honorable mention for a painting in the Wet Room. We were allowed to exhibit one piece we had painted prior to the paint-out, in the Wet Room, so that the Wet Room would have some paintings in it right away, and my piece that was honored, Pathways Pond, is the one that I had painted on a previous outing there with the Emerald Coast Plein Air Painters.

Pathways Pond, Honorable Mention, Wet Room, CAA Flutterby Festival & Paint-Out

 

Nature Trail, Quickdraw Second Place, CAA Flutterby Festival & Paint-Out

 

Dawn Glow at Watersound Origins, 11×14

 

A Little Bit of Soul, 10×8


And now I have some time to clean out my studio, and re-organize. I will be retrieving the paintings I have been exhibiting at the local library, and I need to make space for them. It’s surprising how quickly more paintings can fill up a space! Sometimes it fills with projects for upcoming exhibits. Our arts alliance is calling for art for the annual One Size Fits All, the requirement being that all art is produced on a 10′ x 10′ cradled wood panel. I like to use special exhibits like this as an opportunity to do something a little different. This year I painted a simple sandpiper on one of the panels and on the other one today I learned how to make an acrylic pour, marbled using silicone, and I put some coquina shells on it that look like butterflies, and I titled it Migration.

 Oil painting of a sandpiper at water's edge  Acrylic pour on cradled wood panel, with seashells embedded

 

Finding a Mentor: Morgan Samuel Price

September 1, 2017 in Landscape, Plein Air

I started plein air painting four years ago. I painted in the Quickdraw at the Forgotten Coast en Plein Air, my first such event. I knew none of the artists. Afterwards, I chanced to be lunching at the table next to the one where master painter Morgan Samuel Price was sitting. Morgan had just won an award in the Quickdraw. My friend and I introduced ourselves and began talking with her, the usual niceties. Afterwards, I looked up her website to see who she was, and I was appropriately amazed by her paintings, both the skill and the affect. I was thrilled when I found out that she was offering a plein air painting workshop in Apalachicola that next spring. Apalachicola is only 100 miles away from my home. It is a village with an interesting history, and great painting subjects ranging from the working shrimping trawlers and oystering boats to decrepit shotgun houses and restored mansions. What a great place to take my first workshop in plein air painting! I blogged about Morgan’s amazing patience – that was in March of 2014.

I took two more workshops from Morgan – one the next year, in Apalachicola, and one last year, in Taos. This year I signed up to take her workshop in Dahlonega, Georgia, in October. I like learning to paint in different locations – it forces me to learn to paint things that are new to me. I got a call from Morgan in late spring, saying that she had space in her Estes Park workshop. I decided to go. Having grown up in Colorado, I was familiar with Estes Park, but I had not looked at it with artist’s eyes in over 40 years, and certainly not with plein air painter’s eyes. I had gone to Estes Park for a family get-together for my Dad’s 90th birthday, but it was wintertime, and the landscape is completely different when covered with snow. So I was completely agog as we drove Hwy 36 through the foothills to Lyons and then up the North St. Vrain Canyon. My awe grew as we continued up the canyon to finally stop at a quaint cabin just north of Estes Park, which would be home base for the week.

Whether it was the demos, the instruction, my awe with the geography, or simply the good company, and no doubt a combination of all that, I enjoyed this workshop like no other, and feel that I learned volumes! And that brings me to the reason I am writing this blog, which is to attest to the value of finding a mentor and repeatedly studying with that person. Of course it certainly helps if the mentor is a master painter!

With a good mentor, you develop a trusting relationship, which makes you more receptive to their suggestions and criticism, and more self-confident in your painting. You become better at the language of painting, better at explaining your challenges, better at asking the right questions, and you learn to observe at the right times, and to pay attention to what has previously eluded you. You even learn better teaching progressions for your own workshops. You become more in tune with your own motivations and you paint with more personal authority, trusting your instinct more. And you develop a stronger eye for assessing your own work, as well as that of others. I’m not saying there isn’t value in taking workshops from different artists — I have learned from a number of instructors. But the value in a mentor is the trusting relationship that develops, which makes it possible to listen to their feedback without feeling as defensive. I confess I still have some resistance, still wanting to justify why I painted something less effectively than I could, but I am able to understand and agree much more than I used to. I also am acquiring attitudes and standards of excellence which will be helpful to me in my career.

I can’t wait to get into the studio now and start working on larger paintings! The grandeur of the glacier-carved Rockies, especially on Fall River Road and Trail Ridge Road, simply begs for large canvases. Below are the studies I did in this workshop.

Oil painting of the light on the tree behind Cynthia's cabin Montevideo  Oil painting of Book Cliffs before the storm

Oil painting of the falls cascading over the jumble of boulders in the Fall River Alluvial Fan in Rocky Mountain National Park  Oil painting of the Big Thompson River below the cliffs at Sleepy Hollow Park, below Estes Park

Oil painting of a grove of aspen trees near Estes Park, Colorado  Oil painting of the cliffs at Sleepy Hollow Park, with backlit trees and grasses  Oil painting of the late afternoon light on the meadow at Moraine Park, above Estes Park

As always, contact me if you are interested in purchasing my work.

I am starting to more and more realize the value of paint sketches. Even when they don’t seem to have any merit at all – I always have learned from them. Below are some of my paint sketches. In the first one, I was looking for the right colors for the mountain and the sky. In the second, I was studying the colors and shapes of some rocks, and in the third, I was looking at the difference between ponderosa pines and blue spruce.

    

 

Habits and Routines in the Artistic Process

August 18, 2017 in Figurative, Landscape, Plein Air

I am struggling with an absence of routine. Without it, certain basic maintenance tasks are neglected. I like to get up in the morning, have a cup of coffee, read something inspirational, and write my 5 gratitudes, and do a short meditation before I get my day underway. But lately I have been getting sidetracked into the day’s business as soon as I get my coffee — starting with email correspondence, news, and social media updates, and I never get back to my morning quiet time. My life has been complicated by a pesky knee injury which has required a good deal of physical therapy and greatly reduced my physical activity. I am coming out of that phase in my life, increasing my activity, improving my nutrition, and I intend to restore routine to my life.

I used to blog weekly. I couldn’t believe my eyes this morning when I saw that my last post was 2 months ago. This was a certain message that I need to re-organize my life.

It’s not that I haven’t gotten things done, or that I have neglected my spiritual and psychological health. But I have neglected a lot of things, obviously blogging being one of them.

So why does that matter? Because blogging is one of my chief way of assessing progress, with a little introspection on the side. Self-assessment is essential for monitoring progress.

In brief, projects accomplished and actions taken over the past two months:

  • Continued coordinating and attending weekly Wednesday morning plein air painting excursions with the Emerald Coast Plein Air Painters, with the goal of maintaining community among the painters, and maintaining if not improving my skills.
  • Organized and hung a small exhibit of works by the Emerald Coast Plein Air Painters in the lobby of Northwest Florida State College South Walton Center, with the goal of constantly exposing young minds to plein air painting, and with the end goal of creating appreciation for the genre, encouraging young artists, and perhaps inviting future participation and patronage.
  • Served as coordinator for a juried exhibit of plein air paintings for my local arts alliance at the Foster Gallery, preliminary to an event we are planning for this fall.
  • Completed my 4 months of physical therapy for IT Band Syndrome due to knee arthritis (what a pain!!)
  • Vacationed in Montana for a week with my sisters from Colorado, and their families, and visited my 97-year-old Dad in his senior home in Colorado, and shared pie with my brother and his family there.
  • Completed a commissioned painting for a patron.
  • Exhibited in two special exhibits at the Foster Gallery – showing two plein air paintings in Outdoor Magic 2017, and a figurative piece in Faces & Figures.
  • Studied DVD’s by plein air painters Laurel Daniel and Joseph McGurl.

Below are studies and works done over the past couple of months.

Oil painting of the "umbrella trees" at Western Lake in Grayton Beach, FL, at dawn, a commissioned work 8"x48"

See full-size at Umbrella Trees at Dawn. This painting was commissioned by local friends who had a very specific space where they wanted to hang it in their house, a space roughly 9″ x 60″. The painting is 8″ x 48″. They gave me the subject, an iconic local treeline that we know as the “umbrella trees”, at Western Lake near Grayton Beach, Florida. They wanted to see it every morning and smile. So I chose dawn.

 

Oil painting of the first light of dawn coming over the mountain to kiss the grassy hill at Green Bear Ranch, Eureka, MT

The first light of dawn coming over the mountain to kiss the grassy hill at Green Bear Ranch, Eureka, MT, painted en plein air while on vacation with family two weeks ago. (click photo for larger image)

Oil painting of the road cut across Dickey Lake, MT, on a day hazy from the smoke of forest fires in BC, Canada.

Plein air painting of the road cut across Dickey Lake, Montana, on a day hazy from the smoke of forest fires in BC, Canada. (click photo for larger image)

Oil painting of the grassy rise edging the roadside park between Basin Bayou and Villa Tasso on the Choctawhatchee Bay in Florida

A roadside park in Choctaw Beach, on the Choctawhatchee Bay in NW Florida, painted en plein air. (click photo for larger image)

Oil painting of the lake at Lincoln Park in Niceville, FL, with the muted colors of a cloudy day

View from Lincoln Park, Niceville, FL, on a cloudy day, painted en plein air. (click photo for larger image)

Oil painting of a V-bottomed boat at Nick's Restaurant on the Choctawhatchee Bay at Basin Bayou near Freeport, FL

V-bottomed boat at Nick’s Restaurant on the Choctawhatchee Bay at Basin Bayou near Freeport, FL, painted en plein air. (click photo for larger image)

Oil studies of the light on the water at Thomas Pilcher Park in Santa Rosa Beach, FL

Plein air studies of the light on the water at Thomas Pilcher Park in Santa Rosa Beach, FL. (click photo for larger image)

Oil painting of a bend in the creek, showing the transparent tannin-stained water over the sand bar, at Turkey Creek in Niceville, FL

Plein air painting of the a bend in the creek, showing the transparent tannin-stained water over the sand bar, at Turkey Creek in Niceville, FL. (click photo for larger image)

I drew Katie and Marley for a special exhibit by my local arts alliance called “Faces & Figures” at The Foster Gallery. Katie is a neighbor in my community who walks her dog in Eden Gardens State Park. On this day, she was sitting on the bench up by the bayou. The paper actually is a very light blue — the camera incorrectly corrected for color-cast. (click photo for larger image)

As always, contact me if interested in available art or a commission.

 

Joan Vienot, Live Event Painter

June 13, 2017 in Landscape, Other Art, Plein Air

Several years ago I was asked to paint the bride and groom’s First Dance at their wedding reception. That first request blossomed into more as word got out. I have dedicated a page on my website to Weddings, Etc.

Last fall I painted at a beautiful wedding which was held outdoors in front of a magnificent private mansion. The weather was gorgeous, the light exactly mirroring the day before when I had visited the site to work out the details with the wedding planner. I arrived about an hour early, so my painting was well underway by the time the first guests arrived. A trio played classical music behind me, to the accompaniment of the splashing sound of the beautiful marble fountain beside me, and pre-wedding cocktails encouraged the convivial atmosphere. Guests looked over my shoulder as I continued to structure the mansion, cheating the color towards the warm glow I knew would be present at the moment I was asked to capture, which would be the bride’s father escorting the bride to her wedding. (I had taken a few reference photos of the wedding planner standing approximately where I thought the bride and her father would be walking, so that I had an idea of scale when I started the painting.)

I was amused that a few of the guests wanted to have their photo taken with me painting — apparently my activity was something essential to their anticipated memories of the occasion. But I was wholly unprepared for the revelation that my work would be so significant to the bride, surprised and pleased that she had my painting printed on her Thank You cards!

And then gratitude upon gratitude, when she included a photo of me painting, in the feature article on her wedding in The Knot, the premier magazine for “all things wedding”! The issue will hit the newsstands on June 26, 2017. Below are small photos of the 3-page article, and the fourth one is a composite of the photo of me working and the list of vendors. Click each image for enlargeable view.

Click image for enlargeable view.

Click image for enlargeable view.

Click image for enlargeable view.

Click image for enlargeable view.

 

Keeping up With Inventory: Sales, Week of April 13, 2017

April 16, 2017 in Landscape, Other Art, Plein Air

LABEL BY ARTWORKARCHIVE.COM

Inventory record keeping can be a chore. I have many paintings. Some are on my studio walls, some are in storage, some are entered in shows, some are entered in competitions, some are in galleries, and some are out on loan. I used to simply upload my works to my website. But I might want a list of the paintings in a collection at a particular gallery, and my website cannot make reports. For that I rely on an online inventory system called Artwork Archive. This site allows me to assign my artwork to various collections (galleries, competitions, locations, etc.). It generates nice reports, and it can create gallery labels with as much or as little information on them as I want. For example, for a recent show at St. George Plantation on St. George Island, FL, I opted to include the one-paragraph “description” on each 4 x 6 label, because each of the paintings had a story, my experience and observations while I was painting it there on location, with which I knew the viewers would identify.

Artwork Archive also allows me to immediately mark a piece sold, and to record where it was sold and by which gallery or exhibit. It was a valuable tool this week, when a number of sales happened through various avenues. I sold a plein air painting off the easel on Wednesday, to the owner of the house in my painting. I also sold 3 paintings this weekend at the the St. George Plantation show. One of the galleries showing a number of my paintings called to say they had sold one painting, and also a small figure drawing, and the interior design shop representing me sent me a check for the proceeds from 3 paintings sold. Plus I received an order for a commissioned painting. It was a good week! Artwork Archive made simple the record keeping for these sales.

It also can make a beautiful report on any single painting, complete with image.

Before I started using Artwork Archive, I used to try to keep a spreadsheet of sorts, but it was cumbersome, to say the least. I still keep a spreadsheet of due dates and delivery dates for competitions and exhibits, but the bulk of my record keeping is on Artwork Archive.

Below are my sales for the week, a sample of the necessary record keeping. The first five are recent paintings.

Oil painting of General Miller's relocated house, in Point Washington, FL

Oil painting of two immature barn owls recently flown from the nest, St. George Plantation, St. George Island, FL

Oil painting the marsh view at Nick's Hole , Apalachicola National Estuarine Research Reserve

Oil painting o the Egrets' Pond on Leisure Lane, St. George Plantation, St. George Island, FL

 

The following paintings also sold this week.

Oil painting of the bright light on the water of the Gulf of Mexico at Henderson Beach State Park, Destin, Florida

Oil painting of misty palms in Marler's Park, painted en plein air

Oil painting of the beach foliage and beach umbrellas along the gulf-front at Seaside, FL, painted en plein air

Oil painting of the dunes south of Western Lake, at Grayton Beach State Park

All of the above paintings have sold. If you have a scene that you would like memorialized in a painting, contact me on this website’s “Contact Form”. I am happy to do commissioned work.

 

Plein Air Magazine’s Publisher’s Trip to New Zealand

March 14, 2017 in Landscape, Photography, Plein Air

The Plein Air Magazine Publisher’s Trip to New Zealand, February 22 to March 5, 2017, was everything I expected and beyond. A combination of sightseeing, gourmet dining, and painting opportunities, it was first class from beginning to end, 10 days of delight! I confess that the travel was grueling,  about 18 hours in the air over several flights each way, plus layovers, check-ins, and security. We also had a good bit of travel while in New Zealand, most of it by bus, but fortunately most of that time was compensated by beautiful scenery en route.

Angela Morgan, our tour coordinator from Parnell Partners Group, was simply outstanding. If you can imagine 35 excited and easily distracted adult artists, accompanied by another 15 spouses and partners, many of them excited and easily distracted photographers, you will have an idea of the job Ange and her team had, bringing new illustration to the phrase “herding cats”.

If you count the first couple of days as travel and travel-recovery days, we had 9 days of actual touring and painting opportunities. I had signed up for the trip as a retirement present to myself some 10 months prior, when it was announced at the 2016 Plein Air Convention. Visiting New Zealand had been on my bucket list, but I never thought I would be able to find a travel companion willing to entertain themselves while I sat and painted, and I didn’t want to go so far away alone, so this trip was a godsend. And then my friend Lynn Wilson, owner of On the Waterfront Gallery in Apalachicola, FL, just 100 miles east of Santa Rosa Beach where I live, decided she would come too, and we opted to room together. I found everyone in the group to be very friendly, with instant camaraderie, which came as no surprise, really, since plein air painters seem to attract each other. In fact, I find artists as a whole, and plein air painters in particular, to be especially engaged and engaging.

Click for larger view

Our home base was Millbrook Resort near Arrowtown, near Queenstown, on the South Island of New Zealand, where we enjoyed a delicious buffet breakfast every morning. One night I skipped dinner and painted the scene behind my room, where a tree had fallen and fourteen trees had grown up out of its trunk. The sun went down and I had not yet painted the dark trees, so I merely scraped them out of the background paint, which made for an interesting study.

 

 

 

Click for larger view

Day 1

Painting at Waitiri Creek Winery

Lunch at Gibbston Valley Winery

Painting at Millbrook Resort (or napping to recover from travel fatigue)

Dinner at Jervois Steakhouse

 

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Day 2

Painting at Glenorchy Wharf

Lunch at Glenorchy Café

Adventure: one of the world’s top 10 scenic drives to a nature walk and jet boating up the Dart River in Mount Aspiring National Park in the Te Wai Pounamu World Heritage area

Dinner at Gantleys Restaurant

 

Click for larger view

Day 3

TSS Earnslaw steamboat cruise to Walter Peak High Country Farm

Lunch at the Colonel’s Homestead Restaurant

Painting at Walter Peak

Dinner at Botswana Butchery

 

Click for larger view

Click for larger view

Day 4

Painting in Arrowtown or artists choice of location. Lynn and I painted a sheep field at the edge of the resort, backed by a huge mountain. Four sheep on the hill were tended by a single dog, and they gradually made their way out of sight. The pink and yellow colors of the grass on the hill interested me, especially in contrast to the dark mountain behind it.

Dinner at Saffron Restaurant

 

Day 5

Scenic drive to Milford Sound in Fiordland National Park for boat ride to the mouth of the fiord and back, seeing the grand vistas of the glacier-carved fiord, with waterfalls of glacier melt streaking down the nearly-sheer cliffs, box lunch provided.

Buffet dinner at Millbrook Resort.

Day 6

Flight to Wellington on the North Island of New Zealand, for a tour of Weta Workshop where owners Sir Richard Taylor and Tania Rodger and company have created prosthetics, special effects and set design for such movies as Lord of the Rings, The Hobbit, BFG, Avatar, and many more.

Dinner at Roxy Theatre

 

I let a little girl paint a few strokes – I love sharing the fever!

Click for larger view

Click for larger view

Day 7

Flight to Auckland for ferry ride to Waiheke Island for lunch and painting at Mudbrick Winery

Dinner at Oyster and Chop Restaurant

 

 

 

 

Click for larger view

Day 8

Tour and painting at Hobbiton, the life-size set and location for The Hobbit trilogy, complete with 44 permanently reconstructed Hobbit Holes

Dinner at Euro Reataurant.

 

Day 9 was a free day, so Lynn and I closed out the trip with a visit to the Auckland Museum where we were treated with a show by Maori singers and dancers, as well as the wonderful history and natural history displays.

We flew out of Auckland for Los Angeles late that night, March 5.

I am at a loss for words to describe the beauty of New Zealand. I so enjoyed the entire experience.

The only mar was a pesky knee disorder diagnosed the week before the trip. I had been annoyed by symptoms for some 3 weeks prior, and when they didn’t go away, I went to the orthopedics institute (Andrews Institute, in Gulf Breeze, FL, the best!) and was diagnosed with a Baker’s cyst caused by knee inflammation (I have thin cartilage.) It turns out I also have a massive case of IT Band syndrome from how I have adapted my bad-knee walk, which I did not know at the time. I was able to walk short flat distances and the inflammation usually did not bother me until the evenings and at night, when it imade sleep difficult. It was so bad one night that I nearly decided to cut the trip short. Some TLC over the next few days, including being pushed in a wheelchair through the domestic airports, reduced the walking enough that I was able to finish the trip. (Post trip comment: the doctor is giving me three weekly injections to reduce knee joint inflammation and he gave me a brace for lengthy standing or walking, and I will start physical therapy to strengthen the muscles that support the knee and knee mechanics and to treat and prevent IT Band Syndrome.)

Now I need to finish a few paintings to send to Lynn’s “On the Waterfront” Gallery for her showing of paintings from the New Zealand trip, open to all of the participating artists, during the month of May. I had used very lightweight supports in New Zealand, linen covered multimedia boards, and had used a cardboard wet painting carrier for one size of paintings, and my usual RayMar painting carrier for the other size. The RayMar held up well, but the cardboard carrier collapsed and allowed some of the not-quite-dry paintings to fall face to face. So I have some repairs to make.

The paintings I have posted above are the rough work I did en plein air while there. Below are a few studies from photos since my return, working out some distance perspective issues with watercolor. Click image for larger view.

Walter Peak High Country Farm wc sketch from photo

Fiordland, Milford Sound wc sketch from photo

Hobbiton landscape wc sketch from photo