To-tone-or-not-to-tone...

Quick Draw Painting - Hudson, Ohio dentist   8 x 8

is really a matter of individual preference.  But, despite the foresight and planning that is apparent, it is usually a good thing.  Toned canvasses provide a slicker surface, providing an ideal surface for the gliding of brushwork.  Untoned drags.  Think skating on ice versus trudging through snow.  For me, the surface dance is most important.

In addition, a particular color of toning can enliven a work from the get-go if pieces/parts of that preliminary color peek through.  Another fun thing to try is to tone with with the opposing color temperature of the anticipated temperature of the work.....i.e. cool underlying warm.  This is particularly effective in watercolor where the transparent layers are visible from beneath. (and, with watercolor, this preliminary toning can be done right on the spot when work is begun, rather than ahead of time)

Most often, however, my foresight is dim, and so I just use leftover paint from my palette all mixed together to tone random canvasses for future paintings.  One time I used the sludge from my turp jar to tone.....bad idea.....those canvasses took months to dry.

For plein-air work, toning is a real plus, as it provides color already there when speed is of the essence.  It is also terrific for vignetting.  Also for scratching through to a previous layer.

So, I guess, the answer for me is yes.  Think ahead.  Tone.  My small painting from the quick draw in Hudson of the dentist's office was toned well ahead of the event.

Tis the season for plein air!

Breezeway   oil/canvas   14 x 11

where plein-air painters abound.  Lots of competitions and lots of outdoor painters.  I just received word that one of the artists in my watercolor class, Marian Steiner, took an honorable mention at The Cuyahoga Valley Art Center Plein-Air paint-out this past weekend.  Congratulations, Marian!

My own process for painting outdoors has become more solid over the years as I realize what will make for speedier and more productive work.

1) always, if possible, start with a toned canvas.  This allows the brushes to glide.  In addition, the entire canvas is already covered, which makes minimal painting in non-important areas more do-able

2) try to locate a scene that interests me personally, so that I will be invested in its success....perhaps an area of interest as far as gardening, or one that incorporates both organic and straight line.  I really like combining parts of buildings with the gardens.

3) hone in on a color temperature dominance...this will help determine the color of the frame, as well as keep me on track.  cool painting?  warm painting?  one or the other

4) determine a mother-color that will be dominant and help me to determine the colors on my limited palette......I like to tweak the palette in order to avoid the static that occurs by using an exclusively local palette

5) use my viewfinder to help compose the scene

6) paint!  Some outdoor painters seem to enjoy conversation with others.  Unfortunately, I am not one of them,  as I find the interruptions in my painting process to be confusing and disorienting.  I am still working on how to solve this problem.

7) one stroke says it all....I try to rely on the each stroke for power and try not to alter them, as this leads to a mushy painting that has to be resolved after drying in the studio.  In plein-air work, this simply isn't possible.  What I see is what I get.

All in all, painting outdoors is invigorating and provides opportunities for thinking outside the box, for changing habits that inhibit creativity.