"In the Library" by John F. Peto (1854–1907).
Timken Museum of Art pic.twitter.com/OKS0ssSTsR
Download the Twitter app
Sent from my iPhone
It's fascinating how the same landscape can change depending on the time of the day, season of the year, and the specific kind of weather. We asked three pastel artists—Don Williams, Margi Lucena and Margaret Evans—about painting weather in a landscape.
Is there a specific kind of weather or atmospheric condition that you especially enjoy painting?
Margi Lucena: A fresh blanket of snow! Under cloudy skies, snow in a painting is hardly ever expressed as "white." The shadows and bounced light give such great opportunities to use an array of color—often an entirely different palette than you might expect.
Don Williams: I'm fascinated by the fog that occasionally blankets the landscape around Sonoma. When it appears, I get my camera and drive the backroads looking for something that might make a good painting. When the fog is really dense, you're never sure what you're seeing as shapes start to appear and then fade back into the cloud. It's a wonderfully strange and mysterious world and pastel is the perfect medium to use to depict it.
Margaret Evans: I love sunrises and sunsets, because they create a magical mood of things to come; and watery subjects, like Venice in the rain where there can be double reflections to paint. The weather is so important to a painter, but I'm not always looking for bright sunny days – I'm more excited about clouds and mists for painting which create more mystery.
To read more about painting weather conditions in pastel and to learn about the techniques and materials used to create the compelling work of these three artists, check out the October 2016 issue of Pastel Journal.
As a plein air enthusiast, Anne Laddon has adjusted her painting supplies over the years to make her plein air toolkit as mobile as possible. "I really like to keep the weight down, especially in Mexico, where I'm walking on cobblestone streets up and down and all across town," she says. "I just can't carry around 15 pounds of pastels and an easel and a board to paint on."
A Simple Plein Air Toolkit for Pastel
Laddon uses a small rolling suitcase to transport her plein air toolkit, which consists of the following essentials:
For more tips from artist Anne Laddon about capturing the color and personality of your favorite places, see "A Culture of Color" by Austin Williams in the October 2016 issue of Pastel Journal.
The post Traveling Light | Anne Laddon's Plein Air Toolkit for Pastel appeared first on Artist's Network.
The official flag for The Refugee Nation, a team of ten refugees currently competing in the Rio Olympics, draws its colour scheme and design from lifejackets. Designed by Syrian artist and refugee Yara Said, the flag is a vivid orange with a single black stripe.
Since last we spoke with acrylic artist Steve Wilda, he's been chosen as one of the featured artists to appear in North Light Books' forthcoming AcrylicWorks 4: Captivating Color! An in-depth look at his selected painting, Honed to Imperfection, can be seen here. Today we talk with Wilda about his new work and the power of the vertical painting.
Acrylic Artist: Congratulations on being selected for the upcoming book.
Steve Wilda: It's always exciting to receive an acceptance letter. Having Honed to Imperfection chosen for publication in the AcrylicWorks 4 edition is fantastic, yes. The North Light Books series offers such a variety of art styles from representational to abstraction.
AA: What advice do you have for artists entering work for the first time in a competition?
SW: It's timing really, and chemistry, entering competitions, the right picture, and right juror. Artists shouldn't be discouraged if their work is not accepted. Remember that juried shows are subjective, and are only that particular juror's taste. What is not accepted in one exhibit could win an award in another. What is most important is that you like what you've created.
AA: The Chosen One, another of your paintings with a vertical orientation, certainly exhibits your hallmark style of meticulous attention to detail and a celebration of aged things. What inspired it?
SW: It's another instance of that immediate, flash reaction and desire to paint something when first discovering it. The Historical Society in my town had the gnarled feather and inkwell on display. The actual feather was whiter so I aged it—I had to put my stamp on it. The concept quickly evolved to include a pile of feathers, plus the cracked eyeglasses to create a narrative painting. I eliminated one of the lenses entirely, giving the impression the owner's vision was greatly impaired, and incorporated an inkwell—the one that was the 'worst' of the litter into the composition. The title The Chosen One certainly wasn't in my consciousness backlog, it just appeared, from somewhere.
AA: Why the vertical layout instead of horizontal?
SW: This one had to be a vertical so the main feather's flamboyant character would be displayed upright. The vertical metal latch of the wooden milk carton (upon which the objects were placed) emphasizes the vertical format of the painting, and leads the eye upward into the composition—it adds interest.
AA: What can a strong vertical painting accomplish that a horizontal one cannot?
SW: A vertical format gives the painting stature and an elongated grace. By leading our eye upward, it can imply that there's more we're not seeing, and can appear to extend beyond the top (or bottom) edges. A horizontal painting tends to be more framed, more enclosed by its borders, certainly in height. It seems more finite by its cropping and composition.
The post The Power of Vertical Paintings with Acrylic Artist Steve Wilda appeared first on Artist's Network.