Edge Control For a More Nuanced Painting Approach
One of the tools in the “Artist’s Toolbox of Expression” is edge control. Think of edges and brushwork as icing on the cake, because they are not altogether necessary, but are enhancements to an otherwise well constructed painting.
Painting Values and Your Design
Can anyone imagine doing a painting without using a number of values? Well, as an abstract design possibly, but it would be a weak design, depending solely on color for its strength. So strong are values in the painting process that the old adage is true that says: “In painting, values do all the work, but color takes all the credit.”
The Landscape Painter’s Learning Guide, Pt. 2
This week, I will follow up on my article from the last issue of PleinAir Today, titled “Three Important Skills Every Landscape Painter Needs.” In this segment I begin to explain some of the concepts that are recommended as a map for studying landscape painting. In my workshops, I do this as a Power Point presentation, but I’ll attempt to explain it here in a few paragraphs.
Why This Works: Wildlife Gives Interest to Landscape
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Nancy Woods Daniel’s “Blythe Ferry Winter Day.”
Why This Works: Color Harmony, Cohesion Through Brushstrokes
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Doug Gorrell’s “River Mist.”
Why This Works: Less Is More Sometimes With Color
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Steve Miller’s “Off the Gov’t Pier.”
Why This Works: Quiet Solidness, Good Light Source Info
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Fen Rascoe’s “Waiting on a Truck.”
Why This Works: Connect Your Darks
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Eileen Guernsey Brown's "A Winter's Day."
Why This Works: Not Every Branch, Twig, and Leaf
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Kathryn A. McMahon’s “Beaverdams Pond.”
Why This Works: Muted Chroma, Powerful Values
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Dana Zier’s “Pryor Overlook.”
Why This Works: High Horizon Line for Compelling Composition
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Thomas Caleb Goggans’ “Shoshone Turquoise.”
Why This Works: Aerial Perspective and a Good Lead-In
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Paul Keysar’s “Bath County Fog.”
Why This Works: Mountains as Sky Family
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Lena Rivo’s “Arrabida Natural Park."
Why This Works: Low Key Allows Orange to Pop
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Walter Bartman’s “The Golden Hour.”
Why This Works: Format, Key, and Aerial Perspective
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Susan Paterson’s “PEI Skies.”
Why This Works: The Sailboat’s Story
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, “Long Island Inlet,” by Rosanne Kaloustian.
Why This Works: Figures as Supporting Players
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, “Horizon,” by Paul George.
The Smallest Pochade?
Just for fun! This Etsy product (already sold) shows how far one can go to make painting materials compact and portable.
Why This Works: Using Both Symmetry and Asymmetry
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, “Big River Calling,” by Tom McGregor.
Why This Works: A Tale of Two Paintings
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, two pieces from one day by Richard Maud.