Explore the art of going big with this insightful case study-driven advice for large-scale painting techniques from plein air painter Christine Lashley.
This is part of a series featuring a leader in the art community who will be joining us on the faculty of the Plein Air Convention & Expo, May 19-23, 2025 at Lake Tahoe / Reno, Nevada!
Case Study 1: Waterscape
Problem: I wanted to work large to capture the seashore and tidal marsh, yet the reference photos I took were too blue and showed me only boring horizontal lines. In person I saw soft texture, many layers, water, grasses, and glitter. With the blinding light and strong winds, full location studies were impractical.
Solution: On site I took video, which recorded movement and reduced detail. I also used a quick color dot approach — no shapes — to capture the colors and values in “Wave Study.” (In the photo above you can see the custom oil mixes on the palette knife I used to match colors for the larger painting “Glisten,” below.) The shore shapes I saw were simple, so back in the studio I went directly to big shapes on the canvas and worked on my value and design with loose, bold washes of thinned oils. The paint had a suggestive quality of the shore and water, and I could see the design almost instantly.
For the first washes I used mostly Cobra’s ultramarine blue and transparent red oxide. A large synthetic house brush aided paint flow and speed. Since the shapes were so simple, I gave special attention to the shoreline curves and horizon line. Small shifts of an inch or two have a big impact. I wanted the viewer invited into the scene, not overwhelmed. I reworked everything until I liked the design and value, which took a day or two.
Next, I layered thicker oil paint (with no thinner or medium added). I premixed large piles of paint matching my color studies and washy underpainting values. I saved and froze the extra paint color. Large art requires a lot of paint, and mixes might be hard to match later. Having wet paint dabs left over comes in handy for either mixing more paint or retouching areas.
I tried to complete much of the vast areas — sky, water, and sand — “all in one, wet” or alla prima. I added grasses, sand texture, and water highlights when the first layers were dry. Spending more time on the underpainting composition in this way has been so rewarding for me that I now do this for my plein air paintings too.
Case Study 2: Paris
Problem: I wanted to do some larger paintings of Paris but lacked good reference material from past trips. The pearlescent quality of light on the buildings was my point of inspiration. My photos contained enormous levels of detail and were drab and uninspiring. I had some plein air sketches and studies to work from, but they were mostly missing the nuances I wanted to explore. I was glad to have the memory of those enticing Paris grays, but couldn’t find proper references to move forward.
Solution: Before a recent weeklong visit with painter friends, I researched more about value so I could maximize my reference-gathering on location. I started by examining Edgar Payne’s work in color and in black-and-white. His mountain scenes were similar to what I would see in Paris, with vast areas of light and shadow and upright forms juxtaposed to sky. Payne uses the same value in large masses, then shifts the color when he needs variety. Grouped values make the color optically pop or seem extra bright. I looked for value and color relationships all week in Paris and came back home with lots of ideas and useful studies.
The idea of “same value, shift the color” isn’t a new one, but it’s necessary to seek this information out and practice this approach. When I’m painting, I know I’m on track if I move my values closer, and I’m off track if I reach for more chromatic color or stronger value. Grouping value is a very powerful tool, especially as art gets larger.
Revisiting value in Paris was a catalyst for creativity back in the studio. My first painting upon my return was “Paris Immersion.” My “Paris Grays” study was one of several sketches used for reference. “Paris Immersion” is not a literal interpretation of the scene, but a more abstracted and intuitive response based on the gray study. Going back to intuitive painting after all that value study was really exhilarating.
Case Study 3: Sky
Problem: Skies are great fun to paint big but can suffer from “color gain” when enlarged. My “Serenade” study shows a beautiful dawn, and I thought the colors would transfer to a large painting well. But painted as-is on my larger surface, they looked garish.
Solution: Toning down all of the sky mixes to a less chromatic (grayer) color got the harmony back in my painting. I also allowed flecks of all the sky colors to migrate around. This impressionistic way of painting is tied to the idea of “same value, shift the color” — therefore I can feel free to use any color in the sky as long as it’s the right value. The larger the art, the grayer the color should be in the big mixes.
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Love the insightful advice and progress logic, thank you!