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OUTDOOR ARTISTOUTDOOR ARTIST

OUTDOOR ARTIST

OUTDOOR ARTIST

OUTDOOR ARTIST PLEIN AIR PAINTING ALL YOU NEED TO KNOW 33 TIPS FOR OPEN-AIR SUCCESS

Country:
United States
Language:
English
Publisher:
F+W Media, Inc. - Magazines
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IN THIS ISSUE

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9 tips for getting started painting en plein air

We know you picked up this issue in order to hone your process or simply get started painting outside. So rather than a pithy note from the editorial team about plein air painting, here are tried-and-true tips from oil painterJoe Paquet (joepaquet.com) that apply to most mediums and will help make your outdoor painting experience the best it can be:1 Wear neutral colors. Sunlight reflects off your clothes and onto the canvas, which can skew your perception of color.2 Don’t hold your palette. Keep your hands as free as possible for changing brushes or grabbing a rag.3 Use fresh color on a clean palette. Gummy or muddied pigment makes your job harder.4 Work on a toned canvas. My method is predicated on putting paint down and leaving it, and a…

access_time6 min.
pick a plein air palette

Feeling mischievous? Ask a group of outdoor painters what colors are best for painting landscapes—and then sit back and enjoy the show! Some painters will argue until the cows come home over what blue is best. There are, however, some basic considerations when selecting a palette for painting en plein air.Practical ConsiderationsFirst, think of weight. Although I do know one painter who claims to take 40 colors to the field, most painters take only a few. Paint is heavy. You don’t need the full palette you may use in your studio.Second, think of the physical size of your actual palette or mixing area. I tell my students that their palettes should be as big as the surfaces upon which they’re painting. Because most outdoor painters work small, their palettes should…

access_time7 min.
in the solitude of nature

View From the Hill (oil on linen, 40x60)I’ve been a fan of Peggy Root’s painting for a long time. We were introduced to each other in the late 1980s, though it wasn’t until well into the ’90s, when she was featured in an exhibition at the Cooley Gallery in Old Lyme, Conn., that I had an opportunity to study her work. Our paths crossed only briefly; by the time I’d moved to Connecticut, Peggy and her family had long since made their home in Tennessee. In the years she’d lived in New England, Root’s work had come to exemplify the best aspects of the landscape painting tradition in Old Lyme. In the intervening years, she has staked an equally persuasive claim to being the definitive painter of the Southern countryside.Solitude…

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most admired artists

March Afternoon (oil on linen, 36x40)“If I could take only one art book with me on a vacation,” says Root, “it would probably contain the work of Camille Corot. If I were packing for a year-long trip and was allowed only four books, I would probably choose Corot for the drawing, color and solidity of form; Winslow Homer for composition and feeling; George Bellows for his strength and just crazy verve; and the Russian painter Isaac Levitan for his beautiful poetry.” There’s a lot of Levitan in March Afternoon (right), a late winter scene painted with the sun at Root’s back. Bare trees in the foreground emerge gently from shadow, balanced by the small sphere of a rising moon. ■…

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materials

Surface: Fredrix Rix or Carleton linen and Claessens heavier single or double oil-primed Belgian linen on Tri-Mar stretcher bars (they’re lightweight and heavy-duty)Oils: Winsor & Newton, Gamblin, Rembrandt and Blue Ridge Oil ColorsBasic landscape palettes: titanium or mixed white, ultramarine blue, cadmium lemon (or cadmium yellow pale), yellow ochre (or raw sienna or Mars yellow), cadmium red light, alizarin crimson and burnt umber; a cooler palette in winter; a full selection of blues, yellows and greens in summer to speed the mixing process; strong, specific colors for particular flowers or foliage in late summer/early autumn (for example, cobalt blue and permanent rose for ironweed); reds and yellows added in autumnMediums: odorless mineral spirits, stand oil and linseed oilBrushes: Rosemary & Co and Robert Simmons Signet Nos. 2, 5 and 8…

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all-weather artist

Any artist might be tempted into the great outdoors on a sunny spring or summer day when insect repellent, sunscreen and a brimmed hat may be all that are needed for a few hours of pleasant cohabitation with nature (A). Peggy Root, however, seems to have adopted her own version of the U.S. Postal Service creed: Neither snow nor rain nor heat nor gloom of night stays this artist from her plein air rounds. During rain or when painting a mist-filled swamp (B), she pulls a tarp from her minivan (where she keeps such supplies handy), props up the covering with branches or ties it between trees or to her vehicle’s tailgate, and sets up her easel beneath the covering. In winter (C), when oils stiffen quickly in the cold,…

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