Plein Air Painting - Part I

Plein air painting is the art of painting out of doors. This is Part I of a five part article on plein air painting. It provides a brief history of plein air painting, and discusses its unique purpose and goals.

The term "plein air" is taken from the French expression "en plein air", which means "in the open air". Plein air painting became popular in the 1870s, when advancements in the field of art allowed artists to put their paint in transportable tubes and take them into the field. Plein air painting was embraced by many painters, most notably the French Impressionists, and has remained a very popular painting method up to today.

Plein Air Painting - Vineyards in Napa Valley, CA

Plein air painting has always been associated with a certain artistic goal or quality. This is to recreate the essence of a moment out of doors. Not only is the subject matter important; the artist strives to capture the entire atmosphere - the sounds, the smells, the sunshine or rain, wind or snow - all the aspects of that particular out of doors experience. Because light is such an important part of the out of doors experience, plein air painters place great importance on the influence of light on color. They work to capture the way that light appears on subjects at different times of day and with different types of weather, and use colors suggesting the light and atmosphere of that day.

Plein air painters must make special preparations prior to painting outdoors. These help capture the essence described above, and are necessary for the practicalities of painting en plein air. In Part II, we discuss the kinds of preparations necessary for painting en plein air.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Plein Air Painting - Part II

Plein air painting is the art of painting out of doors. This article is Part II of a five part article on plein air painting. Part I provided a brief history of plein air painting and discussed its purpose and goals. Part II discusses the preparations necessary for plein air painting.

Preparation

Since plein air painting occurs away from the home or studio, and with a limited time span, plein air painters often make special preparations prior to painting.

• View the location in advance, if possible, and select your specific painting site. This allows you to spend the entire day painting. An ideal site will be in the shade and out of the wind.

• When choosing your site, be selective. Certain aspects of the scene can be omitted if they won't add to the essence of the painting.

• Wear a hat with a visor or a wide brim. You’ll be able to distinguish tone and color better by not having to use sunglasses.

• Make sure you have the option to sit down. If the site doesn't offer seating, bring something to sit on.

The Site of Julinya's Plein Air Workshop
Summer 2013   -  Adamson House, Malibu California

Julinya's Plein Air Painting - Adamson House

Make sure you have with you:

• Sunscreen, lots of water, and insect repellant.

• A flashlight.

• Paper towels or cloths for cleaning and wiping brushes.

• A camera to record the scene. It's helpful to do this at various times throughout the day and to take both long shots and close ups.

• A plastic trash bag. (A large plastic bag can double as an emergency raincoat.)

• Layers of clothing to put on or take off depending on the day.

• If it’s cold, a pair of fingerless gloves will help keep your fingers warm but still allow you to hold the paint brush.

Certain supplies are common to all plein air painting, and in Part III of this article, we will talk about the supplies needed for painting en plein air.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Plein Air Painting - Part III

Plein air painting is the art of painting out of doors. This article is Part III of a five part article on plein air painting. Part I provided a brief history of plein air painting and discussed its purpose and goals. Part II discussed the preparations necessary for plein air painting. In Part III, we talk about the supplies needed when painting en plein air.

Supplies

Certain supplies are common to all plein air painting, whether you are doing an oil painting, a watercolor, a pastel, or working with acrylics. No matter what type of painting you create, you need to bring paper towels or cloths, adhesive tape or clips, and an eraser. Remember, too, that you will need a means of propping up your painting surface. Field easels are widely available and are useful for this purpose.

If you plan to do plein air painting often, consider keeping a separate set of plein air supplies so you don't have to pack and unpack every time you paint en plein air. Also, if you plan to be at the site for several days, you may want to bring extra canvases, boards, or paper. This gives you the option of creating several paintings, based on the various times of the day.

Oil Painting

If you are doing an oil painting, you will need to bring along:

• One or more canvases or boards.

• Pairs of warm and cool reds, yellows, and blues; a brown, and a large tube of white.

• A variety of brushes. Bring three or four sizes of flat, bristol brushes; a fan brush; and one small brush for detail.

• A palette knife.

• A sealable container large enough to hold your painting palette. The best way to do this is to put a few sheets of disposable paper palette in your sealable container.

• Turpenoid and your favorite oil medium.

• Charcoal and fixative for spraying the canvas if you plan to start with a charcoal drawing.

• Brush soap so that you can soak your brushes before the drive home.

Keep in mind that weight and space are important because you will be carrying your supplies. So, reduce the size and weight of your mediums by using small sample glass jars instead of the original containers.

Plein Air Oil Painting - Mediterranean Garden

Watercolor Painting

If you are doing a watercolor painting, you will need:

• A watercolor kit or selection of tubes.

• A watercolor tray or palette (if you don't have a watercolor kit). A few small, sectioned porcelain or glass plates (like the kind used for holding hors d'oeuvres) work well for this purpose.

• A number 12 round brush, and a number 2 round brush. (Remember to protect your watercolor brushes while travelling so that they don't get damaged.)

• A watercolor block and a utensil to separate its pages.

• A number 2 soft pencil.

• A jar with water to clean the brushes, and an extra bottle of water to change the water in the jar if you need to.

Plein Air Watercolor Painting - Parisian Cafe

Pastels

If you are doing a pastel painting, bring along:

• A selection of pastels. (Half pastels take up less space than full-length ones and weigh less.)

• Paper.

• A box of wipes to clean your fingers (or latex gloves if you use them).

• Stomps, tortillons, or other utensils as required by your personal style.

• A kneaded eraser.

• Some form of protective cover so that your pastel painting doesn't smudge while driving home. It is not recommended that you spray the painting on-site, because you may want to retouch it at home or in the studio.

Acrylics

If you're doing an acrylic painting, it is recommended that you create an acrylic wash in advance, using the colors that will be in the background of your painting, and then do the rest of the painting in oil. This is because acrylics dry very quickly; also, the requirements for cleaning brushes used with acrylic do not easily lend themselves to painting out of doors.

Because plein air painting occurs in the open and with a fixed time span, special considerations arise regarding the actual painting process and other people who also may be at your chosen plein air site. In Part IV, then, we will discuss creating the painting and dealing with spectators.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Plein Air Painting - Part IV

Plein air painting is the art of painting out of doors. This is Part IV of a five part article on plein air painting. Part I provided a brief history of plein air painting and discussed its purpose and goals. Part II discussed the preparations necessary for plein air painting. In Part III, we talked about the supplies needed when painting en plein air. Now, in Part IV, we will discuss creating the painting and dealing with spectators.

Creating the Painting

Work freely and loosely. If you begin with a drawing, make sure this is loose as well. Simplify what you want to do because you’re working within a limited time frame. Think about the dimensions of your canvas or paper, and customize your scene to best enhance its format.

Start with a simple palette; more colors can be added later. Begin by putting in the main shapes, tones, and colors. Then, as you continue building the painting, you can introduce more color and gradation of tone. Blend quickly so that the colors being mixed aren't thoroughly blended. This will add an incredible vibrancy to your painting. Use the camera as necessary. You may want to catch the long shadows and cool colors of the early morning or late afternoon.

Plein Air Painting - Parati's Relais Chateau

Remember that the scene will change throughout the day. The sun moves across the sky, affecting light and shadows, and the weather may change as well; early morning haze or cloud cover may burn off as the day gets warmer. Changes in the type of light, and in the angle of the light, also will affect the scene.

• Clouds in the sky will cause shadows to become grayer.

• Haze or smog in the air will reduce the contrast between shadows and direct sunlight.

• When the sun is at a 45 to 50 degree angle, contrasts of light and shadow are accentuated, and texture is more readily apparent. Use this time to add your brightest colors, your most dramatic tonal contrasts, and to capture the textural surface you want in the painting.

If you have plenty of time and will be at the site for several days, consider bringing the supplies you need (canvases, boards, several pages of watercolor paper, etc.), and painting separate pieces for the various times of day.

Plein Air Watercolor Painting - La Baquette Paris

Dealing with Spectators

Spectators are often curious, and may want to chat or offer advice. If possible, position yourself where people can't come up behind you, such as against a wall or in a closed doorway; it will help minimize this problem. Simply ignoring a spectator's presence by not making eye contact usually will be enough, but you might also add "I'd love to give you some attention, but I can't be distracted right now".

If someone does start to chat, be polite but non-responsive, with a reply such as "I'm sorry but I can't talk right now since I have only a limited time to do this". Often, people just want to look, and you can help avoid talking by saying something like “feel free to have a look”, then continuing with your work. If someone offers advice, a response such as “Thank you, but I’m fine with what I’m doing” can politely deflect any well meant but undesired suggestions.

There are several special steps that need to be taken as your painting day draws to a close. Therefore, in Part V, we will complete the article by talking about ending the plein air painting day, and finishing the painting.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Plein Air Painting - Part V

Plein air painting is the art of painting out of doors. This is Part V of a five part article on plein air painting. Part I provided a brief history of plein air painting and discussed its purpose and goals. Part II discussed the preparations necessary for plein air painting. In Part III, we talked about the supplies needed when painting en plein air. Part IV discussed creating the painting and dealing with spectators. Now, in Part V, we complete the article by talking about ending your plein air painting day, and finishing the painting.

Ending the Day

Start thinking about stopping your work about an hour before you actually have to leave. This is the time to do an overall evaluation of the painting, to look at the scene, and to take notes on anything that you need to remember for your final work at home or in the studio. These notes may have to do with aspects of the light, how the colors appear, or specific details of the site that you noticed throughout the day. This last hour is also the time to take any final photographs.

Give yourself plenty of time to pack up before it gets dark, especially if you’re in an area that doesn’t have a source of artificial light. Remember that your painting will be wet, so make sure you pack it securely, so that neither your painting, nor the interior of your car, will end up with any changes that you didn’t expect!

Students at Julinya's July 2013 Plein Air Workshop

Finishing the Painting

Set a day for making the finishing touches to the painting. This may be the next day, in a few days or even a week, but don't do it the same day as your plein air painting event. This is because you need a little while to come down from the "high" of the plein air experience to be able to look critically at your work.

When you return to the painting, remind yourself of why you did this piece. Perhaps you were at a famous beach and wanted to depict its landmarks; or you painted a mission, and wanted to capture its history and old-world beauty. Perhaps on vacation you encountered stormy clouds over green summer mountains, and knew that this sort of vista would never be found at home. Whatever the reason, take a while to look at the painting as you recapture in your mind its purpose and essence.

Once you have the painting's purpose and essence in your mind, it's time to review the photographs you took throughout the day as well as the notes you made when ending your plein air day. After doing this, begin working to capture the things you may have noted. Bear in mind, though, that you want to filter out items in your notes that are too detailed, are hypercritical, or would in any other way detract from the freshness of the painting. (Notes like this often are called a "painter's list". Basically, a painter's list is your chance to record any corrections, additions, overall feelings and impressions as you look at your work. To learn more about making a painter's list, please see the upcoming article entitled Creating and Using a Painter's List.)

On the Left a Student's In-Progress Painting   -   On the Right another Student's Completed Painting

Conclusion

Remember that plein air painting is all about light and impression. To ensure that your painting stays true to this as you finish, keep the following in mind.

• Carefully select and render only the details that support the "impression" you've created.

• You don't need to be strict about making corrections.

• You don't need to be highly accurate. Don't add things, for the sake of accuracy, that would distract the viewer from what you're trying to emphasize.

For example, if you painted in a flower garden, you would want to create enough light and dark tones, highlights and bright color accentuation to give the painting depth and draw the viewer's attention to the areas you want to emphasize. However, you would not want to render every petal, leaf or stem, because too many details would hinder the viewer from taking in and appreciating the entire scene.

Finishing the painting while it's still loose and even a little "sloppy" will ensure that you convey the atmosphere and essence of your plein air experience.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Oil Painting Using the Glazed Painting Method - Part I

This is Part I of a three part article on oil painting using the glazed painting method. Part I provides an introduction to glazed painting.

An oil painting using the glazed painting method is one in which the artist uses transparent, oil-based colored glazes rather than opaque oil paints. These glazes are applied to the canvas in a series of layers. This produces a unique effect, which has been compared to that of a stained glass window. While it often takes longer to create a glazed painting than a non-glazed one, the results are well worth the time. This becomes clear when viewing the works of the well-known artists who painted using the glazing technique. They include Vermeer, Chardin, Rubens and Titian.

Detail of the "Milk Maid" After Jan Vermeer
Oil on Board Glazed Painting

Because the glazed painting technique has such a long history, artists sometimes will choose to create the painting on a board rather than a canvas. This is because many of the old masters created glazed works in this way. This is not exclusive, however; both Rubens and Titian created many glazed paintings on canvas.

In creating a glazed painting, the artist begins by doing a drawing, then creates an underpainting, and finally adds the layers of transparent, oil-based colored glaze. In Part II of this article, we will discuss the drawing, then describe how to create the underpainting.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Oil Painting Using the Glazed Painting Method - Part II

This is Part II of a three part article on oil painting using the glazed painting method. Part I provided an introduction to glazed painting. In Part II, we discuss the drawing and the underpainting.

The drawing is optional; however, if the artist is using a board and chooses to do a drawing, it should be done with a soft graphite pencil. If the artist is using a canvas, the drawing should be done in charcoal and sprayed with a fixative upon completion.

Once the drawing is completed, the artist begins by creating a monochrome underpainting. An underpainting is somewhat akin to a black-and-white photograph, because all visual elements exist as a series of tones; no color variation is introduced. This is why an underpainting is often referred to as a tone painting.

In creating the underpainting, the artist uses white and one other neutral color, such as burnt umber. When beginning the underpainting, the artist should use a transparent white so that the drawing can still show through the paint. As the underpainting progresses, the artist can go thicker on the white and cover the drawing.

Rubens Portrait - Reproduction
Oil on Canvas Glazed Painting

While creating the underpainting, the tones should be rendered one to two shades lighter than would normally be correct. This is because the layers of colored glaze will darken the tones of the painting, bringing them to their correct levels. The underpainting may be as loose or as detailed as the artist desires. However, it is generally true that the more detailed the underpainting, the easier the glazing process. A lot of this depends, of course, on the level of detail in the painting. If the artist is creating a portrait or similarly refined work, a detailed underpainting is recommended.

Once the underpainting is completed, it must be allowed to thoroughly dry. Use that time to review your work closely and ensure the underpainting is fully completed. If additional work or corrections are required, do them at this time and then allow the new paint to dry. While it is possible to correct a painting during the glazing process, this is not recommended. Correcting a painting requires using opaque white, which diminishes the luminosity of the colored glazes.

In Part III of this article, we discuss the process of applying the colored glazes and finishing the painting.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Oil Painting Using the Glazed Painting Method - Part III

This is Part III of a three part article on oil painting using the glazed painting method. Part I provided an introduction to glazed painting. Part II discussed the drawing and the underpainting. In Part III, we cover applying the colored glazes and finishing the painting.

Colored glazes should always be applied to the oil painting from lightest to darkest, and the three primary colors should be used. Thus, yellow glaze is applied first, then red, then blue. Glazes are created using transparent paints mixed with a glazing medium. Some of the pigments that are appropriate for glazing are: Indian Yellow, Aureolin Yellow, Alizarin Crimson, Vermillion, Ultramarine Blue and Prussian Blue. Any opaque pigments, such as Cadmium Red, Cadmium Orange, or Cadmium Yellow Pale are not transparent and are not appropriate for glazing.

The very first glazing session should begin by applying all three colors, in very thin layers, to the entire painting. Then the artist adds more layers, emphasizing yellow, red and blue in the areas that are appropriate. The session is ended by adding white to lighten the areas whose tones have become too dark. This final step must be performed, because the end of every session (except for the final one) is a preparation for the next session, so the tones have to be re-lightened before new glazes are applied. Then, the painting must be allowed to thoroughly dry before additional glazes can be added.

Lady Rose
Oil on Canvas Glazed Painting

The number of glazes required will depend on many things. The colors rendered in the oil painting, its depth of color, its level of detail, and even the artist's personal preference will all be factors. Therefore, the artist should continue the process of applying colored glazes, adding white, and allowing the painting to dry thoroughly until the point when the painting will need only one final glazing.

In the last sitting, the final glazing layer is added. White is not added because no further glazes will be applied.

An oil painting using the glazed painting method possesses a beautifully translucent, luminous quality. Julinya Vidigal de Vince has created many glazed paintings which can be viewed on her web site. Her original glazed paintings include Lady Rose (shown above), and a portrait of Gustavo Dudamel. Her glazed oil painting reproductions include Philosopher Meditation, after Rembrandt, and Silver Goblet, after Chardin.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Drawing and Painting Using Compositional Balance

An important consideration when drawing, painting, or creating any work of art is its compositional balance. Composition, in a work of art, refers to the way in which its various visual elements are arranged and organized. The way that this is done creates the compositional balance in the work. Basically, there are three types of compositional balance. These are:

• Symmetrical
• Asymmetrical
• Radial

Symmetrical Balance

Symmetrical balance, also known as formal balance, occurs when equal weight and importance are given to both sides of a composition. This is often thought of as a mirrored balance, because the weight is mirrored on either side of the work. This can occur either vertically (in which, for example, a painting is thought to be divided into left and right halves), or horizontally (in which a painting is thought to be divided into upper and lower halves).

A symmetrically balanced composition can invoke feelings of calmness, stability and security. Julinya Vidigal de Vince's oil painting Imperial Beach provides an example of vertical balance. The darker pier and figures on the left hand side of the painting are equally weighted by the sun and its reflection in the water and the clouds on the right hand side.

Imperial Beach - Oil on Canvas

Asymmetrical Balance

Asymmetrical balance occurs when the visual elements in a work of art do not mirror each other either vertically or horizontally. It is a less formal type of balance, and utilizes more subtle qualities to affect the apparent weight of objects in the work. These qualities include an object's color, its intensity or brightness, and its degree of lightness or darkness. For example, a large, light area on one side of a painting could be asymmetrically balanced by a small, intensely black or deep-purple area on the other side.

Asymmetrical balance results in works that appear more energetic and active than symmetrically balanced works. Because it is more subtle, it can be more difficult to create than a symmetrical work. However, it enables the artist to create works with a wide range of dynamism, depending on the degree of asymmetry.

Radial Symmetry

Radial symmetry is similar to symmetrical balance; however, in radial symmetry the composition is equally weighted both vertically and horizontally. Thus, if the painting were divided into four equal quarters, each quarter would have the same amount of weight. This draws the eye to the center of the work, which becomes its focal point.

Parati - Rua da Praia - Oil on canvas

Julinya Vidigal de Vince's oil painting Parati - Rua da Praia provides a wonderful example of radial symmetry in its vertical and horizontal balance. The two beautiful adobe walls provide equal weight to both the left side and right side of the painting, while the alley way and the sky provide equal weight to both the painting's top and bottom.

Radial symmetry has two commonly used variants. In the first, equal weight is given vertically, horizontally and diagonally. This gives the effect of having the composition radiate from its center. This is popularly used in non-representational art.

The second common variant is the spiral, in which the composition rotates around an actual or implied central point. A spiral produces a high-energy composition in a circular format. Alternately, it can provide a sense of added movement if used in a section of a work that predominantly uses a more rectangular composition.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA

Drawing and Painting Using One Point Perspective

When drawing or painting using one point perspective, the artist employs a series of techniques that emphasize one specific area of a work. This is often done to draw the viewer’s focus to that area. A famous example of one point perspective is Leonardo da Vince’s The Last Supper, in which the viewer’s eye is lead to Christ’s forehead.

One point perspective always includes a horizon line, although it may not be easily apparent in the work. The horizon line, which is at the artist’s eye level, contains a single vanishing point. In perspective drawing or painting, a vanishing point is the point at which receding lines occurring in the work appear to meet. Even if the lines don't actually meet, the viewer's eye extends the lines to note where they would meet if they were long enough to converge.

An excellent example of one point perspective is found in this pen and ink landscape by Julinya Vidigal de Vince.

Pen and Ink Drawing - Alley at Giglio Castello

Here, the lines of the wall's top and bottom are constructed so that appear to meet at the end of the castle alley way. This draws the viewer deeply into the picture, almost making it seem as if we were really there.

Julinya Vidigal de Vince offers a variety of art workshops in Westlake Village California.

Julinya's Art Classes - Westlake Village, CA