Last week I participated in a plein air event in Wayne Pennsylvania. Now in it's 5th year, the Wayne Plein Air Festival continues to be run by an extremely committed group of people from the Wayne Art Center and gets better each year. The organizers of this event are generous with their time and they really get the job done. They put together a plein air event that starts off with a really fantastic kick-off gathering and ends with a gala reception that is out of this world. One of the things that they do very well is to work with each and every participating artist and their needs for the week. They provide host families for artists who are travelling from a distance and as usual my host family for this years event, Peter and Maria Archer were very warm and generous and made me feel right at home. At the culmination of it all, the Wayne Art Center does a terrific job of bringing together their community in support of the artists and their exhibiting work.
What set this years event apart from previous years was the rain. For some reason, Mother Nature decided this would be a very wet week and the weather report was calling for rain and thunderstorms for each and every day of the event! There seems to always be a day of rain or a morning of rain at some point during any plein air event, but the idea of dealing with potentially heavy rain each and every day was a bit overwhelming. Overwhelming might not be the right word exactly, maybe it was more of a 'Do I really have to do this??!!' mind-set. Every participating artist had to think and scheme of ways to protect their paint gear, paintings and also their bodies in order to immerse themselves into a week of plein air painting in the rain. When I read the weather reports each day leading up to the event, I knew that the ordinary plein air umbrella wasn't going to do the trick. I imagined myself being 'soggy' for an entire week and my mind went into action to correct this!
Over the past Winter, I had devised a set-up for my Gloucester Easel that would help to protect my paint box, brushes and my big piles of paint from snow crystals if I was painting when it was 'flurrying' or if I was painting under trees that were laden and dripping with melting snow. Snow and paint don't mix. If they do, you have a sticky gooey mess that does not make for good painting. My contraption was made out of cardboard with giant flaps that could be secured with bungee cords and I made some slotted vents with a utility knife in hopes that they would keep it from sailing away if a good breeze came up! It was heavily put together with duct tape too. It made my easel look something like an armored tank. It looked odd, but it worked. I felt slightly like I was using some good old Yankee Ingenuity, coupled with a desperate idea invented by a crazy artist in need of making paintings!
I brought this contraption with me to Wayne and I made sure I had plenty of extra bungee cords, duct tape and also one giant rain umbrella. The umbrella was dark green and almost black which was perfect for NOT getting bright colored reflected light bouncing around my painting panel. With all the rain in the forecast, I saw myself holding onto it with my left hand while I painted with my right. The armored rig would protect my gear and my umbrella would protect myself and my painting. If all this failed, I brought along a pochade box and figured I could paint from my car. Usually the problems that arise from doing this is that you are left with views that might not be your first choice to paint and also I find painting in a car to be just plain stifling.
The event was kicked-off with a pig roast inside a beautiful and enormous restored Pennsylvania barn and there was a live band too. Artists, event organizers and patrons gathered and we ate and drank and shared some good conversation and laughs. It is always great to see artists and other friends that you might not have seen since the previous years event. On this particular night, there was a murmur running through the crowd of 35 participating artists that was all about 'rain' and where to paint to get under cover etc. The big question of the night was...'Where are you going to paint tomorrow morning?' The forecast called for a 90 percent chance of rain over the course of the entire day.
On the next morning, my host family offered me breakfast and some espresso coffee made from a stove top espresso maker. 'OK! This IS going to be a great week!' I thought as I happily downed the coffee. I'm somewhat of a coffee fanatic. Dark roasted earthy coffee is my thing. At home and in my studio, workshop students will admit that my coffee is really good and we keep brewing it throughout the day! It's not uncommon for me to make cappuccino's or latte's for my students too.
A beautiful farm next door looked like it had lots of painting potential and my room mate and I got the grand tour from the owner and he very graciously gave us permission to paint on the property. It rained on and off during that first painting, but we both got a painting in. A Mama horse and her colt as well as the numerous goats on the farm, happily roamed about as we worked. My set-up worked quite well and I felt a little better knowing that I had completed my first painting.
Over the course of the week, I would do two paintings of this farm. One would be of the farmhouse itself and it would get me the first place prize at the opening event! I painted several other paintings, scraped a few and in the end turned in a total of 8 paintings for the opening gala exhibition. For those readers looking for advice about painting overcast and diffused light, I think one of the most important things to keep in mind is this:
Overall, it is a cooler top light that your dealing with. Most students get into the mind-set that this means a very cold painting, but this is the wrong way of thinking. On this type of day, the light gets held up in the sky by the cloud cover, making it much warmer than perceived. Top planes receive the overall cool light but upright planes need to be painted much warmer than we think. So overall, to capture the feel of the day, we need to see the warmth and not make it so much about cold light. Vibration of warm against cool is important too. For a lot of my grays, I am putting down a warm note first and then running a cool note over it, letting some warmth come through. It becomes a push and pull of warm and cools with the overall feeling of the painting being a warm one. Nobody enjoys a painting that overemphasizes cold color.