My New Bag

The Old Bag

...or "What to do with an Old Bag."

This is an update of a post I did a few years ago which has been a very popular post on this blog. When I first wrote about this bag it was used to carry either a 6 x 8 or 8 x 10 pochade box into the field. Earlier this year I built a couple 9 x 12 pochade boxes. Those boxes didn't fit in the old leather bag very well, so I made a new leather bag. Here's a picture of it:

The New Bag

This bag is used to carry a 9 x 12 or 8 x 10 pochade box. A separate bag is used to carry the rest of the painting gear, as described in the older post mentioned before. A tripod to mount the box on is carried separately.

So, what to do with the old bag? As it turns out, the old leather bag is perfect for carrying not only a 5 x 7 pochade box, but also all the painting gear that goes with the little 5 x 7 pochade box. (Except the tripod, which is still carried separately.) A separate bag isn't needed.

New Use for an Old Bag

Here's what is now carried in the older bag:

1. The 5 x 7 pochade box.
2. Apron
3. Case containing other painting gear.

The little grey case was a close-out item I found in a store. It largely (no pun intended) takes the place of the separate leather bag carried with the bigger pochade boxes. Here's what the case contains:

And here is what those items are:

1. Several folded paper towels for paint clean-up.
2. Can of odorless mineral spirits.
3. Plastic bags for used paper towels. I always carry extra.
4. Small jar used as a brush washer, in a metal cup that clips onto the wooden palette.
5. Brush washing soap, if ever I need to wash brushes before arriving home.

This outfit is small, light, and so easy to carry even on long hikes in the mountains. The brush washer and soap are stored in little plastic bags to contain any leaks that might happen. Undoubtedly there will be adjustments made to this gear from time to time as needed. For instance, I no longer carry any sort of mediums when I go painting. If I need to thin paint I use odorless mineral spirits - and (except for initially toning the panel) that is rarely and only in tiny amounts.

I hope you've found this post informative, and thanks for visiting my blog!

Three Color Palette

5" x 7" Oil on Panel

It isn't shaping up to be much of a white Christmas around here, at least not here in the valley. The general appearance of the landscape is of various grays and tans. Nothing in the way of the brighter colors of summer or fall. The first image in this post is of a little painting made on a mostly sunny day in late November. It shows a little more chroma than the next image, which was painted on a very overcast day and is much more subdued.

5" x 7" Oil on Panel

For these paintings, instead of laying out the usual split primary palette, I thought I'd try a very limited palette of just three colors, plus white. Those colors were yellow, red, and blue.

The third picture shows the colors laid out on the palette board in the 5 x 7 pochade box. Although the painting shown at the top of this post was painted on a traditional white panel, the second painting was made on a dark panel.

Here's the colors used for these paintings:

1. Titanium White
2. Cadmium Yellow
3. Permanent Alizarin Crimson
4. Ultramarine Blue
5. Mix of Alizarin and Ultramarine, with a touch of yellow.

Cadmium lemon yellow would have provided cleaner, brighter mixes than cadmium yellow, but I wanted the dirtier mixing qualities of cad. yellow for more subdued colors. Perhaps earth tone paints such as yellow ocher and transparent red oxide could be used in place of more expensive cadmium and Anthraquinone (perm. alizarin crimson), but there's no room in the little paintbox for two more tubes of paint!

Here's the second painting still in the box:

As I was finishing up the painting shown directly above, someone with the COOLEST pickup drove into the parking area where I was set up. I asked him if I could photograph his truck and he happily agreed.

This restored model T pickup would be so much fun to go painting in, even if it would probably also be necessary to bring along tools and spare parts! It's almost Christmas. Maybe I could write Santa and ask for one...

Merry Christmas everyone, Model T or no.

Holiday Shows and Exhibitions 2014

Two weeks until Christmas! A little less than two weeks left to do your holiday shopping. If you're looking for a unique gift for someone, a plein air oil painting would be a gift to enjoy for a lifetime! Evergreen Framing Co. & Gallery in Salt Lake City is showing several of my plein air oil paintings, plus a wide variety of works by other Utah artists.

The picture at the top of this post shows some of the paintings I have at Evergreen Framing Co. & Gallery, along with some paintings by David Meikle and works by other artists. The image directly above is another angle of some of those paintings.

The third image shows a few of the paintings I have at the Window Box Gallery in Provo. As with all the galleries showing my paintings, the Window Box Gallery also has a wide variety of works by several artists. They include Kimbal Warren, part of whose painting shows in the lower left of the above photograph. The picture below is a closeup of a couple paintings of mine at the Window Box Gallery.

More of my paintings can be found at Logan Fine Art Gallery in Logan, Utah, and at Juniper Sky Fine Art Gallery in Ivins, Utah (near St. George). Click on any of the links in this post for more information about these galleries. If you're able to visit one or another of the galleries, you might find an original painting of mine that would make a wonderful gift for someone on your list, or for yourself!

Charcoal Sketch - Blonde Woman

12" x 9" Charcoal on Paper

This is the portrait sketch I did at yesterday's live drawing session. Drawn with vine charcoal, charcoal pencil, and "white charcoal".

For more about drawing sessions, go to "Labels" on the side bar and click on "sketching" or "drawing."

My Palette

Probably what most people imagine a painter's palette to look like is an oval or kidney shaped thin board with a thumb hole in it. I don't have one of those. While the traditional palette might work well in a studio, that's not where I do most of my painting. I paint outdoors. Rectangular palettes are more packable and easier to transport. The palette board in my biggest paint box does have a thumb hole, but I sometimes wish it didn't. I rarely use the thumb hole, but when I do I usually end up with a painted thumb.

The color palette I use is a basic split primary. Of course it's arguable what "primary" colors are, but for all practical purposes here, I mean yellow, red and blue. By split primaries I mean a "warm" and a "cool" version of  yellow, red, and blue - with an extra color or two thrown on the palette. A generous pile of white is always a part of my color palette.

I don't think I'm too much of a stickler concerning paint brands. M Graham, Utrecht, Holbein, Gamblin, and Grumbacher are some of the brands I use, but I'm not adverse to trying other brands. Anything with good color, good strength, and lightfast works for me. I avoid "student" or "studio" grade paints, also any cheap, obscure paint brands. By the same token, exorbitantly priced paints - such as those made with exotic pigments like lapis lazuli - aren't likely to find their way into my paintbox, either. 

Below is a diagram of the colors I use for plein air painting.

1. Titanium white, made with safflower or walnut oil - not linseed oil. I like linseed oil in all colors except white because it yellows white in a relatively short time.
2. Cadmium lemon yellow. A slightly greenish yellow.
3. Cadmium yellow, cad. yellow medium, or cad. yellow deep. A more orangey yellow.
4. Cadmium red, or medium, or deep. A red on the yellowish side.
5. Permanent alizarin crimson, or quinacridone red, or another apropriate quinacridone. Dark, semi-transparent, and on the purplish side.
6. Cobalt blue. It's about as blue as paint pigments get, I think. I used to use cerulean blue, but found I can do everything with cobalt that I used to do with more expensive, but less strong cerulean. Cobalt blue is expensive enough.
7. Ultramarine blue. Dark, semi-transparent, and a touch violet.
8. Viridian green. A dark, cool green. Not a primary color, as oil paints go, but very useful.
9. Mixed dark purple. This is what I usually use for "black", or rather instead of black. It's a mix of alizarin and ultramarine, plus a touch of yellow to tone it down a little. This color can be made more blue or red as needed.

Other colors I occasionally add to the palette are:

• Ivory black. Mixed with yellow makes a wonderful earthy green like that found in high desert junipers.
• Yellow ochre. A good color for things like winter marsh grasses.

Colors I no longer allow on my palette: 

• Anything that starts with thalo. Thalo blue and thalo green are good strong colors. Overpowering, in fact. I've been unable to always control them. Thalo colors tend to take over any painting I've ever tried with them. Thalos also take over my hands, clothes, and anything I touch or walk on. The only way I've been able to control thalos is to tone them down with so much complementary color that I spend more time mixing paint than I do painting. But thalo colors are clear, strong, permanent, and inexpensive, so if you can learn how to use them successfully, more power to you!
• Any color with the term "hue" in it. Honestly, I won't rule out hues entirely, They can sometimes be convenient. But hues are just mixes. Generally, a painter should be able to easily mix whatever's needed.

.....

All this, of course, is subject to change.

Last of Autumn 2014

5" x 7" Oil on Panel

This is a little plein air painting done one late afternoon a week or so ago. The view is looking across a field to some bright yellow cottonwoods and grey green russian olive trees. Maple mountain is in the background.

Quercus Gambelii

8" x 10" Oil on Panel

Quercus gambelii, otherwise known as Gambel oak - or more simply, scrub oak - is a common shrubby tree found on mountain slopes and in canyons of the Wasatch Mountains. It typically grows in bunches and thickets which can be very difficult for a hiker to pass through. Where Gambel oak grows in small bunches or singly, it's rugged, deserty forms can be as fascinating as those of juniper or cliffrose. Pictured above is a painting I made earlier this year of a Gambel oak I came across while scrambling around on the slopes of the Wasatch Mountains not far from where I live.

This next photo shows how the painting gear had to be set up to paint that tree. I'm glad the lump of limestone was sticking up there. It provided the means of leveling the gear without being too low.

The day started out with very blue skies, but clouds moved in as the day progressed. Sometimes I'll paint the clouds in when that happens, but this time I kept the blue sky.

The last photo shows the painting still in the pochade box.