Sunset landscape painting; "Twilight on the Outer Banks"

Fresh off the easel is another landscape painting of my favorite time of day on the Outer Banks. The setting for this painting is again on Ocracoke Island, on a little inlet that has a small beach where you can watch the sun set.

"Twilight on the Outer Banks" Oil on Canvas 24x30" ©Jennifer Young

I am really enjoying the challenge of these evening paintings. The value ranges are relatively close in most areas of the painting, so I've really had to pay attention to the subtle differences in values and how they relate to one another. I'm still limiting my palette, but depending on what I am painting I vary the palette colors somewhat. I'll write more about what I'm discovering in my next entry.

New coastal sunset landscape painting; "Finale"

Fresh off the easel, this painting is of a spectacular sunset we saw on one of our trips to the Outer Banks of North Carolina this summer. It's Silver Lake Harbor on Ocracoke Island, to be exact. This painting and other recent landscapes will be included in my upcoming show called "Luminosity".

"Finale" Oil on Canvas, 24x36" (SOLD) ©Jennifer Young

I'm calling this piece "Finale" (as in "the grand finale") because, like a finale in a live orchestral performance, sunsets are like nature's final performance of the day. They never fail to dazzle, and yet no two performances are ever exactly the same.

Expression through movement in landscape painting

Recently I gave an interview to a very bright young lady from the UK who was studying my work for an A Levels school project. Here is one of her questions, and the response she inspired: "I really admire your style of brushwork in your images,  where your strokes around the top of the trees and in the grass make me feel as though the painting is moving. I really like this and wondered why you choose to use this technique in your work?" -ST

Dear S.T.,

That is a wonderful observation and a great compliment. Thank you! I paint the landscape for several reasons, but mainly because it evokes in me a strong positive emotional response. So when I'm painting,  I try to convey the emotional energy I feel from the subjects I paint. There are many ways to express this emotional impact--through use of line and color choices, through composition, and yes, through brushwork (movement), to name a few.

There is movement all around us in nature if one will sit still long enough to observe it. A perfect way to practice this is to go down to the ocean shore and sit on the beach. Just sit and see how much life is moving and teeming all around you that we often are too busy to even notice.

Last week when I vacationed at the beach, I did this very thing. I noted the hundreds upon hundreds of  tiny crabs popping in and out of holes in the sand. I saw thin veils of sand blowing in the wind and subtly changing the shape of the shoreline. Small schools of fish zipped past my feet as I waded in the water. And if I really wanted to watch the world change before my eyes all I'd have to do is watch the sun rise and set. Thousands of miracles take place before our eyes every day if we take the time to notice.

In my paintings, I don't even attempt to compete with the miracles of nature. But I do try to celebrate them in my own small way. The use of movement in my work is one of the ways I capture these fleeting moments. On a more mundane, formal level I also am aware that showing movement through brushwork and through the composition is a way add interest to a painting and move the viewer's eye around the work of art. Thanks for your questions and good luck with your project!

Plein air painting tips

The other day Misti posed a few really good questions in my comments section about plein air painting. So I thought I'd share her questions and expand on my response below.

 "I have been wanting to do some plein air work but am sort of afraid of diving in. I think it is the whole finished product I am afraid of as well as the time. How long do you spend working on a painting and what do you do with light changes? or do you choose a specific time when you will have the most time?Thanks!"

Thanks for your comment. As I said in my previous response, I can really empathize with your concerns. It's common to want to feel a sense of accomplishment when you put forth such effort. When I first started painting en plein air, a lot of my studies went straight from easel to the trash heap! It can take some time to really develop a process that works well enough to capture that fleeting light and elusive feeling that inspired you to paint it in the first place.

A few thoughts and suggestions:

• To battle with that ever-changing light, it helps if you make a decision about the light you want to paint, and commit to that even if the light changes and the clouds roll in. This is very challenging, as you have to get your main color and shadow notes down pretty quickly to commit to that idea.
• Due to its rectangular format, a  photograph will already provide a composition for your painting. When you're painting on location it can be a little overwhelming because the scene before you is so expansive and it can be difficult to translate all of that 3-D information onto a small rectangular 2 dimensional plane. 
• To help with this, it is a very good idea to do a little planning even before you start your painting. I like to bring a small sketchbook with me and make some very quick thumbnail pencil sketches before I commit to a particular composition. In this way I can determine where to place my center of interest and how to frame my scene. 
• In regards to "how long," two hours has been the maximum amount of time that I've been able to paint at one sitting on location, and even then that can be pushing it. Any longer and the light has changed too drastically and it just causes you confusion. Better to come back to the scene at the same time again the next day and finish up.
• If a return visit on a subsequent day isn't possible, another option is to take a photo when you start and when you end and use these references to make a few finishing touches to your painting. The danger here is that once you get back to the studio you can lose the information and freshness you've captured on location if you overwork it too much away from the source.
• A better option may be to work small. This is particularly true if you are just beginning to paint on location. Working on small canvases allows you to more easily cover your canvas in the limited time frame. You may feel less overwhelmed and less worried about possible "failure" (though in reality, any time spent learning is never a failure, regardless of the finished product!)
• As for the time of day, mornings and evenings offer the most interesting light and shadow. By noon all of the light is pretty flat and shadows have disappeared, so this is least appealing to me. I find the mornings a little easier than the evenings, simply because the light doesn't change quite so quickly. However, there is nothing so seductive as that beautiful golden evening light. And if you really want to do some turbo-charged painting, try painting a sunset!
• Most importantly, go about it with an open mind and with no expectations other than that you are showing up to learn and to experience. With persistence your studies will get stronger, and the benefit you have gained from the experience will pay off big time for you in your studio work as well. At least, that is what I have found in my own work.

And with those thoughts on plein air painting, I am off for a week to do a little of my own. We're off to the beach and I'd be surprised if blogging will be an option. Have a great Labor Day Weekend everyone and I'll be back to posting when I return!

Luminous landscape painting: Beneath the Haze

This is a new painting I've done as part of a series of works I am calling the Luminous Landscape. It is of a most unusual evening sky I saw while painting an adjacent view on location on Tilghman Island. It had been an incredibly hazy, humid day, and when I set up to paint en plein air, the sky was covered in a heavy haze. But as the day started approaching sunset, I saw the sun doing its best to burn through that haze. The effect produced a diffused comet-like trail of light across the upper part of the sky, and a bands of clearing closer down to the horizon. I really enjoyed the abstract qualities of this scene.

"Beneath the Haze" Oil on Canvas 40" x 30" ©Jennifer Young

I painted this larger painting in my studio on a gallery wrapped canvas with a deep 1.5" stretcher with painted edges, so it will be ready to hang without the need of a frame. Here is a side view: