I like to remember flowers that are given to me by painting them. Here are two flower arrangements that Philip gave to me that I painted. Click here for link to Flowers by Mary.
Sheep, goats, and cattle enjoying a warm morning at Taylor-Bray Farm in Yarmouth Port.
My mind was set on painting the sheep grazing in this pasture. Then I noticed the sunlight highlighting the foliage on the trees.
I went to work on the the foliage. (This is were I only needed to make color notes on my canvas of the foliage so I could get back to painting the sheep).
The light changed quickly, and the sheep moved to the back of the pasture, ugh! I didn’t take the time to block in a few of the sheep that made up my composition. It was time to stop… WIPE IT OUT! Yes, it’s o.k., it is my painting and there will be others… Continue reading “Patience” at Taylor-Bray Farm -Catherine
“Monhegan Island… a Maine plantation”
If you are looking for an east coast “plein air” painting destination with panoramic ocean views, well maintained hiking trails, and you want to feel totally immersed in art history and culture, you should check out Monhegan Island. (Monhegan Island click here).
I can see why this island is an artist and an art collector destination.
(Monhegan Island Light click here ).
A short ferry ride from Port Clyde, brought Philip and me to a harbor nestled between Monhegan Island and Manana Island. Ray Eugene Phillips made Manana Island his home for many years, living alone, but also knowing that there was a neighborly connection with the islanders across the harbor. (click here for Ray Eugene Phillips).
(My Art Cocoon click here).
Monhegan is alive with a strong sense of community from the people who’s daily routines contribute to making this island flourish. Walking around the island we pass many local and visiting artists painting, and many Island artists provide a seasonal trail map inviting the public to visit their art studios. Continue reading Plein Air Painting on Monhegan Island -Catherine
As expected, there were not many out painting on this windy and cold 32º morning. David Farquhar was surprised, and it was a fun surprise to find this picture in The Cape Codder, December 12, 2014 issue! Thank you David for your enthusiasm! -Catherine
I like using the Zen Pen holder by Quirky (not sponsored) for my paint brushes. It helps keep my brushes organized and lying horizontally when drying after cleaning. Catherine
Click here to visit the Equipment Gallery.
“Accepting” Britt’s sunrise challenge was the easy part when I was on Monhegan Island in Maine . The real challenge was capturing the amazing sky that morning. You might see from these photos I kind of lost my way.
I kept painting past sunrise and eventually lost my focus. Soon the sun was up, casting wonderful shadows, and I lost my dramatic sky. I’ll keep my focus on the sunrise next time. Click here to see how Britt captured and kept the dramatic sunrise colors back home on the Cape!
Thank you Britt for the sunrise challenge! -Catherine
As part of the plein air group, and as a definite neophyte in this whole arena of oil painting, I have tried to be intentional about learning more about oil painting through reading books, watching videos, and just by doing it. There is so much information on the internet and in books that I found that I was sort of overwhelmed by all of the information. To direct my learning during the group plein air experiences, I have chosen to focus on one thing in each of the sessions. This particular day, we painted in Orleans at the windmill. My focus was blocking in the darks and the lights. I have read that that is what you are supposed to do — so this time instead of rushing to get a picture on the canvas that remotely looks like what it is “supposed” to do, I instead took my time to really look at the shadows: the darks and lights,and paint those in first. It really helped me have one important thing to focus on. One of the books that I use as my “manual” is Oil Painting for the Serious Beginner, by Steve Allrich.
I tried to block in with a tone that was darker than what I thought was to be the final color.
I liked this flat bottom boat at Mill Pond Landing. Click here for link to Mill Pond Landing. The angle of the boat resting on the hill and the tree trunks made strong shadows. I was hoping to capture these shadows to give the impression that the boat was resting on a hill in my painting. I didn’t bother putting in the leaves. I am learning that there are times I just want to work on one aspect of a painting.
You don’t have to put everything that you see in front of you in your painting. My husband, Philip, always encourages me to “keep it simple!” This way I don’t put pressure on myself to complete a painting in one attempt. I can focus my attention on one or two challenges that day. -Catherine
This is the first time I set out to paint with my painting umbrella. No glare from the sun– extra sun protection for me! It was a windy day and I am glad I purchased an umbrella that has wind vents.
This umbrella has clamps and rotating arms. For me, that meant adjusting, readjusting, and fumbling (hilarious!)… no fault of the umbrella, it is a great design. Painting a boat in the water on a windy day is another challenge because the wind kept turning the boat around! Snow Shore Landing. -Catherine
Sooo, as I attempted to explain in my previous posts, I am working on a specific technique that I have either been reading about or someone has explained to me — last time I was concentrating on not just hurrying and almost panicking to get paint on the canvas and tried to block in the darks and the lights that I saw. This day we were painting at the Taylor Bray Farm and I wanted to add one more layer to my study.
That layer is to think about where the light source is, where it is coming from, and what color is it.
I really don’t get yet how to determine the color of the light — I think I am getting there, but this study is about continuing to take my time to block out the color AND to think carefully about the light.