A painting by California artist Kim VanDerHoek ably demonstrated the artist's prerogative to look closely for somewhat unexpected colors in a scene to strengthen a piece. The painter explains how it happened.
South Carolina artist Mary Bentz Gilkerson paints arresting, vibrant plein air paintings with significant impasto. It takes a bold brush to do that. She recently distilled crucial advice to plein air painting newcomers on her blog. What's her list of seven plein air painting tips?
Values. They are what make a painting read and succeed. We all know it, but many of us still have to work hard to use values properly. Maybe we need to hear it in many ways, in different voices, suggesting other techniques. How about this:
The trim lines of well-designed boats are catnip for painters, but the rusting hulks of wrecked ships have their appeal as well. Steven Alexander paints them both, although he points out one benefit of painting wrecks....
We've all watched sunsets. The colors change dramatically every few seconds. New York painter Kenneth Salaz seems to catch the height of those fleeting colors in his Hudson Valley sunsets. How does he do it?
Jane Hunt's eyes ached when she recently painted a snow scene, so she tried to crowd-source a solution: She went to Facebook and asked other artists how they handle bright days in snowy climes. It's not just a matter of comfort; snow blindness is a real threat, and eyes need protection from light in all seasons, not just in the sunny summertime. The ensuing discussion yielded much good information.
The October-November contest in the PleinAir Salon wraps up November 30 (get your entries in now!), and the judge for this contest, Joseph McGurl, explains what he'll be looking for in a submission.