First excursion of the summer was to Garden of the Gods in Colorado Springs.

Plein Air Painting With Watercolor, My Setup and Why I Do It

Lorraine Watry July 2, 2019

When the weather warms up and the days are longer, I get the urge to be outside. In the last few years I've done more plein air (out of doors) painting. I have joined a couple of groups in the area and really enjoy the camaraderie of painting with other artists and the challenge of painting the quickly changing scene in front of me. Plein air is a French term coined in the mid 19th century and is characterized by the luminous effects of outdoor light. Plein air has seen a resurgence in recent years with thousands of artists, plein air events and shows, podcasts, Youtube videos (Andrew Tischler is an oil painter with very good plein air videos), and the 'Plein Air Magazine' promoting its benefits. One article I read had a great quote - "Today the movement is unstoppable; it has become “the new golf” as tens of thousands have taken up plein air painting across the world". (http://paintoutside.com/wp/the-history-of-plein-air-painting/)

When I paint on location, I have to speed up my usually very slow, controlled process of painting. I find it good to get out of my comfort zone of the studio. Plein air paintings are usually done in a looser fashion, but can be slower and done by going back to the same location over several days or weeks. Some of the challenges are the rapidly changing light, wind, temperatures, and insects. Sometimes I will paint in my car to avoid some of those challenges. However, actually being on location and dealing with the challenges that occur can actually heighten your memories and add to the look of your painting.

The equipment I use is evolving as I do more plein air painting. I have a set up from En Plein Air Pro (https://enpleinairpro.com/) for my easel and palette tray that is light weight and very easy to use and fit on my own tripod. I am in the process of acquiring an umbrella that I don't have to hold. It is important to shade your painting to see the colors accurately and not blind yourself with the white of the paper. If I am going to paint near my car then I will take a rolling backpack that allows me to bring way more than I need. If I will be doing some walking or hiking to a location, then I pare down my supplies to my small Guerrilla palette, a couple brushes, a small plastic container of water, paper towels, and one or two blocks of paper. If I don't have an umbrella, I look for shade and a comfortable place to stand or sit.

One of my recent changes to my supplies is to paint on Hot Press paper instead of the Cold press paper that I like for all my studio work. I like to use ink and watercolor and find the Hot Press a better surface for this. I also do a lot of my initial drawing with a waterproof ink pen when painting outdoors because it helps me loosen up and not be so precious with every mark because I can't erase. I like using the Graphik Line Maker (graphite color, .1, .3, or .5) from Derwent for my ink because it looks like pencil and is waterproof or if I want a darker line I use a variety of black ink pens from Staedtler, Copic, Uni-ball and others. I don’t always do plein air as an ink and wash, sometimes I will do a quick sketch with pencil and then paint.

I have also collected and tried many brands of sketchbooks and watercolor papers. I have found that right now, I really like using a watercolor paper block for most of my paintings. I like the ability to remove a painting to keep or sell without tearing apart a sketchbook and with a watercolor block, if a painting isn’t working, I can remove it. Plus, the watercolor blocks I use are the professional grade, 100% cotton paper that I like to work on; and a lot of the sketchbooks I have are not watercolor paper or they are a blend of wood pulp and cotton and not archival.

I always bring my digital SLR camera to take some good pictures of the scene. I think of my paintings as studies to inform a possible larger painting, which can relieve some of the pressure. However, I have had quite a few plein air "studies" that I am happy with as little paintings in themselves. I have matted these and taken them to a couple galleries I am represented by.

Plein air painting can be a challenge, but the fun of getting out with other artists, creating a sketch or finished painting, and the joy of being outside far out weigh those challenges!

How to Mix Vibrant Colors in Watercolor by Lorraine Watry

Lorraine Watry January 7, 2019

There is a lot to color theory and it can’t all be covered simply or quickly. This post is to give you some generalities to work with when making watercolor mixes and how to mix Vibrant Colors and not Muddy Colors.

When trying to make “Vibrant” color mixes try these tips:

1. The brand and quality of paint you use can and does make a difference on how vibrant your color looks. If you use a student grade paint, it will have chalky fillers in it to make it less expensive. The paint will not be as vibrant. Some brands of professional or artist grade paints are not as vibrant as others. It can depend on how much pigment they use in the mix and what kind of binder they use. I have switched to Daniel Smith Watercolor for almost every color on my palette because of how vibrant their colors are and how easy it is to re-wet the paint and load up my brush. (Paints that have the following labels are student grade: Cotman, Van Gogh, Academy, Akademie, Prang, Reeves)

2. Mixing too many colors together can lead to a dull or “muddy” color. Generally a mix of 3 pigments is safe, but when you make a mix of 4 or more pigments it brings in too many different color factors that can cause the mix to look muddy.

Mixing-muddy-or-vibrant-colors-by-Lorraine-watry

3. Using colors that only have one pigment in the paint instead of 2 or 3 can help you achieve brighter or more vibrant color mixes. An example - Cobalt is made of one pigment - PB 28*, while Permanent Alizeran Crimson Hue has 3 pigments - PR 177, PV19, PR 149 (*see note below for info on pigments). So, if I make a mix with Cobalt and Perm. Alizeran Crimson, I am actually mixing 4 different pigments, not just 2. Then if I decide to add another color to the mix, I now have at least 5 pigments involved. (*Pigments are designated with letters and numbers. The ‘P’ is always used to indicate pigment, then the other letters indicate the family the pigment comes from. So, ‘R’ is red, “B” is blue, ‘Y’ is yellow, ‘V’ is violet, ‘O’ is orange, ‘G’ is green, ‘Br’ is brown, ‘W’ is white, and ‘Bk’ is black. The official definition of the number part of the name is - generic index number that identifies it chemically, regardless of proprietary and historic names.)

Some brands of watercolor will have the pigments in each paint listed on the tube or on a color chart for that brand. (I only have a few paints on my palette now that have more than one pigment in them.)

There are other properties like staining vs non-staining, granular vs non-granular, etc. for each pigment. The color charts usually have a key that tells you how to read the information. These properties don’t necessarily affect how vibrant a pigment or mix will be, but it is good information to know.

Example color chart info from Daniel Smith. (you can find some color charts online by Googling “paint brand and watercolor chart):

4. When you are brushing the paint onto your paper, the less brushing back and forth you do, the better. When applying the paint, I try to skim it across the surface and leave it. Brushing back and forth a lot in an area can cause the paint to be duller. Also, it can mar the surface of the paper, causing it to look dull. If you want to add color, or adjust an area, it is usually better to let it dry and come back later with another layer.

5. To darken a color and keep it vibrant, start by using a color in the same color family. For instance to darken a green add a darker green to the 1st paint. If that is still not dark enough then use a paint from a family that is next to green - which would be blue.

Example Color Wheel. There are many other options to create a color wheel.

6. When mixing colors - always think of the color wheel. The primaries are yellow, red, & blue. The secondaries are orange, green, & purple. Tertiary colors are mixes made from a primary color and a secondary color. When you mix colors across the color wheel you are mixing complimentary colors and these mixes will be more neutral or ‘grayed down’. Complimentary colors are: blue and orange, green and red, and yellow and purple.

mixing-vibrant-colors-split-primary-color-wheel-Lorraine-watry.jpg

7. Color families are red, yellow, blue, green, orange, and purple. Each of these color families have colors that are cooler and warmer. Ex. in the red color family, Quinacridone Rose is a cooler red than Cadmium Red. So, if I mix a warmer red (leans toward orange) with a blue, the resulting purple mix will not be as vibrant because the warm red and blue are almost complimentary colors. Mixing two primaries that lean toward the same secondary will more likely create a vibrant mix. Ex. Lemon Yellow & Phthalo blue both lean toward green.

mixing-vibrant-colors-Example-color-mixing-chart-Lorraine-Watry

When trying to make a vibrant mix think about the above factors. If the color you get from the mix does not look very bright or vibrant, then you may need to investigate and make an adjustment in the pigments you are using to make the mix.

Hint: taking the time to make a color chart of the colors you are thinking of using in a painting can help you understand what kind of mixes you will get - Vibrant or Neutral.

For more Color Theory information check out this post “Understanding Color Theory” - Design Wizard