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Painting Plein Air with an Extra-Long Filbert Brush

Extra long filbert
Extra-long Filbert
2013-1204 Dune Walkover
2013-1204 Dune Grasses
2013-1204 Bright Light on the Gulf

This blog post could be subtitled, “Where did November go?”

Soon after my show, “The Present Moment”, opened at Grayt Grounds of Monet Monet, I received an email asking if I would paint, plein air style, a view from the balcony, for some second-homeowners to hang in their “first” home in Tennessee.  I met with them, to visit and to look at their view of the coastal dune lake, Redfish Lake, and the Gulf of Mexico.  They gave me a few favorite photos, with morning light.  A day later, they sent me a photo of wind-driven clouds that they liked, and I started to work on the 24×36 gallery-wrapped canvas, with a 16×20 practice piece on the side.  The day before, I had painted with the local plein air group under the very clouds my clients had photographed.  So the scene was familiar enough to me that I was able to work from the photos and still have the feeling of being there.  I have nearly finished it and have posted photos below showing both the practice piece and the actual larger commissioned piece.  I have a few tweaks yet to do, especially perhaps darkening the tile roof on the gazebo.

Yesterday our plein air group met at Henderson Beach State Park, in Destin, Florida.  I painted with an extra-long filbert, size 7, made by Winsor & Newton.  The filbert, which I have sketched at left, is about 1/2″ wide, but the bristles are 2″ long.  I had bought it about 6 months ago, just to try out, but had never used it.  Last weekend I watched a painting demonstration on DVD by Frank Serrano.  I was inspired to try painting an entire painting using only one brush, and I thought, why not the extra-long filbert!.  So when our plein air group met at Henderson Beach State Park, in Destin, Florida, this week, I chose a scene which could easily be simplified, so that learning the brush would be my only challenge.  I grew to like the brush as I painted with it.  The extra long filbert holds more paint than an ordinary brush.  Because the bristles are longer and thus not as stiff,  it required me to lay color onto the canvas instead of scrubbing it as I sometimes do with stiffer brushes.  It was perfect for the texture of the fall-colored grasses on the dunes.

The day was gray, without direct sunlight, and the mist during the drive had dried up by the time I had set up my easel on the boardwalk to the Gulf.  A light breeze cooled it to a balmy 72°.  I painted fairly quickly, the scene complicated only by the structure of the dune walkover.  I had to use a small rigger to paint the walkover, but I used the extra-long filbert everywhere else.  The values and colors were muted by the indistinct light.  Because I had arrived about 40 minutes late, I worried that I would run out of time.  But I felt the 8×10 painting was finished after only about an hour, so I tried another, smaller one, 6×6, and wrapped it up fairly quickly too.  I started a third painting, 8×10, and gave myself the challenge of looking directly at the highlighted Gulf, sparkling white where the sun was peeking out of the darkening sky.  It turned out quite a bit more dramatic than the first two, because of the heightened values.  At right are the three paintings.  Silver plein air frames show them off nicely.  I have priced them for sale but may keep all three for my own collection.

If anyone did not get a chance to see “The Present Moment”, many of the pieces will remain at Grayt Grounds of Monet Monet, and some will be lining the stairwell on the way up to Bob and Cheri Peebles’ real estate offices on the second floor of the building, at Beach To Bay Realty.

Below is the not-quite-finished commissioned piece I was writing about, and below it, the practice piece where I worked out solutions to the problems I encountered along the way.

Oil painting of the view from a balcony at Sanctuary By The Sea, Santa Rosa Beach, Florida: Redfish Lake and the Gulf of Mexico 24 x 36, commissioned oil painting, view of Redfish Lake and the Gulf of Mexico from Sanctuary By the Sea
Practice piece for commissioned oil painting of the view from a balcony at Sanctuary By The Sea, Santa Rosa Beach, Florida: Redfish Lake and the Gulf of Mexico 16 x 20, practice for commissioned piece above

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A Successful Opening at Grayt Grounds of Monet Monet

Oil painting of canoes in front of Western Lake at Grayton Beach State ParkThe opening of my solo show at Grayt Grounds of Monet Monet was as amazing as I had hoped it would be.  My fifty oil paintings, mostly framed 8 x 10’s, were hung inside the walls of the building and also were displayed on easels positioned around the gardens.  With catering provided by Grayton Beach Catering, Donald and crew teased and tempted the guests with delectables, and David served wine.  I was overwhelmed by the attendance of so many friends and fellow artists.  Assisted by Nicole, Eileen West and proprietor Cheri Peebles sold and wrapped paintings throughout the event.  Eileen proclaimed it an excellent debut.

I had painted in the Oil Painters of America’s Great American Paint-Out in Grayton Beach State Park the very day of my opening, so a sign warned attendees of the Wet Paint on my painting of Canoes at Grayton Beach State Park, above right.

I also had recently painted a couple of plein air pieces, which had not yet been posted,so here they are:

Oil painting of potted plant and cherub at Grayt Grounds of Monet Monet Oil painting of fountain at Grayt Grounds of Monet Monet


The most significant sale was one of the two larger paintings I exhibited, a 30 x 40 gallery wrapped stretched canvas oil painting of the early sunlit grasses across the bayou that I could see from my house:

Oil painting of the golden grass in early morning sunlight on Tucker Bayou, Point Washington, FL

I don’t have an exact count, but I believe the following paintings also sold on opening night, and the last one pictured sold yesterday.  Approximately 40 paintings remain on display.

Oil painting, study of water lilies Oil painting of Nature Trail at Grayton Beach State Park Oil Painting of Bayou Grass, Point Washington, FL
Oil Painting of Pelican on Providenciales 2012-1130 NC Woods 2012-1128 Breaking Dawn, Jack, AL
Plein air 2 Reflections study 2


The paintings in the exhibit have all been completed within the past year.

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Painting Plein Air At Home

Oil painting of the view into Tucker Bayou A nice thing about plein air painting is that it can be done anywhere outdoors. I am fortunate to live in an area of wonderful natural beauty, so everywhere I turn, there is a scene worth painting. I didn’t want to make the 30 mile drive into town to meet up with my plein air group, so I stayed home. The trees were tinged with fall colors, and the sky had returned to blue, after days of haze. It was a great day to paint. But I was in a bit of a rush this morning, wanting to finish by a certain time in order to be able to go to a poetry reading. After an hour of painting fast-and-furious, I left my easel setup on my dock, running to the house for a quick shower before driving to the reading.
SetUp on the Dock-sm

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Plein Air at Torreya State Park, Bristol, Florida

Oil painting of Apalachicola River through the trees from the bluff above
Guerilla Painter
 Oil painting of Apalachicola River through the trees from the bluff above
 Oil painting of the hillside by the campsite overlooking the Apalachicola River
 Oil painting of grasses beside the campsite overlooking the Apalachicola River

A few weeks ago I bought myself a toy, a “Guerrilla Painter” thumb-box, which is a small wooden box that opens into a plein air panel holder and palette and brush and paint holder.  The box fits into a small carry case and has a hole in the bottom for your thumb so you can hold it like a painter’s palette.  It comes with one 6×8 gesso’d hardboard panel, and I also bought 10 resin-impregnated 6×8 cards to paint on.  I primed the cards even though you don’t have to, so I would be painting on a familiar white surface.

I thought a camping trip to a local state park might be the perfect opportunity to try out my “thumb-box”.  A friend had made reservations at the best primitive campsite Torreya State Park has to offer, and Friday afternoon found us backpacking the short one-mile trail to set up camp.  I also had packed my full plein air set just in case i didn’t like the Guerrilla Painter, so I carried it in on the next trip when we went back to the truck to get water.  My full set has arm straps and a campstool attached, but no hip belt, so you carry the whole thing on your shoulders.  It became very heavy on my shoulders, so getting a hip belt is now a high priority!

I had never camped with painting being the sole purpose to the trip.  My friend took off for a hike each day, and I was left to paint to my heart’s delight.  I tested the Guerrilla Painter, using a limited palette, only 4 colors and white.  At right are the three 6×8 pieces I did.  I used less paint than I would have on a textured canvas.  I learn something on every painting I do.  The first day I was determined not to use green straight out of the tube, even though I was surrounded by green in the forest.  So I mixed some greens using of course blue and yellow, but I also put blue next to yellow in many places, to give the illusion of green.  On my third painting, I painted the grasses near the edge of the campsite sometimes using red instead of green.  That interested me — I may do a series.

There was one challenge I did not resolve, when painting with the Guerrilla Painter.  I use my left hand to hold my rag or paper towel, to clean my brush, but holding the Thumb-Box with my left thumb meant that I had to hold my rag between my index and middle fingers, wiping my brush without being able to see it underneath the box.

The second day I opted to paint using my standard plein air easel and full paint set, since I had gone to the trouble of packing it in.  I usually end up using a limited palette anyway — it helps to tie the painting together, because the same colors get used in many different places.  Below are the two 8×10’s I did with my regular set-up.  This time I mixed a lot of different greens, but attempted to keep most of the foliage details a little vague.  I felt if I was distinct with the tree trunks and branches, they would explain the foliage.

 Oil painting of Apalachicola River Bluff campsite 1
Oil painting of Apalachicola River Bluff Campsite 2



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Making Sense in Plein Air

Oil painting of parked boats at a yacht club

FWB Yacht ClubUgh!  Boats again!  Last week we met at a yacht club, and as much as I love sailing, and water sports of any kind actually, I certainly struggle when we paint boats.  Parked in the middle of a giant circle drive were every kind imaginable of dinghies, sunfish, motorboats, rowboats, sailboats, you name it, in various stages of neglect and disrepair, to one side of the more manicured grounds and view of the docked yachts.  I chose to paint the clutter.  I wisely drew the shapes first, spending some time in what I imagined to be organization of geometric shapes, but that preparation did not keep me from getting lost in my own composition, numerous times.  I was barely halfway done when fellow painter Sandra strolled past with her completed painting, and I asked her if she was going to do another, and she said, “Joan, it’s 11:00, it’s time for critique!”

It’s always a thrill to see what the other painters have managed to do during the same time period.  We all are having essentially the same experience in the same location, but looking at everything from another point of view and with varying media and skill levels, so rarely are any two pictures similar.  I can safely say that no one did anything as hodgepodge as my composition.  I still am trying to make sense of it, even after coming home and finishing it in my studio.  I think the shapes all give the right idea, but I’m not sure if anyone would guess that this actually is not my first painting ever.

Oil painting of parked boats at a yacht club


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Figure Work After Months of Landscapes

Painting of blue-gowned woman sitting against pillows

Fellow plein air painter Judy Dewar initiated her new studio by inviting a few artists over to work from a live model.  It was a pleasure working beside Judy, Beckie Perrott, and Marian Pacsuto.  I initially intended to paint for the whole session, but a repair contractor was supposed to come to my house, so I needed to be ready to leave on short notice.  I took drawing supplies, thinking I would draw until the contractor called, meet him and let him in and come back to Judy’s studio to paint for the rest of the session.  The contractor had not called by lunchtime, so I never got out my paints.  I enjoyed the 2- and 5-minute warm-ups, using charcoal on good manilla newsprint and on gray student-quality paper before moving on to a 20-minute session using my favorite drawing media – graphite and white nupastel.  I drew on tan-tinted Mi-Tientes paper, which has a nice squared texture.  For my last piece, over the course of two 30-minute sessions, I used some oil pastels which I had never used before.  I had a student-quality set of oil pastel crayons that I’d had for years and years, and a dime-store set of oil pencils for the finer work, both of which I brushed with turpentine after laying in the colors.  I gave that final drawing to the model.  Below are my warm-ups and my two final pieces.  By clicking on them you will get a larger view.

Most of my paintings and images are available for purchase.  Contact me if you are interested. — Joan Vienot

Gesture drawing, 2 gowned females, standing Gesture drawing, female seated in gown, knee up, with attitude Gesture drawing, female seated in gown, holding knee up Gesture drawing, female seated in gown, twisting
Drawing of woman in blue gown, dozing against pillows Painting of blue-gowned woman sitting against pillows
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Brighter Color in Plein Air

Oil painting of jug fountain filled with plants at Grayt Grounds of Monet Monet

Oil painting of a carousel, showing the roosterLast week I was late getting to the weekly plein air session.  Each week the Emerald Coast Plein Air Painters receive an email telling us where and when we will be meting to paint that Wednesday morning, and what time we will be meeting for critique afterwards.  We usually paint for 2 or 3 hours, depending on what time we get there.  I had a few tasks I had to attend to, so I was late arriving, and rushed to get started, failing to sketch my painting before starting, and only half finished and generally dissatisfied when it was time to break for critique and lunch.  We had met in the Village of Baytowne at Sandestin, and I had chosen to paint a part of the carousel near the central pond.  I picked the rooster of the carousel because it was bright and shiny and sassy.  When I returned to my studio, I started over and re-painted it, above left.

Oil painting of jug fountain filled with plants at Grayt Grounds of Monet MonetThis week we met at Grayt Grounds of Monet Monet, a coffee shop with wonderful gardens in back, styled after the gardens and home of Monet in Giverny, France.  There were at least 16 happy painters, working on everything from the statuary and other yard art to the flora to the building itself, and one painter even painted another painter.

I think the instruction of Julie Gilbert Pollard in the workshop I attended a few weeks ago helped me with the use of brighter colors in my paintings these two weeks.  Certainly in the painting I did yesterday, I purposefully used dark valued intense colors where I wanted dark values, instead of mixing dull grayed darks.  As a result, the whole painting has a much more intense tone.  My shorter, blocky brushstrokes also represent a significant change, but I think they make the terra cotta fountain look metallic.  I will try to remember to use that type of brushstroke next time I am painting metal.




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Water , Water, Everywhere – Julie Gilbert Pollard Workshop

Oil painting of reflecting water scene, in Julie Gilbert Pollard workshop - first try
Oil painting of reflecting water scene, in Julie Gilbert Pollard workshop - first try Oil painting of reflecting water scene, in Julie Gilbert Pollard workshop, second try
Last week I learned that water can see.  Who knew?!  That was just one of the hundreds of tips Julie Gilbert Pollard gave in her workshop in Panama City Beach, Florida, “Wet and Wild:  Painting Vibrant Water Scenes in Brilliant Color”.  This tip came on the first day, when we were working on reflections.  In other words, Julie said, “Water reflects as if you were looking at the scene from its vantage point.”  To illustrate, if a dead tree is angled out over the water sideways to the viewer, the reflection is a reverse mirror image, the same size and directly underneath the tree, in reverse angle.  But if the tree is angled towards the viewer, the tree above the water will appear shorter due to foreshortening, but the reflection will be much longer in proportion, because the water is “seeing” the tree from underneath.

So I look at reflections differently now.  I look at color and shapes differently too.  Everything is more colorful since that workshop, and I am seeing much better.  I find this is always the case after any period of immersion in art, that I see better and am more aware of colors and shapes.  One of the other participants in the workshop said that one of the few things you get better at as you age, is art.  I laughed, but I understand that statement.

We worked in the classroom, from sample photographs Julie provided which illustrated the concepts and techniques she was teaching.  She used the first four chapters of her Adventurous Oils, a Workbook Companion to Brilliant Color as well as several hand-outs.  It was a treat being taught by someone who understands how artists learn, who was able to paint and talk at the same time (no small feat, integrating both the left and right brain at the same time!), and who was able to provide constructive assistance as we worked on our various pieces.  And the participants were a happy bunch, the paint-mixing and experimentation punctuated with their softly-spoken stories to their table-mate and their laughter.  My own table-mate, Faye Gibson, owner of Meacham Howell Design, also was using oil paint;  the rest were painting with watercolor.  Since the instructor was giving demonstrations in both watercolor and in oil painting, I brought in a 6-color Walmart watercolor set and made a watercolor painting and then painted an oil painting the second day when we were studying waves, shown at left.  The watercolor painting was snatched up by a good friend of mine as soon as I posted it on Facebook.

Watercolor painting of wave, in Julie Gilbert Pollard workshop

Oil painting of wave, in Julie Gilbert Pollard workshop

Oil painting of a cascading waterfall, painted with palette knife, in Julie Gilbert Pollard workshopThe third day we studied cascading water.  Julie teaches cascading water as if it were a gathered skirt of a wedding dress, with the initial drop being the waist and flowing skirt, followed by a ruffle of white where it splashes down on the pond below, with a “train of lace” surrounding the splash on the flat pond.  I painted my first palette knife painting that day.  Clean-up is much easier at the end of a knife painting — all you have to clean is the knife!

The fourth and fifth days we were supposed to finish the paintings we had started the first 3 days, but I had already finished mine and painted a second one each day too.  Plein air painting has made me pretty quick.  So the fourth day I cut a few flowers off the crepe myrtle bush in the parking lot, and put them in a pitcher of water on my desk, thinking I would learn to paint the pitcher full of water.  But the flowers fascinated me, so I painted them primarily, with only a suggestion of the pitcher underneath.  Our technique for the day was negative painting, where you paint the negative space surrounding the form.  My efforts taught me the techniques, but made the painting very twiggy, so the following day I painted out most of the twigs and branches, and it became flowers again.

Oil painting of a wave, painted with bright colors as a value study of color, in Julie Gilbert Pollard workshop

Photograph of bright color painting, de-saturated to show values of pure colors

On the final day, the technique assignment was to paint a scene in pure color, using colors straight out of the tube, or pre-mixed, using colors for their inherent light-dark values instead of as color.  I again painted with a palette knife, using the wave photos for reference.  Anywhere there were dark values in the painting, I used ultramarine blue, violet, and reds, and cobalt green, lavender, and orange for the middle values, and orange and yellow for the lighter values, with white for the froth.  The idea was that if you took away the color, the painting would read correctly as a black-white-gray value study.  So I took a photograph of my painting, and then de-saturated it to remove the color, and was pleasantly surprised that indeed, it looks “right” as a value study.

To top off the workshop, there was a drawing for one of the instructor’s paintings, and I won it!  Icing on the cake!

Photo by Helen Balance, Beach Art Group Joan Vienot with Julie Gilbert Pollard
Photo by Helen Ballance, Beach Art Group
Incomplete oil painting in progress, crepe myrtle, negative painting assignment, in Julie Gilbert Pollard workshop Oil painting of crepe myrtle flowers, in Julie Gilbert Pollard workshop

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Plein Air at Grayt Grounds of Monet Monet

Oil painting of the bridge over the coy pond at Grayt Grounds of Monet Monet

I live in an area of unparalleled natural beauty on the Gulf Coast of Northwest Florida. Many people let the palmettos and pines grow wild in their yards; others plant the usual look for Florida – oleanders, palms, and lawns. But tucked away near Grayton Beach, behind a wonderful building called Monet Monet, is a beautiful garden with flowing fountains and statuary everywhere you turn. Cheri Peebles has opened a coffee shop there, serving delicious breakfasts and pastries, and hosting wonderful music and festivities for fundraisers and general enjoyment.

After a large cup of coffee and a breakfast of quiche with my best friend, I dosed every inch of exposed flesh with repellent to ward off the annual plague of yellow flies, set up my easel and tackled the bridge and coy pond. One of those pesky flies found its way inside the wrist of my gloved left hand, the only place the repellent had not reached. I slathered a hefty dollop of my home remedy of Preparation H on the bite (best anti-inflammatory in the world!!) and picked up the pace of my painting. Below is a progression of the 10 x 8 oil on canvas painted at Grayt Grounds of Monet Monet,

Color shapes

Highlights and Structure

Oil painting of the bridge over the coy pond at Grayt Grounds of Monet Monet
Bridge Over Coy Pond at Grayt Grounds

Most of my paintings and images are available for purchase. Contact me if you are interested. — Joan Vienot

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Emerald Coast Plein Air Painters at ArtsQuest

Oil painting of the Bayou at Nick's Restaurant, west of Freeport, Florida
Oil painting in process, showing tents at ArtsQuest 2013 Tents at ArtsQuest Fine Arts and Music Festival, Watercolor, FL

ArtsQuest Fine Art and Music Festival has come and gone, and in its wake, the familiar feeling of having passed through a wormhole in time and space, a sort of time warp, coming out on the other side with everything the same and yet very much changed.

Members of the sponsoring agency, the non-profit Cultural Arts Alliance of Walton County, are invited to exhibit 3 pieces of their artwork in the member tent, in exchange for 4 hours of volunteer work at the festival.  For my volunteer work, I was asked to defend some No Parking cones and to move them out of the way when exhibiting artists needed to get through to set up their booths.  It was the first time that I had seen booths being set up.   My only exposure to setting up tents has been for overnight camping, and it is in light of that experience that I can pronounce tent-raising to be a close second to two-person canoeing for the fast track to divorce court, so I was fairly amazed at the calm and congeniality of the artists doing their nesting.   The next day I helped set up the Emerald Coast Plein Air Painters tent and found it to be not at all unpleasant, so I think the key ingredient is having artists do the job.

The festival opened Friday afternoon.   The experience was invaluable.  With the tunes of Kelsey Anna and Matt miller and later Cody Copeland wafting over the grounds, I painted plein air near our booth the first afternoon, and again on the afternoon of the third day, the air filled by other musicians.  The rest of the time I talked to the passers-by about the plein air art and artists and I explained what plein air painting is to everyone who would listen.  Almost no one knew that plein air painting simply means painting in open air, on-site, looking at the scene you are painting.

We enjoyed great exposure at our booth, picking up some 30 email addresses to add to the 95 that already receive weekly notices of our next plein air painting location.  One of the regular participants in our outings, Melody Bogle, had submitted her work and been juried into the festival, so she had her own booth.  We all were overjoyed when the announcement came that she had won Best in Show for the 2013 Festival.  With more than 100 artists juried into the festival, I felt like her win validated plein air painting to the show-goers.

I painted the painting at left on the first afternoon of the ArtsQuest Fine Art Festival.  It shows the plein air tent and the row of tents that housed the CAA members’ exhibit in front of the concrete pond in Cerulean Park at Watercolor, Florida.  I re-painted the lawn when I got back to my home studio, because the shadows made the pond look like it was higher than the tents.  By removing the shadows and instead painting some downward-curving lawn contours, it was a quick fix to make the pond look lower than the tents.  Perspective and postion are, after all, merely optical illusions.  I compressed the scene to show only the tents, without any of the commercial buildings that were actually there fronting the streets of the beautiful village of Watercolor, Florida.

I own and manage a swimming pool service company as my “day-job”.  One of my customers came by the plein air booth, and I enjoyed showing her my work.  After the festival closed, she came to my home studio to see more of my work.  As I develop my skills and learn the business of being an artist, I am recognizing that every experience is another notch in my belt, each in itself valuable for future actions and interactions.  (Thank you for taking the time to visit with me, Becky Arnold.  Did you realize you were contributing to my training?)

Oil painting of Shorty's Surfside in Grayton Beach, FloridaAt right is the completed version of the painting I posted last week, the brightly colored building in downtown Grayton Beach that houses Shorty’s Restaurant.  After I got back to the studio, I realized that I had not painted the railings nearest me, or the flower pot that had attracted me to that point of view in the first place!  To paint it plein air, I had positioned myself with my back to the sun with the unfortunate result that both my palette and my canvas were so brightly lit that I was “snow-blind” for most of the morning while I painted.  It is truly a wonder that my colors turned out to be fairly close to correct!  But that’s my excuse for not painting the railing and flowerpot until I got back to the studio.

Below left is the piece I painted this week at the regular weekly Emerald Coast Plein Air Painters outing, at Nick’s Rstaurant on the Bay, west of Freeport, FL.  I worked very hard on figuring out how to make convincing pine trees, most particularly the brush strokes and stamps to use to show the so-very-important silhouette edge, and also the layering of values to show the masses of the needles.  In this part of my process, that is one of my goals, to be able to learn to quickly portray recognizable forms just by using a few simple brushstrokes.  I was not as comfortable with my efforts with the rippling reflections in the water below the trees.  I reworked them in the studio, and came up with a fair representation of the lattice-like pattern.  I was not at all successful with the muted land-mass on the horizon, across the Bay.  I painted it and scrubbed it out 3 times plein air, never able to achieve a straight and level line that I was happy with.  The horizon you see now was painted this morning in the studio.

And below right is the beginning of a painting that I started the last afternoon of ArtsQuest.  The family in the picture was watching me paint, and asked if I might be able to put them in it, since they had been watching the watercolor workshop while I was painting.  They want to see it when I finish it, so now the pressure is on!!  I had fun with this painting at ArtsQuest, letting a few of the people in my audience paint a spot of color here or there.  It was interesting how without fail, they would at first decline, but once the brush was in their hand, they would start smiling, daubing a little color or texture here or there!  I think they all will be making a trip to pick up art supplies this week!

Oil painting of the Bayou at Nick's Restaurant, west of Freeport, Florida Unfinished oil painting of Workshops at ArtsQuest 2013

I was pleased that another one of my photographs was published this week, to illustrate a story by my friend Leslie Kolovich, host of The Stand Up Paddle Radio Show, for her column in The Paddler ezine, a United Kingdom publication.  The article can be found at

Screenshot from The Paddler ezine

Most of my paintings and images are available for purchase.  Contact me if you are interested. — Joan Vienot