Twilight on the River

There are three kinds of twilight.  Who would have known?  Civil, Nautical and Astronomical are their names...I discovered this when I wanted to know the exact time of the sunset.

With my twilight chart in my back pocket I headed out to York Harbor, Maine, to paint some sunset pictures on the York River... 

I've discovered that if I set up early when there is enough light to see the lay of the land, I'm well prepared when it gets dark... 

   I wanted the twilight and tide to work together so I would have some nice light reflections.
Steadman Woods Study, 8x10 oil

 When I arrived in early afternoon the tide was going out, the sky was clouding up and things were looking gray.

I spent some time walking around looking for a spot that would offer me a view with water, land and sky and be interesting enough to paint several times as the light changed.

The tide was going out fast. Sand started appearing where there was once water and nice reflections.

I started painting, focusing on completing my studies at timed intervals, so I would capture the different moods...
Sand & reflections study, 11x14 oil

The sun hadn't even set and the moon was already up in the sky peeking over the tops of the trees ! 

As the clouds arranged themselves in attractive clusters I gathered up a variety of additional panels to paint on.  

It was now "civil" twilight and the view was expansive.

Lobster boats were returning from a long days work.

The light was shifting fast and "nautical" twilight was approaching. 

Twilight I study, 8x16 oil

I set up to paint facing southwest because the light would last the longest in that direction.

The banks of trees and wet sand on the edge of the river steadily changed colors as the clouds and sky deepened in tone. 

The lights came on in houses on the marsh edge and on the docks along the river front.

It was that time of the day when the sky and river surface were glowing.  

Sometimes the water looks like it is lit from within, the color is so rich and beautiful.
Twilight sky study, 8x16 oil

The last boat came up the river from the harbor's mouth.

As the moon rose, the sky got darker and the moored boats on the river floated like blue ghosts on the surface of the water.

Twilight II study, 8x16 oil

PAINT EAT SLEEP

Dramatic Skies over Maine Farms

One of the great things about fall in New England is the dramatic, changing weather. 

In southern Maine it's been a sunny warm fall with the trees turning colors in start and stops...

The turning leaves have been bright and colorful in some neighborhoods and dull in others.  Some trees are bare while others still have their green leaves.

Marcus and I went out for an afternoon drive to check out some of the neighboring farms.

We parked at the golf course and I set up to paint.  I wanted to try for a few sketches of the quickly changing light on the landscape.

The Dunn farm is one of those rare small dairy farms that are still in operation. I love this farm!

I used my large Gloucester easel because there was a strong wind from the west and my other easel wouldn't have a chance in this steady onslaught...

The cows moved in slow motion across the pasture as clouds raced across the sky, alternately lighting and darkening the landscape. 

I moved briskly as I put colors on my palette.

It looked like mother nature had plans for a change in the weather.. the clouds kept building.

Ooh... it was getting pretty nice out there, the farm was face-lit, the trees and cows had nice shadows behind them and the distant trees were a deep wine color in the cloud shadows. 

Late afternoon low light offers such a nice dramatic contrast.  I was hoping there would be enough big sky holes so I could keep getting glimpses of sunlight on the farm.

The clouds got thicker, and soon everything was in shadow. 

I sketched in the outline of the farm.

The cows kept moving in and out of these great patterns across the meadow. I really like the challenge of painting cows, as they rarely stay still in one spot.

I had my panel set up facing the sun, so the light on it and my palette stayed consistent.

I put in more colors as spots of blue sky appeared overhead.

All the great dramatic contrast of shadows and light had disappeared from the meadow.

Hey, that's the nature of plein air painting...here one minute, gone the next.  That's what I love about it!

PAINT EAT SLEEP

Food for the Palette

I've discovered that painting is an endurance sport, especially if I'm outdoors painting for long lengths of time.  I notice that if I make good choices and eat enough food I'm fine no matter how long I'm out there.  

I change what I eat according to the season. We are having our first snowfall in Maine as I write this. The really cold weather hasn't arrived for real... yet. 

Back Road Field Study 8x16 watercolor

This morning I changed my breakfast to my cold weather menu.  I had a huge cup of steaming hot decaf coffee and a slice of baked oatmeal. Yum !  It's the best stuff ever!  I'm hooked!

I'm trying it out as my new cold weather breakfast. I can have it packed and ready when I have to dash out early in the morning to paint.  

Ogunquit River Field Study 8x16 watercolor

This week I'm doing some big chunks of studio time in-between my plein air trips. 

Carvers Harbor Field Study 8x16 watercolor

 Vermont Pasture Field Study 8x16 watercolor

I'm finishing up some paintings I started outdoors and beginning some new larger paintings from field studies.

My wonderful husband Marcus was home today and fixed lunch for me! I eat the same thing almost every day and never get tired of it. 

My field sketches are so important when I am painting in the studio. I paint large paintings en plein air finishing them on location and sometimes in the studio.

I also paint large paintings completely in the studio using my field studies as the basis for the paintings.

Clouds Moving Out Field Study 11x14 watercolor

For years I was only a studio painter, then I was only a plein air painter. Now I do both. The two have merged and I am really focusing on this development.

Lobster boats in N'oreaster 8x16 watercolor

I have a super lovely studio. It's all bright and airy. In the summer it's cool and shady. It is also warm and toasty in cold weather. On sunny winter days it fills with light. 

I travel a lot in warmer months to paint on location so I don't often get to spend much time in my studio.  In winter I usually paint closer to home so I can work on large paintings in the studio.  

Winter Marsh Field Study 9x12 oil

I'm coordinating my winter indoor/outdoor schedule so I get enough fresh air and studio  time every week...I'm looking for that nice balance.

Marsh Evening Field Study 11x14 oil

I notice I burn a lot of fuel when I'm painting outdoors in the cold. And I notice that I have to eat hot food at the beginning of the day and the end of the day to feel right.  If I eat cold food for breakfast or a salad for dinner I get chilly.  

I keep my studio temperature in the 50's.  If it is too warm I become overheated while painting.  I'm always moving and walking around when I'm at the easel.  It's a habit. When I'm outdoors I walk away from the easel to get a view of the painting from a distance.  I do the same thing indoors...I like staying in motion.

Moon Night Field Study 8x16 oil 

PAINT EAT SLEEP