On My Back Door-Step # 11

Fireweed Turning Color (#11)

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Watercolor on paper, 11in x 15in
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In summertime, the fireweed plant has the-pinkest-of-pink blossoms that shimmer and are practically florescent in the sunlight, along with a subtle, sturdy green color for its leaves and stems.
But in the autumn, it is the foliage of the fireweed that has the showiest display, in fiery (of course) reds, oranges, yellows, and various shades of chartreuse.
In painting #10, I was unhappy with the mixes I had achieved with a limited palette of three colors, prussian blue, cadmium yellow medium and rose red quinacridone. Today, I added viridian and cadmium red medium to the lineup, and I substituted hansa yellow lemon for the cadmium yellow. Well, what a difference!
Today was a sunny fall day and the light kept moving through the trees, changing the intensities of the colors on the ground even as I was watching them brighten and fade.
Nevertheless, I am happy with what I recorded today. Never satisfied, but happy!
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On My Back Door-Step #10

Fireweed Blossoms (#10)

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Watercolor on paper 11in x 15in

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For many years, I have worked with a limited palette of colors: a bright yellow, a red usually in the pink register, and a blue of some sort. Since I started these back door-step paintings, I have been using my outdoor sketching supplies, which include a portable box of a dozen pans of watercolor, two yellows, two reds, two blues, two greens, two browns, plus a black and a white.

Well, it's starting to get chilly outside, so on some days for this project I confess, I am actually doing the painting indoors once the drawing is established. And yes, I am noticing a difference in how I am handling the paint.

Indoors, I take more time in applying the color, and today, when I used tube color instead of my trusty little paint box, I fell back into my comfort zone of the limited palette of three colors. Honest! I didn't mean to! I did take out five tubes, but I only squeezed paint out of three of them, cadmium yellow medium, rose red quinacridone and prussian blue. So, there I was working with a limited palette again.

And what did I learn? I found I was unhappy with the approximation of the colors I was mixing, and with how distant those hues were from what I knew I had seen. In working outdoors, I have learned to perceive more of the colors that my eyes can distinguish.

I want to go back outside and paint this image again.

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On My Back Door-Step #9

White Berries for the Birds (#9)

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Watercolor on paper 11in x 15in
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It's been chilly for the past few nights. I guess the birds know that it's time to get ready for their winter migration, and they have been descending on the trees and bushes fattening up on berries and bugs.

I have been watching this particular red osier dogwood bush for several days. There have been mixed flocks of adult and juvenile robins, white crowned sparrows, fox sparrows, juncos, chickadees and yellow warblers, and probably more birds that I haven't identified. It's comical to watch the smaller birds zoom in between the branches and the huge robins shake out the entire bush searching for berries and bugs. Those robins can manage to get an entire white berry into their beaks at a time, all the while bouncing around on a bent-over branch.

It's a great comedy to watch!

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On My Back Door-Step #8

Berries and Leaves (#8)
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Watercolor on paper, 11 in x 15 in
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It was a bright sunny afternoon after several days of overcast skies and rain, a bit windy, but there was nothing in the weather to interfere with a great painting session. I was ready for it, and I settled in to enjoy myself.

The sunlight was dappled all through the trees, and throughout the afternoon the masses of leaves I was painting shifted in color from luminescent yellow-green to inky blue-green and back again. The hill in the background did the same in tones of olive-greens and sepias. I was working back and forth to depict what I was seeing at the moment. And I was mixing colors on the fly to match the changes.

Well, now that this painting has dried, I find the colors thin and, well, yes, watered-down. I realize now that I would have had a better results if I had mixed larger quantities of the main colors I was seeing at the beginning, and simply dipped into each batch as the light changed throughout the afternoon.

This is part of preparedness, having enough containers and enough surface area to mix colors comfortably and efficiently. And also having the foresight to bring enough clean water to keep my paint from getting muddy. Oh and paper towels to blot up runny wet splashes that go in the wrong direction.

We learn from our experiences.

On My Back Door-Step #7

Red Osier Dogwood Branch (#7)

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Watercolor on paper 11in x 15in

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It was another rainy day, and in order to do today's painting indoors, I picked a branch of Red Osier Dogwood, a bush with pearly white berries and flashy red stalks, from my back door-step and I put it into a jar as my model.

I was still penciling in my drawing when I realized what was happening. My still life was withering in front of my eyes. Leaves were flipping over and showing different colors, and stems were curving down with gravity. Negative shapes kept changing, and I had to work really fast to fill in color areas and keep my original composition.

I added a flat dark gray layer to isolate the branch from its background, and I realized effective watercolor sketching means that I need to be able to work very very quickly.

And to do that I need be able to do a lot of visual problem-solving on the run!

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On My Back Door-Step #6

Bunch of Fireweek (#6)

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Watercolor on paper 11in x 15in
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It's a rainy day and not good for watercolor painting outdoors. So I set up my painting gear in the light coming through the back door, put a handful of fireweed flowers into a Mason jar, and settled in. Indoors or out, I still have to record the image before the light moves, so once the pencil sketch was established, I applied paint just as loosely as I would do out of doors.
This painting is a great example of wet-into-wet washes, without doubt the loosest of watercolor painting techniques.
Wet daubs of pink blurring into pale green stripes give the gentlest of neutral shadow tones. A fat painty brushstroke touching into a clear water shape defines a flower form. Then there's the background, all water and paint with a characteristic back-flow effect revealing the blue and brown pigments that this gray was mixed with. Back-flows can be disastrous or very effective, and this painting has examples of both.
So be it.

On My Back Door-Step #5

Fireweed in Dappled Light (#5)

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Watercolor on paper 11in x 15in
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Sunlight which is filtered through a canopy of trees reaches the ground in patches of various colors, depending on what happens with reflections and highlights and shadows.
Objects which are struck by this dappled light appear to lose their solid form due to these mottled highlights and shadows. The whole scene becomes a floating mass of light and color.
I tried to anchor this painting with the color of the fireweed blossoms, but I believe it is the mobile textures of branches and stems, leaves and foliage that have won out.
Makes for a lively painting, though!
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On My Back Door-Step #4

Fireweed and Branches (#4)

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Watercolor on paper 11in x 15in
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Contrast. It's out there all around.
I didn't realize how much contrast I was dealing with until I started to get into it. As I set out my paints, I thought "Today I'm working with the contrast of complementary colors - the pink of the fireweed flowers against the green of the foliage."
Well, fine, but then there's the contrast of the small size of the pink area and all those masses of greens, and the contrast of the highlights in yellow-greens against the dark-olive shadows. And the contrast of the horizontal curves of the branches against the vertical curves of the stems and leaves. And the thickness of the tree trunk against those same slender stems.
Contrast? I got a lot more of it than I had bargained for... and you know the best part? The next time I go looking for contrast in a scene to paint, I will probably find even more to play with.
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On My Back Door-Step #3

Fence Rails and Bushes (#3)

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Watercolor on paper 11in x 15in

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Creating a composition is a vital part of making an image. Composing a scene for a landscape photograph seems absurdly simple, you point the camera at what you want to capture, frame the scenery so it looks good, and - snap - press the button.

Well, it's another matter creating a composition for a landscape painting, plein air. First, there's so darn much scenery all around, it's easy to get distracted. And then, as you are glancing up and down from the vista to the painting, it's hard to keep your eye on the thing or things that attracted your attention in the beginning.

My problem-solving solution... ta-dah! the old trick of creating a composition using a viewfinder. From of a plain piece of paper, I cut out a rectangle with the same proportions as the paper I'm painting on. I peer through the cutout, and I can sketch my scene onto my paper with some accuracy. Once the main elements of the composition are in place, things are going to run a whole lot more smoothly.

Of course, there are many things about painting outdoors that a viewfinder won't help with, but it makes a good start!

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On My Back Door-Step #2

Fence Rails (#2)
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Watercolor on paper, 11in x 15in
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When I am making a painting outdoors under direct sunlight I see an incredible variety of colors.
Since I am using no intervening technology in the process of translating the scenery in front of my eyes into the paint I put onto the paper, I have no easy filtering or simplification of information, compared to painting indoors from a photograph.
Painting outdoors, I also see a massive variety of textures in the foliage, the grasses, bark, flowers and wood, which I depict in shapes and masses of lighter and darker tones of colors.
My first job is to make sense of what I am looking at, and my second job is to make my record of the scene comprehensible to someone else.
Practice, practice, practice.
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On My Back Door-Step #1

Birches in Sunshine #1

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Watercolor on paper, 11in x 15in

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I am such a sucker for a challenge.

So when that Ol' Pointy-Toe Boot of Patricia's nudged me into starting some new daily landscapes, I took the good advice (thank you!) and I got started.

This is a challenge to do 30 paintings on my back door-step, and by co-incidence the number matches with "30 Days Hath September," and so this is my September project.

For now, I am exploring with watercolor paints, on quarter-sheets of paper. The media may change during the month, but I have accepted the challenge, and I can't wait to see the results. What fun!

So, check back during the month of September and see the things I can see from my back door-step. I'll be out there with my paints every day, and if you're here, you can see the results!

Thanks!

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An Apple A Day 25 ... Acrylics - Layering

Apple on a light surface, acrylic layered painting.
Acrylic on paper, 7 in x 10 in.

An Apple A Day 24 ... Acrylics - Layering

Apple on a dark surface, acrylic layered painting.
Acrylic on paper, 7 in x 10 in.

An Apple A Day 23 ... Watercolor - Wet into Wet Washes

Apple quarters on a plate, wet into wet washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 22 ... Watercolor - Wet into Wet Washes

Apple on a napkin, wet into wet washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 21 ... Watercolor - Wet into Wet Washes

Apple on a napkin, wet into wet washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 20 ... Watercolor - Wet into Wet Washes

Apple on a napkin, wet into wet washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 19 ... Watercolor - Wet into Wet Washes

Apple on a plate, wet into wet washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 18 ... Watercolor - Wet into Wet Washes

Apple on a napkin, wet into wet washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 17 ... Colored Pencil Drawing

Apple on newspaper, colored pencil sketch.
Prismacolor pencil on paper, 7 in x 10 in.

An Apple A Day 16 ... Colored Pencil Drawing

Apple on a tissue, colored pencil sketch.
Prismacolor pencil on paper, 7 in x 10 in.

An Apple A Day 15 ... Watercolor - Brush Drawing

Apple on a tissue, brush drawing.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 14 ... Graphite Drawing

Apple on a tissue in the sunshine, value study.


Graphite drawing on paper, 7 in x 10 in.

An Apple A Day 13 ... Watercolor - Brush Drawing

Apple in the sunshine, brush drawing.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 12 ... Watercolor - Brush Drawing

Apple in the sunshine, brush drawing.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 11 ... Watercolor - Washes

Apple on a tray, complementary color washes.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 10 ... Watercolor - Brush Drawing

Apple in the sunshine, brush drawing on complementary color background.
Watercolor on paper, 7 in x 10 in.

An Apple A Day 09 ... Graphite Drawing

Apple on a tray, value study.


Graphite drawing on paper, 7 in x 10 in.

An Apple A Day 08 ... Watercolor - Complementary Mixes - Green and Red-Purple

Apple on a tissue, study in complementary color mixes, green and red-purple.

Watercolor on paper, 7 in x 10 in.
These past five exercises in the use of complementary colors are part of an online tutorial in "Power Color" from illustration instructor Mark Mitchell. And there are more of these exercises to come!

An Apple A Day 07 ... Watercolor - Complementary Mixes - Yellow-Green and Purple

Apple on a paper towel, study in complementary color mixes, yellow-green and purple.


Watercolor on paper, 7 in x 10 in.

An Apple A Day 06 ... Watercolor - Complementary Mixes - Yellow and Blue-Purple

Apple on a tray, study in complementary color mixes, yellow and blue-purple.


Watercolor on paper, 7 in x 10 in.

An Apple A Day 05 ... Watercolor - Complementary Mixes - Red and Blue-Green

Apple on a plate, study in complementary color mixes, red and blue-green.


Watercolor on paper, 7 in x 10 in.

An Apple A Day 04 ... Watercolor - Complementary Mixes - Orange and Blue

Apple on a plate, study in complementary color mixes, orange and blue.


Watercolor on paper, 7 in x 10 in.

An Apple A Day 03 ... Photo of Beaded Ornament

Apple ornament covered in plastic beads casts reflections from the Christmas tree all around the room.

Macro photograph with Photoshop enhancements.

An Apple A Day 02 ... Photo of Blown Glass Ornament

Blown glass ornament filled with tinsel sparkles on the Christmas tree.

Macro photograph with Photoshop enhancements.

An Apple A Day 01 ... Photo of Shell and Brass Ornament

Translucent shell and brass ornament on the Christmas tree shimmers bright in sunshine.

Macro photograph with Photoshop enhancements.