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The next day I went out and had the best luck all day. Found $17 on the beach right when I touched sand, had great light, cameras all worked, helped fixed some dude's drone with my leatherman, and did this painting. I really like this simple little studies. 30 minutes tops.pic.twitter.com/LAdPnQbho1
I went out a few days later and did this one, but the problem many times is it's difficult to paint in hard sunlight. I had to angle the canvas into the sun which pretty much makes it dark to paint by, but if I don't the camera has problems. So, not a success.pic.twitter.com/V5lox4gus5
Then a few days later again I went out with my bigger box just before sunset to get this one. It came out not too bad, but again controlling the light on my canvas is tough. I may just bring a little light to help with that. Seems dumb but might work. This is 11x14.pic.twitter.com/2VO3xB1Xle
At this point I think I'd been out about 10-12 times this month, so on this day I really started to get back into it. This is an archway that goes to the beach which I've always liked so I spent about 60 minutes on it right as the sun set. 11x14 again.pic.twitter.com/0JaKmZ60ws
Then a few days later I feel I really nailed it. One problem with beach paintings is well, the sand and sky are boring as hell. In this one I kept it simple, and used a vignette technique to make it look like the scene was breaking out. Someone offered to buy it too.pic.twitter.com/QFWyHrvQAl
Then last night, after spending 3 weeks painting in the sun, I got some awesome flowers and wanted to do a unique composition and challenge. I lit them with an intense light, and painted this. I gotta say, I fucking hate it. But, there's a story to why.pic.twitter.com/v0EglVI3zf
The problem was that I had an intense light on the flowers, but *no* light on my canvas. If you compare it to what I consider my best flower painting you can see the difference in lighting. With the first painting I had proper lighting on the subject and my canvas.pic.twitter.com/lrSbX57WX4
Because I didn't put the same intensity of light on my canvas that meant every color I mixed was being done in a low light/contrast setting, so to compensate I would accidentally increase that color's brightness. As long as I was in low light it'd look fine.
The second I took the painting to normal light though it just exploded and I realized my mistake. Now, here's the interesting part, take a look at the oranges on paper again:pic.twitter.com/PRPb5mJ07t
On their own the oranges look fairly bang on as a quick study. The light seems correct. I wanted to figure out why, so I put my easel back and figured out, ahhhhhhhhhhh the light from my setup *hit the corner of my canvas* but not the rest.
So here I was painting, I do the oranges and they look right, but that's because the amount of light hitting them and my canvas on the spot where they were was about the same. Then it trailed off as I went into the rest of the canvas and that difference caused the problems.
I think also because they were on white paper I was able to calibrate my paint mixtures more easily. Notice there's more color and contrast compared to the rest? That's given me a small idea I might try out today or tomorrow: Calibrate the setup and canvas using a white paper.
I'd read about this trick before, but more in the context of finding out the color of light. You put a white piece of paper into the shadow of a tree and see what color it is, then put it in the sun. That sets up your color harmonies and white/dark balance.
What I'm going to try is lighting my setup vs. my canvas in different ways, then attempt to do an exact color match and see how you'd adjust the lighting to match a white, dark, or middle tone part of your painting to your canvas light.
Finally, if you look at this progression (and I'm leaving out about 2 painting sessions for technical difficulties or that weren't oil painting) it looks like every 4th or 5th painting comes out good. It might be that I need to do about 3 trash paintings to warm up to a big one.
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