A family affair

Cecilia and her granddaughter. (Photo courtesy of Janith Mason)

Several workshop participants are traveling with their spouses, their children, grandchildren, and a niece. Yesterday, one of my students was watching the cavorting of some of these kids and remarked, “It’s so nice to see these kids here.”

Three sprites on a rock. The Maine coast is perfect for doing nothing. (Photo courtesy of Sandy Quang)

I agree. I’m not teaching them, but I’m enjoying having them with us. Some of them are drawing or painting along with their adults, too.

Look beyond the lighthouses and rocks and sea, and there are other parts of the landscape that are uniquely Maine. There is the light, which veers between sharp clarity and misty fog. There are the modest Maine capes of the early 19th century, with their steep roofs and gables. And there are the trees, shaped by the offshore breezes.

We started the day painting under a shelter, because it was cool and rainy. (Photo courtesy of Sandy Quang)

Yesterday dawned cool and misty, so we started painting in Belfast City Park, which has a shelter. One would never know that there was an opposite shore on the mouth of the Passagassawakeag River, with all the mist. What a great opportunity to work on painting the traps in trees in the style of the Canadian Group of Seven painters.

By mid-day we were able to move out from beneath cover. (Photo courtesy of Brad VanAuken)

Several workshop participants have asked me to post Loren’s color wheel on my blog. Loren made this as a way to teach himself how to mix the paints on his own palette. The outer ring is comprised of either the straight-out-of-the-tube paints themselves or mixes of two straight pigments. The next wheel is made of tints of the outer-wheel colors with white. Next are shades of the outer-wheel colors mixed with black. The center is the color mixed with its complement.

Loren made this color wheel to help himself better understand the pigments on his palette. I like the idea so much I suggested it to everyone as homework.

Today we are off to Mount Battie and Camden Harbor—a lovely end to a week that has just flown by.

My recommended palette--here in acrylics: white, cadmium or Hansa yellow, Indian yellow (transparent), cadmium orange, yellow ochre, raw sienna, burnt sienna, naphthol red, quinacridone magenta, ultramarine blue, Prussian blue, black.

Message me if you want information about next year’s programs. Information is available here.

Lesson #1: sunscreen makes a lousy white paint

Three houses, a bad photo of a decent painting by little ol' me.

It’s a little hard to get an hourly forecast for a specific spot on the Maine coast. It can be pouring in one place and clear in the next town over. However, not only was the National Weather Service calling for rain, my New York buddies were all talking about the whopping deluge they’d just gotten.

Lyn painting the Fort Point lighthouse.

No painting trip to Maine is complete without a lighthouse, and my intention had been for us to paint the Grindle Point Lighthouse on Islesboro. Without knowing exactly when it would start raining, relying on ferry transportation seemed unwise. Instead we drove north to the Fort Point light, where my charges promptly spread themselves across a quarter mile of terrain to paint. That is why I take my bicycle while teaching, although since the grounds include the ruins of a Revolutionary War fort, a mountain bike might have worked better.

Loren learned that the cover on his truck leaks.

The rain held off until  we could regroup at the hotel for a demo, which I did using Sandy’s kit.

Elizabeth and Sandy did some foraging for the painters.

It’s always hard to use someone else’s paint, and I was complaining that hers mixed poorly. That was partially because it’s not good paint, but it turns out that dab of white at the left of her palette was sunscreen, not paint. I’m not asking why it was there.

Dedicated students watching a demo in the rain. "I learned that you oil painters have it easy," said Virginia.

A demo is a great opportunity to reach painters of all levels. Earlier in the day, I’d talked to Cecilia and Nancy about a new way of setting up their paintings than straight-up drawing. Both are naturally good compositors, but this technique gives more consistent control over the outcome. I was able to demonstrate that.

Nancy's first attempt at the view.

After a while, Nancy left and went back to her own balcony to finish a painting she’d started earlier. When she was done with that, she painted the same scene again. I loved seeing how she integrated what I’d told her, and how it made the second painting stronger.

Nancy's post-demo painting of the same view.

Message me if you want information about next year’s programs. Information is available here.

Rain affects people differently. This is the artist formerly known as Brad.

Let’s start at the very beginning

This is Janith's second-ever painting, of tugboat reflections.

Lynn managed to find a place to paint where her feet could be in the water. Photo courtesy of Elizabeth Coghill.

My favorite places to paint are harbors. I love boats of all kinds, I love the rise and fall of the tide, I love the work that goes on in them. Set into the mouth of the Passagassawakeag River, Belfast harbor is as lovely as any harbor on the coast. It is Newark to Camden’s Manhattan: it’s more industrial and less gentrified.

This is Stacey's second-ever painting, of the tugboats themselves. Whew, what a lot of drawing!

Marjean ran to the art store and bought herself a palette knife at lunchtime. Since it was new, she used it to cut the cheese before resuming painting. 

But boats are not easy to draw, let alone paint, and I have three absolute beginners in this workshop.

Brad floating on the dock.

I have two youngsters with us who are not properly part of the workshop but who are still painting. Here's Ilse amid the foliage. Photo courtesy of Elizabeth Coghill.

A man and his son stopped to see Marjean and were dumbfounded when she said it was her second day painting. “She’s a ringer,” said the father. We laughed. Marjean has painted walls and windowsills and furniture, but never a painting.

And here's Sophia with her grandmother, Virginia. Both girls are great young artists. Photo courtesy of Elizabeth Coghill.

This is Marjean's second-ever painting, of the boats in the outer harbor.

But as I told him, painting is a learned process, not some kind of magic trick. If you can break down the process into manageable steps, your students do a lot less fumbling. The process differs in different media, but is remarkably similar in different styles. The same rules apply whether the end result is abstraction or fine detail: if you want the paint to stick and the composition to work, you approach painting in a methodical way.

Cecilia dealt with the comings and goings of boats by working on two paintings. When one boat disappeared, she picked up the other canvas.. Photo courtesy of Elizabeth Coghill.

Bernard attempted to recreate his missing boat from memory. Photo courtesy of Elizabeth Coghill.

Message me if you want information about next year’s programs. Information is available here.