This is from a photo I took at our place in Maine. I love all the trees in Maine! The changing light throughout the day just makes me have to keep my camera very close. I am always ready for a pic ( = I have been a bit afraid to try this scene for some time but have learned quite a bit from Phil Starke’s workshops and decided to go for it. I would like to do it again and do it looser, but was at least somewhat pleased with the outcome.
I love the woods. And I love painting them. I am continuing to challenge myself to paint them more often. I find them challenging but have taken some workshops by Phil Starke and they have been very helpful in many areas, but with trees in particular. I really like his teaching style and would suggest any painter check him out! He has a great way of explaining his thought process while he paints, and I find that very helpful.
This is an example of a two tone Underpainting where it was extremely necessary. I felt like there would be no way for me to keep track of my distant trees without a basic guide layer down first. This gave me a clear idea of my values before I started and also acted like a map for me to keep from having my trees get lost in the forest (so to speak). You can see that an Underpainting can be quite vague or extremely detailed. It is very interesting to play around with.
This is a scene from Corinth, Maine. It is a very farmy town where my friend lives. I love to take photos out there of the farms and countryside. It is open and always has nice lighting effects. This one was interesting to me because of the big old Maple trees and because of the snow. I still need to add a few lines on the poles when it dries, but this was fun.
This one was also an example of that pale orange underpainting bleeding into the snow. I had to do a couple layers. But you can also see areas where it gives an interesting warm glow through the trees. Depending on the subject matter, you can leave more or less of it to show through.
I love painted trees! I need to practice them close up because they are very tricky to paint. So in this I combined the tree practice with the strong warm light practice. It is just a small 5×7, but I think it has good impact. When studying a subject close up, the things you learn can be easily applied to a more suggestive painting later on. This is another thing that I need to remember.
This is some sunlit buildings in Dexter, Maine near my families home. I am just captivated by the way a simple, even lowly subject can take on such beauty when there is the right light affecting it. I am beginning to think that that might be what inspires me to paint. I long to capture beauty in the simple things and share that with others.