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Plein Air Painting – Practice Pays Off

Oil painting of the mansion at Eden Gardens State Park, behind the reflecting pool and a huge live oak treeLast weekend I painted a community street scene in the studio, using photo references, after attempting it plein air.  The architecture was filled with straight lines, which are a torture for a freehand painter.  I can fudge and fake the branches in a bush, but architectural lines for the most part look right only when placed nearly exactly where they in fact are.  So the painting of the street scene was a serious challenge for me.

But the practice served me well when I painted today, making the straight lines of today’s structure seem like child’s play by comparison.  I was in fact surprised at how quickly I was able to make an effective representation of this mansion at Eden Gardens State Park where the plein air painters met this morning.

The light was peaking in and out of the clouds, and when it peaked out, the building and middle ground lit up with vibrant color and the huge oak in the foreground became a stark silhouette.

Next week I travel to Colorado to visit family and to play in the snow in the mountains.  I will take my  camera and some paints with me.

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Plein Air Painting at The Chautauqua Festival – an Arctic Blast!

2014-0124 Coots Wintering at Lake DeFuniakCLICKHERE for larger image, detailed view. 2014-0125 First Presbyterian Church, across Lake DeFuniak Click HERE for larger image, detailed view. 2014-0126 DeFuniak Depot and Tracks Click HERE for larger image, detailed view.
DeFuniak Springs Caboose DeFuniak Springs Caboose
(iPhonography)
Troops at Florida Chautauqua Troops Re-enacting the Civil War
(iPhonography)

It was cold! The high last Friday was 38°! That’s cold for Northwest Florida! That’s cold for outdoor painting!  I had made plans to paint at the Florida Chautauqua Assembly with other plein air painters. I was prepared for the cold, dressed in my quilted snowsuit overalls and two jackets, a fleece headband visor, and cloth gloves under my latex painting gloves. And I wore wool socks inside my beach Crocs. I looked like someone from the Arctic North, but I was toasty while I painted on the shore of Lake DeFuniak last Friday morning. But later in the afternoon, the chill set in, and I was pleasantly surprised when a dear friend, Eda Busby, brought me hot tea and a blanket and fingerless gloves, which gave me more dexterity. I gave her the painting I had just completed. Saturday was almost the same, but Sunday was a warmer, and I actually was in shirt-sleeves for a little while, painting the restored DeFuniak train depot and railroad tracks.

It was my first time attending the Chautauqua Festival, so I didn’t really know what to expect. I found the well-organized art exhibit on the second floor of the “Hall of Brotherhood”, also known as the Chautauqua Building, and I met some of the friendly and talented artists of the northern part of Walton County. They allowed me to bring in my wet oil paintings as I completed them. We also displayed completed works. Three other people painted plein air over the weekend. Several of the artists opted to paint indoors, in the gallery.

The festival itself had a number of historical exhibits and people dressed in period costume, with Civil War re-enactments accompanied by some unsettling firing of guns and cannons that made me jump and the geese honk. My favorite exhibit demonstrated a small part of the culture of the Muskogee Creek people, where a woman named Debbie Bush showed me her family’s fabric pattern on her skirt, and talked to me about herbs used in healing and she gave me a sharp piece of flint to carry in my pocket for personal protection. Another exhibit featured carved and assembled crafts and toys. i was fascinated with an assemblage of wooden “cards” strung together in a way that they unfolded in a strand and then each flipped over successively into a strand facing the other direction when the top card was flipped.  The demonstrator called it “Jacob’s Ladder” — Click here for a 30-second video of the demonstration.

I also tasted my first (and last) Funnel Cake, paying about $5 for a dinner-plate-sized dollop of batter fried into bread and smothered with powdered sugar. I don’t think there was one redeeming quality — I managed to force down my 1/6 slice, and left the rest on the counter for my fellow artists to enjoy. I came back a couple hours later and noticed it was gone, much to my relief.Click Image

Friday evening was the opening of our A+Art exhibit of plein air paintings, “Outdoor Magic”.  I showed 3 pieces I have previously posted (click picture for gallery view):

Oil painting of a creek running into Mack Bayou, in Santa Rosa Beach, Florida Oil painting of the bright light on the water of the Gulf of Mexico at Henderson Beach State Park, Destin, Florida Oil painting of dunes at Grayton Beach State Park

Below are a few pictures from the festival:

One of the historical homes on the Circle One of the historical homes on the Circle, DeFuniak Springs, Florida Frozen fountain, painting plein air in 38° Frozen fountain, painting plein air in 38° Debbie Bush, Muskogee Creek cultural display Debbie Bush, Muskogee Creek cultural display Eda Busby brought me hot tea! Eda Busby brought me hot tea!

Historic Crafts demonstrated
Historic Crafts demonstrated

Painting the Depot and tracks, half-done
Painting the Depot and tracks, half-done

Chautauqua Building Hall of Brotherhood, DeFuniak Springs, Florida
Chautauqua Building Hall of Brotherhood, DeFuniak Springs, Florida

Lest I leave you completely disillusioned with the temperatures in Florida in January, here’s a warm studio painting  inspired by the lakeside grasses in Grayton Beach State Park!

Oil painting of the dune forest and the rose-tinted grasses bordering Western Lake in Grayton Beach State Park, Florida

 

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30A Songwriters, Chautauqua, and Girls Getaway, an Exciting 3 Weeks

Oil painting of Chinese lion statue at Grayt Grounds of Monet Monet

Oil painting of the view from the Oak Marina at Niceville, FloridaI am painting 3 weekends in a row, or at least I plan to.  Let’s just say I’m taking my vitamins, in preparation for that much painting!

Last week I went to the Oak Marina, in Niceville, for the weekly outing with the Emerald Coast Plein Air Painters.  It was a bit breezy and chilly, but nothing like the 40 hours below freezing the week before!  I dare say no one here in Northwest Florida was out painting that week!  I know I wasn’t — I was huddled by the fireplace.  This week I just put on my wind pants and turned up my collar.

I was working on a canvas panel that I had underpainted with a sort of a russet color acrylic, which initially I regretted, because it was difficult to cover when I was trying to paint my sky.  Later in the painting I achieved the results I had wanted, when I scratched down to the underpainting for the detail lines.  Accomplished fellow painter Charlotte Arnold told me to feather downward on the juicy paint to turn my splotches into Spanish moss, on the huge oak bordering my painting.

Oil painting of eucalyptus in a blue pot at Grayt Grounds of Monet MonetThis past weekend was highlighted by the annual 30A Songwriters Festival, one of two amazing festivals produced by the Cultural Arts Alliance, the area arts organization here where I live.  I was privileged to work with my friend Leslie Kolovich who produces podcast interviews.  She had several singer-songwriter artists and groups in her studio over the weekend, who performed live and impromptu for us.  You can listen to those podcasts at www.supradioshow.com.  Below is a quick iPhone photo of THE Jeep Rosenberg being interviewed (I love this job).

photo-7 Oil painting of Chinese lion statue at Grayt Grounds of Monet Monet

In the mornings I painted plein air in the gardens at Grayt Grounds of Monet Monet, the wonderful coffeeshop and event venue that is displaying some of my work.  They put my work on easels throughout the gardens, for the weekenders strolling through with their coffee, who chatted with me while I painted.  It was downright cold the first day, so I looked like the Michelin Man, dressed in my quilted snowsuit.  The second morning was much warmer, and I enjoyed the sounds of a band playing for the coffeeshop patrons while I painted.  Grayt Grounds is selling my work online too:  Click here!

This weekend on Friday, Saturday, and Sunday, January 24-25-26, 2014, I will be painting “on the circle” around the lake in DeFuniak Springs, FL, for the Chautauqua Festival.  A number of painters from our local plein air group will be there, as well as some traveling specifically for this event.  The festival has dedicated a room for us to hang our wet paintings, and has invited us to show our work.  On Friday the 24th, I also will be attending the opening reception for the A+Art “Outdoor Magic” exhibit of plein air paintings at the South Walton Center of Northwest Florida State College.  I might still be in my painting clothes!!

And the weekend after that, on Superbowl weekend, I will be painting in Rosemary Beach, during the Girls Getaway, again with other local plein air painters.

Anyone can paint at these events.  If you want to paint with us, you may contact me through this website and I will put you in touch Beckie Perrott, who graciously informs us of all these plein air opportunities.

This last painting I made this weekend, was one of the two stone Chinese lion statues in the gardens at Grayt Grounds.  With the typical bugged-out eyes, and a large pearl in his mouth, this iconic statue was harder to paint than I thought it would be.  I ended up not painting much of the surrounding foliage, spending most of the time trying to capture his face.  This lion was different than most of this type.  Most of these are in pairs, as is this set, and the male lion has a ball under his right foot, and the female an inverted cub under her left foot, but this lion has a four-legged critter sitting under his right foot, a critter I could not identify.  I’ll have to ask the owner, who owns the jewelry store next to the coffeeshop.

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

 

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The Setting Sun – Working From Photo References

Oil painting of the Gulf of Mexico at Sunset, with oranges reflected on the emerald green sea
Oil painting of the Gulf of Mexico shoreline, with people silhouetted against the purple and peach-colored sunset
Oil painting of sea oats silhouetted against burnt-orange clouds over the Gulf of Mexico at sunset

Painting a sunset, during a sunset, would be very difficult because the light changes so fast.  But the subject begs to be captured on canvas.  Since the weather was chilly this weekend, and it was warm and cozy inside my studio, I decided to take a few stabs at it using photographs I have on my camera phone.  Photo references are not ideal for making a painting, because the camera does not catch everything the eye can see, and the camera certainly does not capture the sound of the waves, the warmth of the evening sun, the changing patterns of the waves, and the shifting latticework of shadows and light.  So I rely mostly on my sensory memories of the experience, some going right to the core of my own being, reflecting whatever might have been challenging me that day, whether work-issues, relationships, or even the existential questions of existence itself.

I have painted many a sky using watercolor, where the happy accidents often end up being exactly the right shape, color, and mood.  Oil painting is so much more deliberate, that I found myself questioning whatever made me think I could be a painter.  Plein air painting has allowed me to develop a much looser, impressionistic style, so I expected more immediate success with my sunset skies.  It took more time than I thought it would.  I can see that I need to practice more, if the sky is to be the subject and the focus of the painting.

The most elementary and powerful form of defining shapes is through silhouette, which sunsets encourage.  My first attempt does not have any foreground shapes other than the beach itself, and I think the next two are much more interesting because of the silhouettes of the figures in the middle ground of the second one and the sea oats in the last one.

 

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Winter Solstice, Deja Vu, Beginning Again

2013-1220 Labyrinth

Yesterday was the Winter Solstice, the day in the northern hemisphere when daylight is shortest, exactly one full year after the ancient Mayan calendar rolled over and began a new cycle.  2013 has been a new beginning for me, a year when I have manifested my decision to start plein air painting, and to become a full-time artist at least two days a week by the end of the year.  I cannot say that my two-days-a-week of being a full-time artist are 48 hours in a row, but rather, a few hours here and a few hours there over the course of the week, but most certainly taking up at least 16 “work time” hours.  Not all of it is actually the production of artworks;  some of it is framing and presentation, of course blogging, Facebook networking and looking at other artists’ works and art news, studying, taking a workshop, supporting the arts by attending openings and events locally, and giving art instruction.  Another significant part is the nourishment of my spirit, which I have come to realize is closely tied to my life as an artist, and must be factored in as a necessary investment of my time.  As I become aware of various energies and energetic systems, I find my senses heightened, and my creative energy has become more of a compulsion, so that I don’t just WANT to create, I MUST create.  My joy has multiplied exponentially.

I celebrated the Winter Solstice yesterday with a group of dear friends who share a commonality of spirit.  First we had breakfast at my house – cantaloupe, pineapple,cheese, croissants, and coffee and hot tea – with stimulating conversation punctuated by a visit from a young man who said his name was Ryan, who seemed to appreciate our conversation but wouldn’t have anything to eat.  He did say it was refreshing to be treated nicely.  He gave us some literature from the Jehovah’s Witnesses.  His visit was limited by our plans to meet another dear friend at a labyrinth nearby, our intention to be walking it at the exact moment of Solstice, which was 11:11 AM Central Standard Time.  The labyrinth is on private property in a gated community, and we had received permission to use it.

After Leslie read us an invocation to set Sacred Space, Caroling began her walk, and after a respectful distance each of us followed — Maddie, Mary, Eda, Leslie, and myself.  This labyrinth meanders in a complex, continuous path from the outside to the center, with 11 circuits through four quadrants of a perfect circle.  You eventually end up in the middle, and then make your way back out again.  Your mental state is your own — some ponder the great questions of the universe, some simply commune with nature.   You can walk as fast or as slowly as you want, and if you have a question in your mind, by the time you are done with your walk, you probably have some clarity, or at the very least, peace.  We walked as individuals, as slowly or as fast as we wanted, sometimes overtaking each other, sometimes completely stopping for a moment or two.  Sometimes we passed by each other on adjacent paths, or even met each other on the same path, always acknowledging and honoring each other, perhaps with a nod, perhaps with a bow, and occasionally exchanging a sweet hug, mostly in silence.

My thoughts in the labyrinth often returned to review the changes in my life over the past year, especially spiritually and artistically, growth in so many ways, strengthening of old relationships and forging of new ones, some of it hesitant, some of it bold.  Eileen, Cheri, Donnelle, Felicia, Michael, Colleen, Beckie, Melissa, Susan, Miffie, Ginny, Jennifer, Bob, Steve, Saramae, Sean, Anne, Ed, Weezie, Sandra, another Mary, Pat, and so, so many more, a whole crowd of people, from the past too — were your ears burning?  And as I walked the winding path, it occurred to me that this path was familiar, hadn’t I been here before?  But of course I had — the path right next to me, where I had just been, had the same scenery, but it was a different path, and I was on another, sometimes going the same direction, sometimes the opposite direction, sometimes in light, sometimes in shadow, a metaphor for my life, a metaphor for my year.  My mind would wander, and then return to the present moment with the birds flitting and chirping in the surrounding forest, and my friends playing and pondering on their walks nearby, and I would have that odd feeling of deja vu and realize I was still here, on yet another circuit of the labyrinth, another circuit of my life, beginning another year of growth and expansion.

My goals for this new year are simple:  to continue on my present course, and to take as many workshops as I can afford, from plein air artists whose work I admire.  So far I already have signed up for a workshop with Laurel Daniel and one with Morgan Samuel Price and I confess, I am more than a little excited about this.  It’s going to be a fantastic year!  So to all, Feliz Navidad, Merry Christmas, Happy Hanukka, Joyous Kwanzaa, Magical Solstice, and Happy Holidays!  And also to all, Happy New Year!

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The above photo of my friends in the labyrinth, was altered using a photo app called “My Sketch”.  The plein air paintings below were completed in mid-November, the first two, and the other two this past week, in mid-December.

Oil painting of a creek running into Mack Bayou, in Santa Rosa Beach, Florida Oil painting, impression of a creek running into Mack Bayou, in Santa Rosa Beach, Florida
 2013-1218 Grayton Beach State Park Dune Scrub

Oil painting of the dunes at Grayton Beach State Park, in the winter
Want to own Winter Dunes? Click the painting for purchase information.
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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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The Present Moment — A Showing of My Art

Grayt Grounds of Monet Monet to showcase local artist Joan Vienot Nov. 2 – 17

“The Present Moment” show features landscapes painted in oil

A story by Lori Ceier, Walton Outdoors, http://www.waltonoutdoors.com/grayt-grounds-of-monet-monet-to-showcase-local-artist-joan-vienot-nov-2-17/

Artist Joan Vienot painting plein air at Grayt Grounds. Her work will be featured Nov. 2 – 17. Lori Ceier/Walton Outdoors

A one woman show of works by Walton artist Joan Vienot will be on display at Grayt Grounds of Monet Monet in Grayton Beach Nov. 2 – 17, 2013. Opening night is Nov. 2 from 5 – 8 p.m.

Cheri Peebles, owner of Grayt Grounds is excited about the show.

“My idea is to have a coffee house that is diversified and a service. Featuring local artists is good for the community and neighborhood,” said Peebles.

Joan Vienot’s history of making art in Walton County goes back to the first gallery in Grayton Beach who showcased her watercolor paintings of the dune lakes, Bay, the Gulf, and all things that grow and flourish along the coast. Her passion for the natural beauty of this area has led her to become a fine art painter. Vienot’s outdoor paintings done ‘en plein air,’ in the moment, capture the beauty we recognize as the paradise we live in here in Walton County.

The show will feature her plein air style 8”x10” oils on canvas offered in an affordable price range. There will be between 40 -50 works on display.

“I paint what I see, in the moment, which is reflected in my preference for figure drawing and plein air painting.  The greatest pleasure for me as an artist is the capture of the present moment, a little piece of Now, or at least my impression of the Now.  When painting on site outdoors, or figure drawing, the scene or the pose is very likely to change during the process of drawing or painting it.  I enjoy that hurried pace, the rush of the capture, the challenge of the media, and the ongoing quest for quick mastery.  In each case, the subject must be portrayed in fairly general terms, with only enough detail to lend unique identity and a little atmosphere.  I must forgive myself for a bit of inaccuracy in favor of conveying the essence of the subject in an abbreviated period of time, rarely doing much correcting when I return to the studio, preferring to let my interpretation of the moment stand on its own,” said Vienot.

Below find a sampling what you may see at Vienot’s show:

Clement-Taylor-Park-1 Grayt-Grounds-at-Monet-Monet-1 Grayton-Bch-St-Pk-1
Morning Bayou Pompano-Nicks-Restaurant Port-St.-Joe-Mist

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joansmAbout Joan Vienot
Vienot has a BA in Fine Art from the University of Northern Colorado. In addition to teaching art to high school students, she is involved as a volunteer for the arts in Walton County, serving on the board of directors for the Cultural Arts Alliance and co-chairing the A+Art Committee for CAA, which showcases member artists’ work at the South Walton Center of Northwest Florida State College.

Recent exhibits and publications:
• Emerald Coast Plein Air Painters booth at ArtsQuest 2013
• Scenes of South Walton, 2012, Honorable Mention for “Aster Reflected,” at Hidden Lantern Gallery
• CAA Directors Show, 2012, Bayou Arts Center
• A Passion for Art, 2012, A+Art, Northwest Florida State College
• Figure It Out, 2011, Studio b
• Photography for The Stand Up Paddle Radio Show: published in The Paddler ezine, and Standup Journal

To learn more, go to joanvienot.com.

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Brighter Colors in Plein Air Painting

Oil painting of Hogtown Bayou looking west from Cessna Landing

I was showing a friend my paintings in my studio last weekend, and she remarked on the light and color of one row of paintings, which indeed were more vibrant than almost all of my other work.  I explained that none of the five were plein air, that they were exercises done in a workshop I took last summer, from Julie Gilbert Pollard, “Wet and Wild:  Painting Vibrant Water Scenes in Brilliant Color” (See my blog post).  Ordinarily, that would have explained the difference as far as I was concerned, but I started thinking more about it.  Granted, Julie taught us to use bright under-painting, and to use color for its value, rather than strictly for its hue.  But as I looked around at my paintings, I realized that at the time I was painting them, I thought I was painting very brightly, but in the studio they looked a less brilliant.  Then it dawned on me — I try to paint the colors that I see when I paint plein air.  And usually the sun is shining brightly, so light and color are at their optimum.  But when I bring my paintings indoors, the light invariably is never as bright as the sun, even using “daylight” bulbs.  When I take those same paintings into the sunlight, they are much brighter.  So I realized that in order for my paintings to have the same brilliance of color indoors that I see when I am painting them, I might need to paint with brighter color than what I see.  I’m going to think about that some more.

For today’s plein air session I took some canvas panels that were already under-painted, like we did in that workshop in July.  I had under-painted two 8×10 panels with red, and a third 6×6 with sort of a buff color.  I let some of the under-paintings show through, not covering the entire canvas with paint.  and I scratched out some of the grass and tree trucks, revealing the underlying color.  Below are my results.

Oil painting of Hogtown Bayou looking west from Cessna Landing

Oil painting of trees on the far side of Cessna Landing at Hogtown Bayou

Oil painting of soft grass at edge of Hogtown Bayou

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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