Blog from The Studios of Garin Baker. "kazuo oga" в Tumblr. Some of My Favorite Gouache Masters. Over the years, gouache has attracted some brilliant painters.
Here are some virtuosi: Adolph Menzel (1815-1905) This long-lived German artist made important contributions in oil, pencil, watercolor, and engraving, but it was said of him that he expressed his greatest truths in gouache. William Trost Richards (1833-1905) American landscape painter who often painted small works on tone paper. He was equally competent in oil.
Thomas Moran (1837-1926) Moran painted in oil in his studio work, but brought gouache on location to the American West with some of the first survey teams. Albert Beck Wenzell (1864-1917) Belle Epoque illustrator of society life who often worked in black and white. Stepan Kolesnikov (d. 1955) Russian painter of solid peasants and spindly trees. Eugène Galien-Laloue (1854-1941) French boulevard painter during la Belle Époque. Ned M. Carl Evers (1907-2000) German-born artist specializing in ships and water. 老街部落. Afternoon Sky 6x8, o/c Marenet Dusk 6x8, o/c June Lake Morning 9x12, o/c Marenet Peaks Dusk 8x10, o/c October at High Sierra 9x12, o/c Cloudy Day at Silver Lake 9x12, o/c Dusk Sky Near Mono Lake 6x8, o/c.
Noahbradley's DeviantArt gallery. Noah Bradley - Environment Concept Art & Illustration. Dappled Light. Light coming through trees results in the spotted light we know as dappled light.
The painting below is by Ivan Shishkin. The circular spots of light shining on the ground vary in size depending on how high the canopy is above the ground. A high tree canopy leads to larger circles with softer edges. Below, in this early Albert Bierstadt painting called “Sunlight and Shadow” the effects of dappled light are worked out extremely convincingly. When bundles of light pass through small spaces between the leaves, each of those spaces act like a pinhole camera. The circles of light touching the ground are actually projections of the disk of the sun.
When each cone of light intersects a sloping surface like a wall, it results in an elliptical shape. In the detail above from Dinotopia: Journey to Chandara, the light is coming from the right. Apparently N.C. Further discussion of dappled light, with photographic examples, on Edward Tufte's website, link. Tomorrow: Business Cards, Illustrated. Plein Air Painting: 11 Tips from Joe Paquet. Painting landscapes en plein air requires both intuition and observation—and working on a large surface can increase your aptitude for both.
In The Artist’s Magazine (October 2012), Joe Paquet shares his large landscape paintings and his techniques for painting outside. The following is a free excerpt from the feature article. Tips for Working Large En Plein Air by Joe Paquet Wear neutral colors. Don’t hold your palette. Use fresh color on a clean palette. Plein Air Tips, Part 2: Sun Vs. Shade - Artist's Network. Of the many issues that can arise when working on location, whether to work in shade or full sunlight is one of the most bothersome.
Having struggled with this for over 25 years, I have some observations that may prove helpful. Start by analyzing the direction the sunlight will be traveling. It will prove helpful since you’ll be working in the same location for a considerable amount of time. The painting surface and pastel palette need to be in the same light. Otherwise, pastel choices from the palette will appear completely different on the painting surface, confusing the mind and eye collaboration. To shade the open palette, employ a neutral colored umbrella like the “Best Brella” (www.bestbrella.com). When it’s not practical to position your painting and palette in constant open shade, or when the surrounding area is extremely bright, making it difficult to accurately determine your pastel choices, working in full sunlight is the best option.
Sharon Weaver's Blog: Plein Air Painting. The just-completed Carmel Art Festival 2011 was a charmed trip but it was not without some self-inflicted stress.
With every plein air competition I always feel a certain amount of anxiety; getting all my supplies together, wondering what the weather will be like, whether I will paint well or be off my game. I worry about the long drive and dozens of other things which can make or break the event. Happily, this time all my stress for naught and the event went great. I even won an Honorable Mention award, but soon realized that this honor comes with a price, the dreaded Sunday morning Quick Draw.
The canvas must be stamped at 8:30 AM; then I must get to the painting spot, paint, pack up, frame the painting and drive back to the park by 11 AM. The other problem was the weather. The next thing I know, I jerk awake and look at the clock. Now, I wish I could say that I learned something from this.