BAG Members Attend ‘En Plein Air’ Workshop

 

 

On June 7th and 8th, Trisch Pemberton and I attended a workshop hosted by The Bayfield Centre for the Arts. On Day 1 we gathered at Clan Gregor Park. It was a cold blustery day under overcast skies, and those of us dressed for summer were not entirely enthusiastic to be painting outdoors. We were greeted by John David Anderson, Canadian contemporary impressionist, who was clad in a down jacket and toque, grinning in anticipation of a day painting in the fresh air. 

We huddled, trying to get out of the wind which was whipping up Howard Street from Lake Huron, as John explained his Three Rules of Plein Air: 

Rule 1. Construction of Values: which means using highlights and shadows to create emphasis, perspective, depth, and contrast. John introduced ‘blocking’ when starting a painting. Blocking means to paint large shapes as opposed to a tree or a house.

Rule 2. Edge Control: John spent a long time discussing edges. Although I had heard them mentioned in tutorials, I didn’t understand their importance in a composition. There are three types of edges: hard, soft and lost. They help to direct attention, show depth and depict the play of light. John looks at a composition thinking about when he can set up a lost edge. He said, “Lost edges give a composition a sense of mystery and painterliness.”

Rule 3. Colour Temperature: refers to warm and cool colours as found on the colour wheel. Colour temperature can create depth, mood and movement. Warm colours appear to come forward and cool colours appear to recede. All colours can be warm or cool. Even blue can be warm if it leans toward red on the colour wheel.

Rule 3b. The 30-foot Rule: Use values to create depth and contrast then step back to see if it makes sense. If the values aren’t right – fix them. When it looks right from 30 feet, add details. Look at it again from 20 feet, then again from 10 feet. If it looks right from 10 feet you’re done. 

John reviewed colour mixing with a limited palette. A limited palette means choosing the smallest number of pigments that are required to create a range of colours that will achieve the effect you want. He was using Alizarin Crimson, French Ultramarine Blue and Cadmium Yellow Light, White and Black. Using a limited palette can make your colour selection easier and make your artwork come together seamlessly. 

With the theory lesson complete, John focused on the front view of Brandon’s Hardware. I was taken by surprise when he scrubbed a layer of Alizarin Crimson, completely covering his canvass. It was a mess, paint in every direction. Then he swiped on a grey-ish colour representing the roofline and the porch. He blocked in big crude shapes with a thick, dark, sludge colour. It would eventually become trees and background but at that point served to outline the front of the building: negative painting. He talked as he worked, explaining his thought process. “Get the dark values down then the mid-values. Don’t both with details.” He explained how he paints shapes not things: windows were simple rectangles. Laughing he said, “Paint like you’re wealthy – use LOTS of paint!”. 

When the demonstration was over, we scattered into the sunshine along Main Street eager to practise what we had just learned. I was anxious that I only had 2 ½ hours to complete my first painting. Trying to copy John’s style and referring to my notes, I tried colour blocking with my watercolours. No preliminary drawing: just go for it! Not my most polished work but lots of good learning. John circulated offering advise and encouragement. We lunched on site and soon started our second paintings, later meeting at Clan Gregor to show our work. John offered praise and suggestions for improvement for each painting. My work was unfinished, but I appreciated having it critiqued by a professional. 

On Day 2 we met at the marina and once again John talked us through his thought process as he painted. He explained when painting en plein air you must focus on simplicity, clarity and repetition. Speaking softly John said, “Putting a painting together is an emotion that I feel and see. Paint the experience of the place.” and “It is the story of light. We are all organically connected in this place by the light.”

I was the only watercolourist in the group and some of the techniques used when painting with oils and acrylics did not apply, but I gave over myself to the sunshine and the place and the pleasure of putting paint on paper. I am looking forward to many more days of painting en plein air. 

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- Mary Wilson