Follow along and see how Nancy Macdonald begins with a pen-and-ink sketch and color study to create a plein air painting of two figures in the Ecuador landscape.
Creating Harmony in a Plein Air Painting
by Nancy Macdonald
On site, I make a number of sketches and color studies, which I use as reference for larger paintings in my studio. I try to capture the harmony in the scene as well as the feeling or element that drew me to it.
Whilst in Ecuador, I saw women wearing striking vibrant skirts and shawls everywhere I went, particularly in rural areas. They would often have their babies strapped to their backs, even when they were working the fields. They made such a strong impression on me, especially with the magnificent mountains as their backdrop.
My Palette
When I paint locally and in my studio, I use a palette box made by my husband. It’s lightweight and contains two large mixing areas of 14 x 18 inches. I typically set it up as shown, with piles of gray on the right side followed by cooler and warmer versions next to each.
My Toolkit
Support: Gessoed board or linen glued to a board
Paint: Gamblin — alizarin crimson, ultramarine blue, manganese blue, yellow ochre, lemon yellow, black, titanium white; Winsor & Newton — scarlet lake, transparent maroon
Brushes: Small Bristlon and Rosemary & Co Eclipse brushes
Palette: Large handmade fold-out palette
Misc.: Alla Prima pochade box; Mefoto tripod
Pen-and-Ink Sketches
I work quickly on location to capture the gestures of the figures before they move.
Plein Air Color Studies
I also make a series of 30-minute, 6 x 8-inch color studies in oil.
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Step 1
I start the painting with a sketch on a lightly toned 20 x 16-inch canvas using transparent maroon. I then lay in the main darks thinly, and establish the volume and contour of the mountain. I try to get variety in my shapes while keeping the composition simple. I avoid parallel lines, and opt for a low horizon line to reinforce the grandeur of the mountains.
Step 2
I begin my block-in of some simple color shapes. I like to keep my light-toned canvas showing through for as long as possible; it helps me to not get too dark, as anything will look dark against it.
Step 3
I establish the ground plane, which I need to keep light, and add dimension to the mountain and the figures, putting in some lights in those areas as well.
Step 4
I add the lights in the tracks and try to set the mountain back using cool colors. I also block in the sky, paying attention to the edge of the mountain. I strive for variety of temperature and brushstroke.
Step 5
I feel as though my painting of the figures is getting too tight, so I scrape them and make some dark strokes to try again.
Step 6
I work much more broadly on the figures, knowing that I will refine them somewhat later. I also start working grays and cools into the foreground.
Final Step
I add finer detail to the figures and use more grays to harmonize the ground plane.
Connect with Nancy Macdonald at www.nancymacdonald.com.
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