After noticing my tendency to dull my colors when painting in the bright light outside, I decided to paint with brighter colors, sometimes straight out of the tube. The duller colors were exact when I was outdoors, but indoor lighting is never as bright as the sunlight, so I found my paintings looked dull when I brought them indoors. This effort to paint my paintings so that the colors look realistic when indoors, challenges me, because the more intense color seems a little garish while I am painting. I have to battle my instinct to tone it down.
Painting the potted plants in the pavilion at the head of the Turkey Creek boardwalk in Niceville, FL, last week, I was thrilled to find my subject half in the sun and half in the shade. Colors change radically when the sunlight hits them, being more true to what we think of as local color, in the shade. And the reds! Seldom do I get to use strong red! What fun!
This week Wednesday was overcast. The light was strong, but the colors were muted. The Emerald Coast Plein Air Painters were painting at Nick’s Seafood Restaurant in Basin Bayou, west of Freeport, FL. I remembered  all the fancy little chickens running around in Trey’s yard next door, and I hoped to paint them. Alas, they were gone, and the only critters to show up were three scrawny young turkeys, two white and one brown. So I decided to paint the play of light around the boats, and the geometry of the chicken coop. Halfway into the painting, Trey came out and I asked him about the chickens, and he said there were about a hundred in the coop. I heard them start cheeping, as a little boy spread food for them. Trey threw some corn between me and the coop and a few adult chickens came out to eat. So I got to paint chickens after all!
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Back row: Beth Loscondo, Marian Pacsuta, instructor Kathie Odom, Denise Kevany, Patricia Hagan. Front Row: Bob Weir and Joan Vienot. Photo by Buddy Odom.
Last week was my last hurrah before my summer season in my day-job as owner of a pool service business in a resort area of vacation-rentals and second homes. Sigh, I am paying for it this week, burning the midnight oil making up for the time I invested in painting last week. But I do not for one minute regret it, because it is always such a joy to paint with like-minded enthusiasts. At the end of the workshop we took a group photo, and I asked Bob if I could hold his hand. His excitement was such an inspiration to the group, having started plein air painting only recently in his 80-year life.
Our workshop was sponsored by the Seaside Institute, in Seaside, FL, facilitated by Casey Johnston. Our biggest challenge was finding parking during that week of Memorial Day. The institute brought Kathie Odom in from Tennessee to lead our workshop. Kathie shows her paintings at Redbird Gallery in Seaside.
Kathie underpaints her plein air paintings with a wash of yellow ochre, viridian green, and transparent iron oxide (a rust color). If not fully mixed, the wash will be more of one color than another in any given area. She doesn’t necessarily cover the entire canvas, instead usually making some sort of a off-center starburst pattern. Then she takes a paper towel and rubs off the juiciness, so the wash is relatively dry. She uses a dark brownish mixture similar to raw umber to paint-draw the scene she has chosen onto the canvas, and she uses a cotton swab dipped in solvent to lift off the areas that she wants nearly white, the recently applied color wash coming off fairly cleanly. From that point, she proceeds on to the unexplainable magic of plein air painting, applying darks first and lights afterwards. At the end she randomly applies extra twigs and flicks of color which help create the what she calls “vibration of color”.
In every workshop I take, it seems like there is a bottleneck in my brain between what I’ve just heard the instructor say, and what I am able to do with my hand when I paint. It guess it takes a while for new information to get from the left brain to the right side. The bright yellow-green umbrellas of the Great Southern Cafe caught my eye from the amphitheater stage where we were set up behind the Seaside Post Office. Challenged by the lower part of the scene being hidden by the parked cars of Memorial Day vacationers, I dashed in a few shadows to break up the foreground, and returned the before class the next morning to finish up. I decided to leave the foreground as it was, and just sharpened up a few details and called it done. Buddy shot a photo of me concentrating on Kathie’s demonstration.
The next day’s scene was our view from a pavilion overlooking the beach in front of the Shrimp Shack there at Seaside. Working with the greenish-yellow wash behind my sky was not as disconcerting as I thought it would be. I’ve used washes before, using transparent iron oxide alone or mixed with ultramarine blue, and also I’ve used cerulean blue for my drawings, sometimes washing some areas. But usually I’ve toned my canvas with an acrylic wash so that it is completely dry before I start oil painting. That has allowed me to scrape off color to expose the wash, but Kathie’s technique of washing with oil paint permits lifting off color to expose the white canvas, or scraping it to expose the wash, which to me is the best of both worlds.
We painted upstairs at the Seaside Assembly Hall that afternoon, thankfully indoors while a fantastic lightning storm blew through the town. Kathie taught techniques that she uses. Below are two classroom exercises from two afternoons that week.
Photo by Buddy Odom
My pool service business did not slow down just because I was taking this workshop, so one afternoon I hardly painted at all, spending most of the allotted time on the phone, managing a difficult relationship between a property owner, his friend who was responsible for the property, and the contractor repairing a pool heater with wires chewed by rats. It is nearly impossible to explain to someone who hasn’t seen it, how hard it is to figure out which wires the rats may have just chomped on, out of the spaghetti of wires inside an appliance.
I met the owner of Redbird Gallery in Seaside that afternoon, and we talked for a bit. Tricia shows some of Kathie’s works there. I chose that gallery to paint but barely got the paint-drawing done. Buddy got a good shot of my easel.
On Thursday we painted in Grayton Beach State Park. I decided to paint on a larger size canvas, 12×24, more than 3 times bigger than my usual 8×10. I spent almost the entire time mixing more paint, since my practice with smaller paintings was to mix just a little. A small mixture doesn’t go very far when painting a bigger painting! I went back to the park at 6:30Â the next morning to finish my painting, thinking the park opened at sunrise, only to find that it doesn’t open until 8:00. Below is my unfinished painting of the scene from the parking lot near the nature trail.
Photo by Buddy Odom
Unfinished: Â Western Lake from Grayton Beach State Park
Frustrated, I started driving back to Seaside on Scenic Highway 30A and stopped at the bridge where I painted the view of Western Lake from the roadside. This view of the “umbrella trees” is probably the most photographed scene in all of South Walton County, where the slash pines bordering the backside of the lake form an umbrella. It perfectly fits the 12×24 canvas I used. I will be making limited edition prints of this painting, some on stretched canvas. Message me if you are interested.
Umbrella Trees at Western Lake, 12×24. Limited edition prints available on stretched canvas. Click the painting for purchase information.
Painting with the Emerald Coast Plein Air Painters at The Boathouse Landing in Valparaiso, FL, last Wednesday, I thought I would paint a simple cascade of leaves over a fence. The lush green blackberry leaves were punctuated by a few white and yellow honeysuckle blossoms. I was wishing I could capture the scent along with the shapes and colors.
And then I found out that it wasn’t simple at all. I was very close to my subject, and perhaps that was the challenge — I was seeing too much detail. I’ve heard of people taking off their corrective eyeglasses so that they don’t see as much when they paint — maybe that would have made it easier.
I had toned the canvas with a light wash of pink acrylic paint before I started the oil painting. My purpose was to retain some of the pinks and reds that were in the blackberry stems and branches. Overwhelmed by the large mass of green leaves, I settled for the patterns of light and dark, and painted the honeysuckle flowers towards the end of the session. I scratched out a few of the twigs and branches of the blackberries, revealing the pink canvas. There were bands of light between the fence slats peeking through the leaves in a few places. Later, in the studio, I refined the edges of the spots of light to help the leaves stand in front of them.
It ended up being a great session for challenging myself, topped off by a nice meal and good conversation with fellow painters Dan Robison, Weezie Bancroft Brabner, Patti Overholt.
Wherever you live, there probably is a group of plein air painters who meet regularly to paint, perhaps critique their work, and socialize a bit. There is huge value in the energy of the group. Numbers may wax and wane, but almost always someone else comes and helps magnify the creative energy. The group I meet with is called Emerald Coast Plein Air Painters. More than 100 people receive the notifications of the weekly painting locations for our group. Anywhere from 2 to 15 people usually show up, painting for a few hours. Sometimes we paint the same view, sometimes everyone paints something different. There are no rules. Around 11:30 we meet for what I call a “soft” critique, with no one ever telling you that perhaps you should take up a different pasttime. Sometimes experienced artists are present, and they give very good suggestions for ways to be more effective in our paintings.
For myself, I am one of the waxer-and-waners in attending the weekly sessions, preferring not to drive very far especially during the slow traffic of tourist season. Our group meets in a two-county area, in Walton and Okaloosa Counties, in Northwest Florida. We generally meet in the southern half of those counties, but even that limited area comprises about 1000 square miles. There is no shortage of subjects to paint, so we really are constricted only by the presence or absence of public restrooms and adequate parking.
This week we met at Cessna Landing, a small park and boat launch on Hogtown Bayou in Santa Rosa Beach. The weather could not have been nicer. The first thing that caught my eye was the scene looking into the early morning sun, a bunch of scruffy, gone-to-seed cattails in front of the parking lot circling the park. I immediately decided the broken, bleached, backlit cattails would be too difficult so I walked around looking at everything else, finally shaming myself enough to work up the courage to give the cattails a try. Now that I have painted them once, I’ll have to try again sometime, to see if I can do a better job of capturing the brittle, broken leaves. Below is the 8×10 I completed.
As a plein air painter, I am never at a loss for subject matter. I paint the light. How do you do that on a foggy day, you may ask. But that’s just it, unless it is pitch dark outside, there is always light. Sure, I prefer to paint the bright sunlight contrasted with shadow, but it was foggy many mornings this month. Three weeks ago our local plein air painting group, the Emerald Coast Plein Air Painters, met at Oak Marina in Niceville, FL. I was filling in for our coordinator who had business out-of-town that week. So I arrived early, and set up to paint in the fog, with no more than 100′ visibility. The moisture in the air almost completely removed the color from the scene of the sailboats tied up to the docks. I drew the basic shapes, watching them swirl in and out of view for 30 minutes before the first painters arrived.  By critique time, I had completely finished my 10×8 oil painting. Having limited colors because of the foggy atmosphere, my challenges had primarily been just values of dark and light gray. Eventually during the session, the fog lifted, and the far shore became visible.  But I was far enough along in my painting that I was able to maintain the blanketed feeling I had when I had first arrived that morning.
I would like to have painted in the fog two weeks ago on St. George Island in Apalachicola when I attended the Morgan Samuel Price workshop (blogged here), but the fog had lifted by noon every day when our painting sessions started. On my last day in there, after the workshop had concluded, I made one last trek to Scipio Creek Marina and caught a few photographs of the boats in the fog, to support my memory. I have one of those photos at the bottom of this post.
This week was a challenge of a different sort. Our group coordinator suggested we meet in the parking lot of a grocery store. I was skeptical, imagining that we would be painting my nemeses, cars and buildings. Our coordinator, Ed Nickerson, is a master of design, able to create interesting shapes and compositions out of what anyone else might consider impossible subjects, like broad expanses of road, and power lines, and such. So I was prepared to take a page out of his playbook and paint lines on a parking lot, ha! But to my pleasant surprise, I found the pansied entrance to the shopping center to be a delightful arrangement of color.  What fun, to be able to use some pigments straight out of the tube! By the time critique rolled around at 11:30, I had finished most of my painting, all except for the road and the sky.  My road was a blue-gray, and Ed commented that it was confusing, appearing as if it were water, so I grayed it more and added the median curb and post and crosswalk to indicate the divided highway.
Below is my photo of the foggy marina in Apalachicola.
Fishing Boats at Scipio Creek Marina on a Foggy Day – joanvienot.com
Last year I took my first workshop in plein air painting. I had been painting weekly with the local plein air group for about 14 months when I took that first workshop with Morgan Samuel Price. But I found each day of this year’s workshop even more challenging than last year. According to Morgan, that is the painter’s life. She says that a plein air painter just keeps finding more and more challenges. The more experienced they get, the harder the challenges they find for themselves. Sigh, I thought this was supposed to get easier!
What an amazing group of artists in this year’s workshop! Lynn Wilson, Carol Drost Lopez, Becky Anderson, Charlotte Hope, Nancy Smith Crombie, Patricia Irish Richter, Brenda Anderson, Sherry WetheringtonA, Mary Wain-Ellison, Glenda Coleman, Karen Snider, David M. Jones, and I:  thirteen of us. One of the best parts about the workshop was the critique session held each day at the end of the day. We would line up our efforts, even if it was just a few brushstrokes, and Morgan would discuss each and every painting, directing her comments to that artist but for the benefit of us all. This was addition to her amazing morning teaching and demo sessions, and our afternoon practicing painting en plein air, all making for a superb workshop for beginner and advanced painter alike. Blessed with infinite patience and superb focus, Morgan is able to work despite the constant distractions of the excited artists milling and buzzing around her, cameras clicking next to her ear. Below are a few shots of her working. You can click on any of the images to see a larger view.
I had confidence to be away from my pool service business. I had worked long hours the weekend before the workshop, to clear my desk, plus I have a fantastic crew in the field and a wonderful office staff. On Wednesday my staff decided to show me what was happening there in the office, with a series of photos that even Tamra’s store helpers (her two dogs) had a part in. Â Here’s the worst one, Tamra Thomas, Margaret Bush, and Brenda Osborne. Clearly they do not have enough work to do.
The city and area around Apalachicola is such a scenic place, with the historic buildings, working waterfront with shrimp boats galore, oystermen, grottos and lagoons — it is heaven for painters.  The home of Forgotten Coast en Plein Air, you often can find an artist or photographer at work.
Below are some of my works from the workshop with Morgan Samuel Price. Daily critiques were at a set time. Work had to be halted then if we wanted to hear what Morgan had to say about our progress. Click the photo for a larger image.
On the last day I was captivated by a thistle in bloom, so after I finished my landscape, I captured the pink of the flower by using a tint of color I had not ever used before, quinacridone magenta, which turned out to be perfect for painting thistles and I believe also should make painting azaleas easy. I am finding I generally prefer to mix my colors instead of using specialty pre-mixed tubes, but in this case I was very pleased with the chroma.
I shot the photo below using my iPhone.
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See the next post for the weekly paintings done just before and after this workshop.
Every year in January the Lakeyard in the city of DeFuniak Springs is the site of the Florida Chautauqua Assembly, a festival offering educational exhibits relating to the selected theme for that year. Typically it also includes exhibits of times gone by, including Civil War re-enactments complete with cannon-shooting. Recently it also has welcomed plein air painters. A few other brave souls and I painted there last year in the 34º weather, brrr! I was very happy to be painting in my shirtsleeves this year.
I wandered the grounds for a while before deciding to paint in front of the frontiersmen camp. Initially thinking I would paint the whole scene, I instead decided to greatly simplify the challenge by painting only the gourds hanging from a tripod of branches. I was amused by a baby Nubian goat bouncing around the encampment, and wondered if I could paint him, but he didn’t ever sit still long enough to get a good drawing done.
Baby Nubian Goat
So the next morning I painted just the goat’s head after watching him some more and looking at some photos on my iPhone that I had shot the previous day. A friend of mine asked for the painting as soon as she saw it.
My final painting that morning was of the encampment itself. The family shared with me their meal of eggs and potatoes and meat flavored with a little gospel. When I started painting, I had to move fast because the festival was about to close down. So I generalized a good bit, letting the colored shapes suggest form rather than distinctly defining it.
The light changes so much over the short course of a painting that a plein air painter can easily “lose the light” unless he or she has made a preliminary value sketch or shot a reference photograph. That certainly was the case on Christmas Day as I was painting a small camellia tree at Eden Gardens State Park, a short distance from my home in Point Washington, FL. I had set up my easel thinking the sun was going to move differently than it did. About halfway into my painting, I realized I was losing my light, so much so that the tree was becoming completely shadowed by the massive live oak behind me. I was challenged in the same way last week, painting the shops on the lake at Baytowne in Sandestin, Florida. Angular shadows move rapidly on structures as the sun slides around to the other side. In both cases, I had failed to make a values sketch or take a photo, in favor of jumping right into the painting. When will I learn, that delaying the gratification of painting for just a few minutes, by making that preliminary values sketch, makes painting so much easier!! My paintings were successful, but I struggled more than I otherwise would have. Below are the two oil paintings.
This painting is available for purchase, just click the painting to order it from my store!
Although I earned a Bachelor of Arts Degree in Fine Art with a certificate to teach, and did teach for 3 years, I actually produced art for only about 6 more years after moving to Florida and becoming consumed by owning and operating a pool service business. Thirty years have come and gone, and now I am reversing the process, practicing more art while allowing my business to run more and more on its own steam. I still depend on my business to pay the bills, while I continue to re-develop my skills as an artist. A few weeks ago I felt the energy shift, tipping the balance from entrepreneur to artist, and I found myself much more highly attuned to my art and my efforts to support the arts. It literally felt like a teeter-totter under my feet had begun to tip to the other side. The column of images to the right shows the number of sales this past week, which greatly reinforces my perception that things have changed.
I continue to paint plein air with the Emerald Coast Plein Air Painters, and also I am excited to be practicing figure drawing again (“life drawing”), thanks to the organization of the program by fellow local artist Melanie Cissone and the generosity of Allison Wickey who is letting us use the space at her A.Wickey Studio-Gallery for our twice-a-month drawing sessions.  I’m a little rusty but find it just as exhilarating as ever — the pace is 100 mph, trying to capture the essence of the pose before the time is up! Below is my final effort in last week’s session.
“Reclining Figure” is available now in my store! Click the painting to add to your collection.
It was bitter cold at our plein air session this week.  We painted at Red Bay Grocery, in Red Bay, Florida.  The grocery is a favorite for locals, stocked with the bare minimum plus local honey and such. A third of the space is the dining area, and another third is the kitchen, where home-cooked specials are served every day. I had toned my canvas a buff color, and when it was time for critique, I hadn’t painted the sky.  The group almost convinced me to leave the sky the buff background color, but after i got back to my studio, it just wasn’t how I had pictured it, so I quickly dashed in the light blue sky, and heightened a few contrasts to help it “read”. I seldom do much of anything with my plein air paintings when I get back to the studio, firstly preferring the pure plein air experience, and secondly, never quite remembering exactly what it looked like that would be different from how I painted it. Below is my painting of the Red Bay Grocery, and beside it, my friend, fellow painter Ed Nickerson‘s painting of me in my baggy falling-down snow britches.
Red Bay Grocery – Joan Vienot
Joan – Ed Nickerson
Our painters group has members from a wide geographic area. Last week I drove for an hour to meet up with the group. Sometimes I stay home and paint, but it’s good to get out and see things that are new, and it’s always good to meet up with the other painters. Â It feels like family. We painted at Lincoln Park, in Valparaiso, FL. Â The light and shadows were outstanding, everywhere you looked. But they changed rapidly through the course of the painting — you had to choose a light patterns nd just stick with it. Â That underscores the importance of making a value sketch first, to help me remind myself what attracted me to a scene in the first place. Below is my piece.
Reduced prices on select paintings, at least 50% less than listed price. Click on any of the images below to see a larger version. Message the artist for purchase information or for a studio visit. Most of these oil paintings are on 8 x 10 canvas panels. Colors of actual paintings may vary slightly. All are reduced to $125 or less. Many were painted “en plein air”, on site. Sale ends 12/31/14.
After noticing my tendency to dull my colors when painting in the bright light outside, I decided to paint with brighter colors, sometimes straight out of the tube. The duller colors were exact when I was outdoors, but indoor lighting is never as bright as the sunlight, so I found my paintings looked dull when I brought them indoors. This effort to paint my paintings so that the colors look realistic when indoors, challenges me, because the more intense color seems a little garish while I am painting. I have to battle my instinct to tone it down.
This week Wednesday was overcast. The light was strong, but the colors were muted. The Emerald Coast Plein Air Painters were painting at Nick’s Seafood Restaurant in Basin Bayou, west of Freeport, FL. I remembered  all the fancy little chickens running around in Trey’s yard next door, and I hoped to paint them. Alas, they were gone, and the only critters to show up were three scrawny young turkeys, two white and one brown. So I decided to paint the play of light around the boats, and the geometry of the chicken coop. Halfway into the painting, Trey came out and I asked him about the chickens, and he said there were about a hundred in the coop. I heard them start cheeping, as a little boy spread food for them. Trey threw some corn between me and the coop and a few adult chickens came out to eat. So I got to paint chickens after all!
Challenged by the lower part of the scene being hidden by the parked cars of Memorial Day vacationers, I dashed in a few shadows to break up the foreground, and returned the before class the next morning to finish up. I decided to leave the foreground as it was, and just sharpened up a few details and called it done. Buddy shot a photo of me concentrating on Kathie’s demonstration.
