East Field at Beaver Creek

East Field at Beaver Creek – Plein Air finished in Studio Oil on Canvas – 16″ x 20″

Entering the property at Beaver Creek, you drive about 100 yards through thick woods. As you clear the woods, the barn comes into view. This morning, as I cleared the woods, I pulled onto the tall thick grasses at the edge of the bean field. I trudged through the grasses, raising a few mosquitoes, and found this view. I set up my equipment and painted.

What I have identified as a red barn has actually been converted to a home and workshop for a ceramicist. The current structure has dark brown siding and numerous windows. You can still see indications of the original structure. I felt that this design would read better as a red barn. A bit traditional, but helps avoid viewer confusion.

 

Blooms at Breckenridge House

Blooms at Breckenridge House – Watercolor on Arches 140# CP – 9″ x 12″

In search of a building to interpret in watercolor, I ventured over to Midway Village.  I walked the grounds and decided to take on the Breckenridge House. I embraced the challenge of the flowers. To interpret each planting. To instill unity and yet successfully elude to and instill depth to the scene.

While I painted, a few of the volunteers worked tending to the flower beds. I opted not to include the workers in the scene. I was in a hurry and the many options for placement of the workers required more than I wanted to invest. Before I finished the painting, a couple of the gardeners came over to check out my work. One was put out that I did not include the whole house. Funny look on her face when I responded that I found the product of their efforts to be of more interest.

Workshop Demonstrations

Demo #1 – Watercolor on Arches 140# CP – 8″ x 12″

Demo #2 – Watercolor on Arches 140# CP – 8″ x 12″

Demonstration paintings from a recent watercolor workshop at the Peninsula School of Art. The strategy is to connect areas of the painting to help create unity especially in and with the subordinate shapes.

#1 – started with the sky and moved directly into the background trees – starting at the left and increasing the intensity and vibrancy of the trees as I moved to the right. Then moved to allow these colors to strategically flow into the foreground. After allowing the initial wash to dry thoroughly, I utilized negative painting techniques to separate and emphasize subjects.

#2 – I began with the background trees, moving from the left. As I worked the trees, I utilized this same wash to indicate the shadows of the shed and its shadow.

Often, the initial wash is sufficient to define the important elements and lessen the need for a lot of cluttering details.

Flower Baskets

Flower Baskets – Watercolor on Arches 140# CP – 11″ x 7″

After placing a quick drawing to set the major elements, the painting was started by flooding the cool, background in one, single wash. I altered the intensity of the colors to help separate components. I allowed this wash to ease into the shadowed areas of the flowers.

After this initial wash was thoroughly dried, I used a damp brush to clean up the components allowing hard and soft lines to work together. Then I focused on the flowers starting with the lightest portions and transitioning into the shadows.

Flower Box

Flower Box – Watercolor on Arches 140# CP – 11″ x 7″

This design has been used successfully in several oil paintings. I opted to utilize this as another demonstration for my workshop. After doing my pencil sketch, I did all the shadows as a single, connected wash. The shadows alone make for an interesting abstract.

Ephraim Cottages

Ephraim Cottages – Watercolor on Arches 140# CP – 9″ x 12″

Another watercolor created for my workshop students. I started the painting with the shadows under the eaves of the cottage on the left. I continued through the middle buildings while working the trees in the background allowing the areas to bleed into each other. The juggling act continued through the cottage on the right and into the foreground. I allowed the initial wash to dry thoroughly  before I returned to add a few bolder passages.

Hoisington’s Shed

Hoisington’s Shed – Watercolor on Arches 140# CP – 9″ x 12″

Preparing to conduct a workshop on Watercolor painting, I searched for a photograph to be used as a reference. I came across a photograph taken several years ago. It was a farm owned by the family of one of my students. Although had tried to work with the photo before, I failed in getting a good, workable design. This time, as I examined and played with the possibilities, it occurred to me to remove the big, red barn which is attached to this shed. I also opted to impose the idea of background woods to add atmospheric perspective to this design.

After establishing a quick, loose drawing, my initial wash started in the tree to the left, flowed into the background woods and into the shadows on the front and side of the shed, and the trees on the right. I allowed some of the initial strokes to flow into the foreground grass. When I did this initial wash for my students, a remark was offered that the initial wash could almost have stood on its own. The painting read well. I continued anyway and ended up with this.

Blue Shed

Blue Shed – Oil on Canvas – 11″ x 14″

The spot I planned to paint at was not going to work. What I expected to find wasn’t available. Alternate site obscured by hay bales covered in plastic sheeting.

Ventured the back roads a bit. Made my way into a small town. Nothing grabbed my interest. Started to head back home and opted for a minor detour through a small town. Spied this shed and decided to take a shot. Had to do some “clean up” and edit a few things, like an above ground pool. Found a couple other opportunities while there. May have to venture back again soon.

Warm Welcome

Warm Welcome – Plein Air – Oil on Canvas Panel – 14″ x 11″

The competition paintings were turned in and being judged. Awards and sale later this day. As long as I was in town, I decided to get in another painting.

I had been past this house several times. Although not particularly noteworthy, this orange door always caught my eye. As I began this painting, the title came to me. Seems as though the title helped keep me on track with the value, color and temperature decisions. Fun painting.

While I painted, a nearby homeowner approached me. I wondered if I was going to be scolded for standing in the road. Interesting conversation as he was not fully aware of the Cedarburg Plein Air event. I was happy to see that our conversation was positive and that he was in attendance that evening.

Haven Behind Sal’s

Haven Behind Sal’s – Plein Air – 12″ x 16″

After completing “Anvil Grille” and having lunch, I ventured onto the main street of Cedarburg. Although a number of artists were working on the typical main street scenes, I found this sight behind one of the stores. Nestled between two buildings and somewhat out of the view of pedestrians, I worked on this design. Started around 1 P.M., I made some assumptions about possible shadows (which did not happen to the extent I had hoped for) and a took a little artists prerogative concerning the flower pots (after all, it was early June). Not a prize winner, but I like it anyway.