Hot Summer Night on the Strip

This watercolor nocturne sure was a challenge during a busy car show on Bagnell Dam!  There were so many people, I could hardly see my scene at times, and I had to stand back from the walkway without tumbling down into a ravine!  My first attempt at using watercolor for a nocturne, I struggled with getting the colors as dark as I wanted.  I added and added pigment to get it where I needed it.  It is also my first time to use a light while painting at night, and it was a good thing I had it.  It was very dark at my back with no light to paint by!  I would normally choose a more comfortable place from which to paint - this was the view I wanted, so no other place would do.  This painting was certainly a lesson in perseverance, from the gridlock in traffic beforehand to the long walk from the car, to pushing me to pick up my gouache after many years of neglect.  I've found a while new painting adventure with that medium. So happy the gallery owner wanted this painting for her very own, too!  Painting number 4308 in 4308 days. 

Night at Kane Family Farm

The live music and people gathering were simply irresistible to this artist!  With gear in tow, I set up with a vantage including the large barn, and started painting the light.  I'm using a new clip-on mighty light that I bought from Judson Art Outfitters, to help with night painting.  I never use lights, choosing instead to paint under street lights when working at night, but the pastoral landscape does not offer lights!  So far, so good, but I'm not sold on the color of the light yet, it is warmer that what I see in the landscape. It's size and ease of use are a big plus, though.  I won't know how this really turned out until tomorrow - in the daylight!  Painting number 3418 in 3418 days. 

Art Center Cinema

I never quite know what I've got until I look at a nocturne painting again in the morning, in daylight!  I paint where I can find a good street light to illuminate both palette and panel, preferably a white soda light.  Many are yellow or pinkish, and they do influence the painting. All artificial light adds it's own cast to the colors, so I'm not sure what I've got until I get it out of the car in the morning!  This one is a nice surprise!  I often lean to the bold, vibrant colors for nocturnes - probably because of the low light. I don't like the clip on lights, they are too distracting.  I like to immerse myself in the scene, as a part of the scene, while I paint.  I find the truest expression of the place this way.  This painting went to the highest bidder at the Salina Art Center Gala.  So happy I could commemorate 25 years of the Art Center Cinema with this humble painting.  Painting number 3324 in 3324 days. 

Night at Brazen II

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Nocturne painting is so rewarding, and so different from the daylight.  I have only started to paint these scenes from a lighter panel, not the dark toned ones I've used for years. There are real benefits to this.  I work by the street lights, and a lighter panel allows me to read color and temperature more effectively in low light situations.  I also find my colors more true.  I can't wait to explore this further, maybe some snowy winter night scenes?  Painting number 2525 in 2525 days. 

Night at Brazen

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Oh how I love painting at night!  It is so fun to try to capture the magic of special places at night, where all I am painting is the light. All these years, I have started with a dark surface before beginning a nocturne.  Last week, I didn't have time to prepare one, so started with a light surface.  I loved it.  In fact, I doubt I'll go back to the dark side anytime soon!  I can see all of my colors better on a light surface.  Can't wait to do it again!  Painting number 2473 in 2473 days.

Main Street Nocturne

Warm nights are simply made for nocturne painting!  The way the street lights hit the buildings, casting shadows into the streets is dramatic.  I didn't have another dark primed panel, so I started this one on a light one.  What I don't like about this process is that I am fighting the light until I get it covered.  When starting with a dark panel, I am painting the light without worrying about the dark.  A challenge is always good, pushing me to learn a different process.  I also tried out a fancy new light, compliments of the Fairfield paint out - and it sure does illuminate the panel and palette.  Even though I've never been one to use extra lights during night paints, I may get used to it!   Painting number 2098 in 2098 days! 

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