Painting No. 153
Mount Seigel
Carson Valley, Nevada
6"x 8", oil on linen panel
December 18, 2011
The evening light is always beautiful on this mountain, but it only last a few minutes each day. This plein air painting took me about 10-15 minutes to complete and then then color was completely gone.
James McKew is an American landscape painter working in oils,creating both Plein Air and studio paintings of the American West.
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Tuesday, December 20, 2011
Monday, December 19, 2011
Late Fall on the River (study)
Painting No. 152
Late Fall on the River (study)
Carson Valley, Nevada
6" x 12", oil on linen panel
December 19, 2011
A few weeks ago I started thinking about developing a studio painting of the Cottonwood trees near the Carson River. For those who don't live in the western United States, these trees have trunks that are quite large, upwards of 3' to 12' in diameter. They grow more or less in groves near rivers.
My previous attempts to capture the size and strength of the trees (Paintings No. 138 & 144) didn't due them justice. So I tried to ask that all important question, "What would John Carlson do?" The answer is to make sure that the trees are strongly anchored to the ground, think of how much weight they support, and to remember that we are often look up at trees, like when you would stand next to a hot air balloon, from the under-side we see a narrow neck with the largest balloon mass skyward and slightly out of sight.
So I held these principles and added a third element of lowering my visual plane. By visualizing the trees and river from a small child's view point, then I can get a better feel for how the trees, grass, water and mountains are arranged.
Late Fall on the River (study)
Carson Valley, Nevada
6" x 12", oil on linen panel
December 19, 2011
A few weeks ago I started thinking about developing a studio painting of the Cottonwood trees near the Carson River. For those who don't live in the western United States, these trees have trunks that are quite large, upwards of 3' to 12' in diameter. They grow more or less in groves near rivers.
My previous attempts to capture the size and strength of the trees (Paintings No. 138 & 144) didn't due them justice. So I tried to ask that all important question, "What would John Carlson do?" The answer is to make sure that the trees are strongly anchored to the ground, think of how much weight they support, and to remember that we are often look up at trees, like when you would stand next to a hot air balloon, from the under-side we see a narrow neck with the largest balloon mass skyward and slightly out of sight.
So I held these principles and added a third element of lowering my visual plane. By visualizing the trees and river from a small child's view point, then I can get a better feel for how the trees, grass, water and mountains are arranged.
Saturday, December 17, 2011
Color Studies as a Design Tool.
I thought I would share a design tip.
Though I usually paint my subjects outside "plein-air" then bring the paintings indoors to develop a larger painting, this time I worked from a photo of this hotel, which I adjusted the dimensions to fit what I wanted the painting to convey, then I painted 3 small studies to see which lighting condition looked the best. My initial thought was to go with the Evening Light version, but then I brought my wife in and had her look at the paintings and give me her initial response, which I think is vital to the process, since my decision can be skewed by spending too much time staring at the canvas.
Tell me what you think. Which one would you pick? If you were painting this scene, what mood would you want to express to the viewer?
Though I usually paint my subjects outside "plein-air" then bring the paintings indoors to develop a larger painting, this time I worked from a photo of this hotel, which I adjusted the dimensions to fit what I wanted the painting to convey, then I painted 3 small studies to see which lighting condition looked the best. My initial thought was to go with the Evening Light version, but then I brought my wife in and had her look at the paintings and give me her initial response, which I think is vital to the process, since my decision can be skewed by spending too much time staring at the canvas.
Tell me what you think. Which one would you pick? If you were painting this scene, what mood would you want to express to the viewer?
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Daylight study |
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Evening light study |
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Night study |
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