Sun Showers - Process

"Sun Showers"

Pastel 10x14 on Richeson Premier

The marsh lies wet and waiting as the rains pass and the clouds begin to break.  The sun suddenly bursts through and paints streaks and patches of the wet marsh in blazes of color, but the still-falling rain softens and mutes the reflections in the water.

The Painting Process

The finished painting came a long way from where I started.  I found the original picture in a pile of unfinished paintings.  It had good color and a pleasing composition with a few obvious problems.

Original painting from October, 2012

I had began this painting in October, 2012, in a Maggie Price workshop, but it was never finished.  I do not remember much about the original intention except that the focal point was to be a bent palm tree on the right that extended out over the water.  The unfinished trunk was still in the picture.

First Black and White Image

The palm tree was never going to work, so my first goal was to come up with a workable, interesting idea that eliminated the poor palm tree altogether.  I printed the picture in black and white to see the comparative values and design.

Black and white print of painting with gray pastel changes

I made some notes on this print and added some initial composition changes with gray pastels.  Four of the major changes were to (1) lower the horizon line by cropping an inch from the bottom of the painting. (2) raise the bushes on the right to break the line of the marsh grass, (3) to eliminate the palm tree. and (4) to punch the lighter values to show the areas of sunlight.

Making Notes About Thoughts and Ideas

Here are my notes on the idea that developed along with the changes in the composition.  I've added transcriptions since the photos are a little hard to read.

Notes from the first B&W print

"Idea - can't remember what my original idea was - Maggie Price Workshop - 10/24/2012 (6 1/2 years ago!)

I think I used NuPastels for the grass, browns, golds - It's like looking at a child's drawing on the refrigerator door trying to decide what it is.

- What is strongest interest in painting as it is? - contrasts in color and values, warm tone

- What are the weaknesses?

• Straight line of grass across the center of the picture
• no eye magnet - center of interest

- Idea / thought - add birds in flight, egrets"

At this point, I knew I needed to have a clear statement of my goal, so I wrote one that I used throughout the painting process.

Idea for the painting - written on one of the B&W prints

"Idea - sun breaking through broken clouds after a shower moves through

      Grass is wet

      Sun in spots

      focal point of painting - where [do] I want the eye to rest?"

The "Iterative" Process

I went through this iterative process at least 4 times with taking photos, printing them in black and white, and making changes with shades of gray NuPastels.  This process permits me to work with values rather than color keeping the composition elements consistent.  

My final effort was to manage the water in such a way that it had believable color, shade, and value without becoming a distraction while showing that the rain was still falling.

I'm satisfied that I accomplished those goals in the final painting.

Timed Study 04, Piney Point

Timed Study 3 - Piney Point, pastel 6x9

Standard "Rick's Rules" for this timed study - 22 minutes with 16 pastels + 1 pastel pencil.  I did this study on UArt 400.

The concept and motive for this study is a drawing of a pond near my home.  It was raining, and the muted tones accented the design.  I plan to do more of this concept in other light and color with more contrast in color, temperature, and value.

I permitted myself 25 minutes to mount the paper, do the drawing, and select the palette.  First the charcoal drawing with corrections...

Then most of the charcoal is removed so that the "ghost" remains.

 


Finally I chose this palette used from the study, set my timer to 22 minutes, and began.

 

Cedars with Color - Revisited

Pastel on sanded Gatorboard - 11x14

This painting was started from beneath the Beach Blvd. bridge over the Intracoastal Waterway.  It was raining, and the colors of the salt marsh were spectacular.  The part of the scene that attracted my attention most was the stark contrast between the dark, gray-green cedars with the marsh grasses and coastal shrubs that the rain had turned to brilliant green and gold.
I originally completed this painting in November 2011.  It received so much attention recently on Facebook that I had to give it another look.  I have retouched parts of it, and brought it out again. 

To purchase click on Daily Paintworks.

"Cedar Cove in the Rain"

Pastel on gatorboard; 20x16

Painting is available - contact me

The autumn colors of the salt marsh emerge with greater strength and brilliance when it rains.  Perhaps it is the softer light with the damp grasses that lets the reds and golds dominate.  The rain also makes the greens more pure up close then softer and more purple toward the horizon.  This is one of my favorite times of the year, and this view of the marsh is one of the best.

Winter Rain

Oil on linen 10x8

May be a work in progress

I had planned to take my French easel out today, but it rained all day. I have long been intrigued by the corner of my landscaping with a statue of a little girl feeding some ducks. It is overgrown and waiting for spring cleaning, clearing, and trimming.

The view I selected is from the front porch across the driveway. Everything is wet, and gray, and golden brown. The shadows are deep, but the values are muted by the rain and overcast sky.

This painting may need to be touched up or elaborated later. The wind came up and started splattering rain onto the easel and the painting. I discovered that when water gets on the oil, painting over pulls up the original layer of paint. That could make for some interesting effects, but it's not a good surprise.