Sunday, February 26, 2017

Painting Depth

Yellowstone Majesty 2016
24x36 Oil on linen

This painting of Yellowstone’s Grand Canyon was a challenge in depth perception and perspective. I used several tactics of landscape painting and general composition:

- Breaking horizon lines, blurring distant objects, enlarging subjects that are close in proximity, darkening areas along the foreground, etc.
I selected the horizontal format, with the canyon covering the majority of canvas. The forest along the top of the canyon is an obscure block of greenish-brown tones and the foreground trees are larger to scale, with deeper values. Near the bottom of the painting is a glimpse of the Yellowstone River. This hint of blue is also placed in the sky, as I tried to keep the visual interest from top to bottom.
Even with the “tricks” of depth translation, the painting is far from a match to the reality of standing on the edge of a trail cliff and feeling your heart pound with a massive sense of wonder. In my opinion, Thomas Moran's paintings are among the few that will actually take you there.


Wednesday, October 12, 2016

Selecting Background Colors

The initial layers literally set the tone for your paintings, even if when starting from a white surface. Imagine this canvas covered in bright red paint with purple outlines. The direction would be very different, with a vibrant palette and radiant energy.
Here is a basic wash of Burnt Sienna and Raw Umber outline. The concept is to create a peaceful and realistic landscape using oils.
If you start with a medium to dark tinted base coat, it is easier to distinguish values. Additionally, subtle values will automatically develop from the layering process and thickness of paint. Depending upon the amount of drying time and medium used, colors may blend. I normally allow the areas to dry overnight or longer in between sessions.
In this stage, I chose various shades of purple, green, and brown. 
Next, I placed small amounts of golden yellow along the canyon walls of both sides. Most yellow paints have transparent qualities, so if you apply too much, you can normally wipe it off when the previous coats are dry. Pure white streaks of paint were added to the top portion of the waterfall. Distant trees are lighter, shorter, and less defined than foreground trees.

Lower Falls Reverie
Available 20x16 Oil on Canvas
This is the method of painting that I use with most of my work. It is a slow process of building layers, adding and subtracting color, and attempting to emphasize the focal point. There are certainly more direct ways to accomplish the same result!
Yellowstone is my favorite of the American national parks. There is something new around every corner. The wildlife and scenery are a nature lover's paradise. If you ever have the opportunity to go, be sure to set aside at least a few days to explore. Visit the Mammoth Hot Springs, three waterfalls, and of course, Old Faithful. You will see bison and elk roaming free. And the hot springs resemble liquid gemstones of brilliant emerald and turquoise colors....
It is the most magnificent and diverse landscape. No wonder millions of people flock to the park each year. 
Thanks for reading and commenting ~ Eve

Wednesday, September 14, 2016

Work-in-Progress / Lake McDonald, Montana

Here is another painting inspired the beautiful scenery of Glacier National Park. I began the initial layers, much like the last work, using a neutral grey as the background and magenta for the clouds. It is essentially a rough draft with loosely defined edges.
Rough Draft Phase
The paint of the clouds is applied thicker than the mountains. Depending upon how much medium or thinner you use, the oils can mimic the appearance of watercolor. It is also important to "paint outside the lines" so that the edges will easily blend, unless you prefer a more solid and crisp border.

"Cover the Canvas -- Hurry!"

Back in early 2000, I took art classes from a wonderful portrait painter and art instructor, Janet McGrath. One of best concepts I gained from her classes was to quickly cover the white canvas, paying particular attention to values. She had a specific layout for her palette from light to dark. It was amazing to watch the work of fellow students evolve, in such a short span of time!

Janet moved from FL last year and now lives in Ringgold, Georgia. She is still teaching and accepting commissions. (Florida misses you! ) and Since she hasn't been shy about her age in newsletters - can I just say... she is one incredibly inspiring over 80-something year old lady! 


The grey canvas has been covered with mainly medium values. The center of focus is towards the left lower corner. Oil paints are applied straight from the tube, without using white to lighten them. Radiant oils made by Gamblin, including Magenta, Turquoise, and Radiant Blue are now palette staples.

You can use Black!
There are times when using black paint comes in handy, especially for creating contrast. In this example, I wanted to avoid any mixture including blue to darken the clouds and landscape - due to past challenges with blending mishaps :\
 **Don't be afraid to do what works for you in the process, because the end result (your personal satisfaction) is what really matters. 

Highlighting with White 

After previous layers are thoroughly dry, white is applied around the edges of the clouds. Magenta is almost obsolete. So the question is...why go through the trouble of layering, if all you're going to do is cover it up?

The simple answer: Confetti! 

Put the paint down in a hurry, watch it fly around in the air, and let it gradually settle out... slowly falling to the ground, in many tiny little pieces - that create the whole.

There you go. I don't know another way to describe it :)

16x12 Oil on linen
Here is the completed version.
Thanks for reading this blog. Your comments are welcome.


Wednesday, August 17, 2016

Work-in-Progress / Painting a Montana Sky

This is a work-in-progress post of Lake McDonald at Glacier National Park, Montana. I began with a neutral gray background and basic layout of the composition with dots of color. I am using a 16x12" stretched linen canvas. The washes of bright oil colors serve as marks for warm verses cool sections.
The sky is painted with a variety of purple and blue tones. You can hardly see the pink base of the clouds or bright orange in the mountains.  
The dark area of pine trees becomes the focal point.
16x12 Oil on linen
Here are the final adjustments. I added lighter details in the mountains and bundle of trees to the right.
Early this summer, I learned the National Park Service would be celebrating 100 years, on August 25. I began thinking about the state and national parks I have painted and visited including Yellowstone, Glacier, Acadia, Yosemite, Bryce, Zion and the Everglades. They are places I will never tire of exploring, with many sites still on my checklist. I simply love viewing the beauty of the landscape and animals in their natural habitat!
These original paintings and prints are available on my websites. Clickable links are located in the upper right sidebar.
Thank you for preserving and protecting our landscape, NPS! 

Tuesday, July 5, 2016

Painting Mediums & Serene Skies

Sunset Spectrum
16x12 Oil on linen
As discussed in my previous posts, the personality of a sky is essential to defining landscapes and seascapes. It automatically becomes the focal point when the majority of the canvas contains clouds or atmosphere, regardless the amount of color and contrast.

In these oil paintings, the fading sun seems to merge with the sea. Cast shadows are visible on the beach. These are ordinary scenes with flow between the elements. My goal was to recreate the peaceful sunset at the coast, with an underlying message of simplicity. An oil-based medium was used for creating smooth transitions.
Sailor's Delight
Oil on canvas


Base Coat

The first few layers are what I like to call the base coat. With these paintings, I used a foundation of gray. Two or three layers is usually enough to obtain thorough coverage. You can select between oils or acrylics for priming the surface, but never apply acrylics over oils in the following stages.

I find it easiest to work from medium to dark and lastly adding highlights. In rare instances, I will forgo the priming step and paint directly onto a white surface.

Combining Mediums

There is some controversy regarding the long-term effects for applying acrylic and oil paints in the same work. I believe the ideal scenario is to have an oil-primed surface, base, and top coat. Having mentioned that, none of my prior paintings have cracked or shown changes in color, when acrylics have been used underneath the oil layers and as a base coat.  I ensure the acrylics are thoroughly dry, curing overnight. My evidence dates back to early 2000, with paintings that still remain in my collection. Please feel free to share your experience and knowledge about combining mediums in the comments section!

Mediums as Paint Thinners

Oil-based mediums used as paint thinners are ideal for creating an ultra-smooth transitional appearance, as compared with turpentine substitute. Depending upon the type of brush, the paint spreads onto the surface like glass, enabling a single dot of pigment to go a long way.
I have also tried blending with Liquin. Still others on the market are Neo-Megilp and Maroger medium. Some are more hazardous than others, so keep in mind proper ventilation for a safe studio environment.
Since there are many different brands of oil and acrylic mediums, I recommend using one for several months. Learn its properties and outcomes. Additionally, many paints contain enough oil within the tube and you may not need to thin them at all.

Drying Time

If you choose an oil-based glazing method, plan for several days of drying time in between layers. When the surface feels tacky to touch, this means the oil is still wet. Wait several more days, before painting the next layer. Otherwise, the paint may lift from the canvas. Even worse, it can cause areas to cake or bead. I am also cautious when applying turpentine substitute over layers containing dried oil medium and vice versa.

On the other hand, many artists effectively use two mediums at various stages in their paintings, such as oil for canvas priming and turpentine substitute (or equivalent) for paint removal. The most important aspect is learning which products will help you achieve the desired effect.

Continuity of Products

Until you develop a consistent way of painting, it is best to use the same medium, paints, and products. Determine what you like and want to change. Once the outcome is predictable, you can gradually experiment with new products and adopt the most effective method for creating your work.