Gary Geraths refers to his technique of using gouache -- or opaque watercolor -- as "throwing it around." In part that's because gouache can be used quickly on location, and in part because the paints are fast-drying and forgiving.
Heinley Fine Arts in Taos, New Mexico, recently unveiled a 30 x 120-inch triptych titled "In Memoriam" that Jivan Lee created on location in Abiquiu, New Mexico. The artist propped up three canvases against the side of his car and applied thick layers of oil color.
Kyle Buckland recently painted along Beaver Dam Creek in the Backbone Rock National Forest in Tennessee and had to adjust his usual bright palette of colors in response to the gray, overcast scene. He explains his versatile handling of oil colors here.
We begin a new series of close-up details of plein air paintings that can suggest ways of handling oils, watercolors, pastels, and other media on location. In this issue, an artist allows us to get right up next to their paintings so we can get a better sense of how they were created.
Not sure what to do with that old laptop computer no one can repair or upgrade? Arizona artist Karen McLain came up with a way of converting hers to a plein air painting box, and shows you how to do the same in a video.
Californian Kathleen Dunphy has an informative blog in which she offers advice about painting on location. She recently posted some great recommendations for painting snowy landscapes. Hereâ€™s an excerpt and a link.
Virginia artist Ron Boehmer builds layers of saturated oil colors to achieve luminosity in both his plein air and studio paintings. He offers a demonstration of his â€ścolor interactionâ€ť painting techniques here and in the March 2013 issue of PleinAir.
New Zealand artist Richard Robinson will again be joining the Plein Air Convention & Expo; the 2nd annual convention is set for Monterey, California, from April 10-14, 2013 (www.pleinairconvention.com). He recently posted a free online book of painting instruction that documents the work he did while living with his family in Hawaii.
John D. Cogan, Ph.D. brings a scientistâ€™s understanding of light, color, and atmosphere to the practice of outdoor painting. He shares some of his knowledge about painting with acrylics in this issue, as he will during the Plein Air Convention & Expo (www.pleinairconvention.com).
â€śOne key aspect of my approach to plein air painting came out of my 13 summers as a smokejumper,â€ť says Californian Davis Perkins, who came to our attention after he won an award in the PleinAir Salon competition. Find out what he means in this article, and during his presentation at the Plein Air Convention & Expo (www.pleinairconvention.com).