Year of Dairy Products From the American Heartland: Watercolor #7
by Pasadena Adjacent
My #7 pleine air watercolor in 33 years. Blog title courtesy of David Foster Wallace ‘Infinite Jest.’ A novel I survived completing and for which I’m still reeling.
Our location for this pleine air session was the lovely San Marino home of fellow watercolorist Evelyn, who like me, was also victim of a parking ticket (water color #4). Evelyn’s home is a spanish bungalo on my favorite east/west street, Loraine road. Located on the south side of Loraine, her abode shares a property line with a cemetery where both Mr and Mrs Gay of world famous Gay’s Lion Farm; formally in El Monte under what is now Interstate 10 AND General George Patton are buried.
[WARNING SHOP TALK] I thought for certain my watercolor was headed for the land of ‘watercolors past’ (trash). Yet every session I learn something new. Unfortunately, due to my impulsive nature and rush to avoid fears, I don’t always employ ‘said’ knowledge. For example, I know how the sun and seasons travel over the horizon. Thus I know the effects this will have on shadow and length. And I’m not talking about light depicting the visual picture plane. No. I’m talking about physical comfort. You can’t just grab a shadow and set up camp under it’s shade. Instead, you have to calculate shadow travel to your advantage. That means you not only want your physical body to be in shade, but also your palate, paints and other accouterments of the trade. A real shock to the eye balls occur when your mixing in sun and then painting in shade. Because of my poorly thought out shadow choice, I found myself rushed while plotting and blocking out the composition – as shadows receded leaving me hot and buggy eyed. And I’m not afraid to admit this sometimes works to my advantage; it’s where the quirky factor comes into play. But it can also be a painting’s death. So I gave up. As to the others, they also started late and quit early. Probably because of the remaining leftovers from Evelyn’s full breakfast buffet. Evelyn’s a sweet heart to have gone to such trouble.
~~awkward segue~~
So once home with documentary photos downloaded, I saw that the situation wasn’t as dire as originally thought. I gave it a few days rest then picked up where I left off. With proper lighting, studio comfort and helpful suggestions from my unpaid intern, I was able to save this baby from the heap. Bigafy then check out the cyprus trees to the right.
Our Editor Responds: I’ll respond if you respond
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Am I right in thinking the great landscape painters painted watercolors of the scene outdoors (in the days before photography), then copied them onto a larger canvas in the studio for a more professional look? Is this not “allowed” by the Callfornian plein air painters? I can see why you’d want to finish off indoors, with all that hot sunlight to contend with. Pity you can’t make the sun stand still. Btw, thanks for the cat!
Our Editor Responds: That’s been my understanding (outdoor/indoor). Barbara not only takes photos (which are impossible to refer back to on site – the glare and all) but does a small sketch first where she does her plotting. Smart right? most work smaller then me, but there’s an older woman who works larger and (mostly) knocks them out in a sitting. I admire her.
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Why you’re an artist and I’m not (besides the fact that you can paint and I can’t): you create something new from what’s there; I would just try to copy what’s there.
I especially like the street lamp.
Our Editor Responds: That happy yellow in the bulb of the street lamp comes to us courtesy of C. Wenger’s recent potlatch. Does anyone remember those wooden boxes of ‘Guitar’ paints and pastels? I took her dried up tubes and liberated the pigment within. Double entendre of previous sentence unintended.
https://www.flickr.com/photos/15027411@N03/15726962408
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You are really playing w the picture plane. The angle on the Palm trees is great….
And the tiles on the Spanish style roof look amazing and painstaking.
I love this last painting.
Our Editor Responds: I proceed with a kind of collage effect. I take each element and paint it as if I were sitting face forward. In combination it results in skewered perspective. btw: the roof tiles were easy compared to the brick wall.
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This turned out beautifully Liz! I really like the way you painted the roof tiles. Perfect! Yes, planning shade for yourself is a major point for some of us.
Our Editor Responds: Thanks! the one I worked on yesterday is much looser (and maybe a little bit lost for the effort). We’ll see if I can pull it off with a little more work. Results forthcoming. And great shade yesterday.
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Do I see snowflakes?
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This is what I’m talking about. Some crazy thing happening on my screen on your page. The white dots are literally coming down like snow over the picture. I don’t know if it’s technical, mystical or viral? http://beckynot.com/pasadenasnowflakes.png
Our Editor Responds: I just discussed the issue with my good friend Daniel from Word Press. And it should be off now. Thanks for the warning. I can’t see it from this end. Can you?
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What a beautiful watercolor! Love your work!
I like the video too.
Our Editor Responds: Thanks Sonja. I’m learning more and more about watercolor with each painting. The next one I post is going to be different in style. Come back to see it
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I am loving following this process with you–seems every new one I like even better than the last, plus i just love thinking of you out there painting, so romantic:)
Our Editor Responds: Thank you MM. The documented process is what’s keeping the blog alive. Romantic, really? you think? ha!
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I think you have the Spanish style house down pat. Especially the roof tiles. LOVE that cat!
Our Editor Replies: The tile and brick work really serve to anchor the painting in place. And I love the kitty too. A brown tabby!
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