A recent post by Marianne Post (who is primarily a pastel painter) asked “where do oil painters store wet paintings?” This is a serious question because oil paintings can take anywhere from 24 hours to a few weeks to dry to the touch, depending on what medium the artist uses. (This is where acrylic painters and watercolorists laugh. They, of course, don’t have this problem.)
A trick I learned a couple of years ago from another student in an art class is this: an inexpensive dish drying rack. It works perfectly as a painting drying rack, at least for smallish paintings on panels of boards. Here’s one that I use:
I have another, slightly larger one, too, that I use for boards up to about 12 in by 16 in.
Small stretched canvases can fit sideways, if you don’t have too many boards in the rack. For larger canvases or panels, about the only solution I’ve found is a shelf. Lots of oil painters have narrow shelves molding on their walls just for this purpose.
Blogger Des Moines Art Collector wrote recently about wanting to see into a painting of a tree, not just see the surface. So while I painted this weekend, I took some photos showing one way to do that.
I was out with painters from the Sacramento Plein Air Painters Meetup group in the Sacramento River Delta. The Delta is famous for its narrow, winding roads on top of the levees that both protect the islands from floods and cut off their source of new soil—silt from those same floods. It’s not unlike the situation in New Orleans.
We had a beautiful January day by the historic Grand Island Mansion. We pulled off in a rare wide spot by the road and set up our easels, where this eucalyptus tree called to me to paint it.
This technique for painting the different layers of trees I learned from Terry Miura. Usually painters are taught to think of trees as shapes: cones or ovals or balls. But because there is shadow inside a tree, as well as any cast shadow on the outside, you first have to paint that interior shadow.
I started with a cool bluish-purplish-green, because it was a sunny day and the shadows were cool. Using thinned paint, I laid down a transparent layer to color for the shadows, and then let it set up for a bit while I worked on the other parts of the painting. I tried to do similar interior shadows for all of the upright plants (though in reviewing photos for this post, I can see room for improvement!). Then I went back over the shadow color with opaque pigment, this time a warm reddish-yellowish-green, because the sunny surface of the tree would be a warm color on this sunny day. (And there’s lots of red in eucalyptus leaves.)
Because I was thinking about this blog, for once I didn’t overwork it, though I think I’ll do some touch ups when it’s dry. Des Moines Art Collector also commented he didn’t like to see the texture of the ground, but I rather like the very thin paint scumbled onto that canvas surface around the edges of the tree in this one. (I use a yellow-toned board for exactly this reason. If some of the canvas shows through, it is warm like the atmosphere.)
What do you think? Do you have a technique for painting the interior shadows of trees?