When opening up the Aug/Sep issue of Plein Air Magazine, I felt overjoyed and excited. My first print publication! Plein Air Magazine is a favorite of mine. While studying each page, I identify with the artists. They are getting out and painting, experimenting, learning in the same fashion, and experiencing the same ups and downs as I do while painting from nature.
Painting Outdoor Still Life
The day I set out to paint Man’s Folly, I wasn’t looking for the beast of a machine that I found. Instead, I went out that afternoon in search of shadows. Living on the Flathead Indian Reservation, I would often explore the Jocko Canyon area. Mostly trees, some meadows and a few vistas, I decided to venture to a different area up an old logging road. A recent fire has ravaged the area with machines standing the wake of the burn.
Lights and Shadows
I started my painting process with laying down dark to light, and thin to thick. I like to get my shadows down first and then block in the lights. If the sky is a major component of the composition, I will put it in pretty quickly because everything is keyed off the sky.
I felt out of my game when starting this plein air painting. My previous experience of painting machines usually did not turn out that great. But to my great surprise, Man’s Folly came together very quickly. I focused on the shadows and light, and didn’t focus on the getting things perfect, like the exact colors.
Lesson Learned
Share your work! When finished with Man’s Folly, I was satisfied but I wasn’t sure if I was going to share it with others. Later that day, I thought why not. I posted an image on FaceBook in a private group called Plein Air Painters. I often share my work with the fellow artists of this group, eager for feedback and hopeful for tips. Little did I know that Man’s Folly would catch the eye of the editor of Plein Air Magazine.