Southern Art & Craft Trail 2013

The Southern Art & Craft Trail is an annual art event in Western Australia's Great Southern region. I will be exhibiting this year at West Cape Howe Wines.

Exhibition opening:

6–8pm, Friday, September 27

West Cape Howe Wines

My painting "South coastal" (below), which took out second prize in the recent Australian Artist  Magazine "Seascapes, Rivers & Lakes" competition, will be on show and available for purchase. I will also be showing several of my most-recent plein air paintings which will look much better hanging on your wall than they do lying around my studio.

South coastal

70x37cm oil on board

© Andy Dolphin

West Cape Howe Wines is on Muir Highway, about 10km west of Mt Barker, WA. The exhibition is on until October 14 and also features work by ceramic artist Jonathan Hook.

The Trail officially starts on September 28. Exhibition guide books are available throughout the Great Southern or you can follow the link to the website at the top of this article for more information. 

Shearing shed - plein air oil painting

Today, I experienced, first hand, a warp in the space-time continuum. The world turned just a little bit faster this morning. I'm certain of it.

I arrived on site just before 9am. There was a bit of sunshine, no breeze and no sign of rain. Almost perfect.

I took a photo and did a thumbnail sketch of a shearing shed lit by the morning sun. I composed it using a brand new, handy dandy adjustable viewfinder that I made last weekend. I'll show it to you one day.

By the time I'd finished the sketch, the sun had disappeared behind heavy cloud. I pondered my predicament for almost half an hour. Would the sun return? Did I have enough information in my thumbnail to proceed without the sun? Should I let this one go and just do some scouting around for future subjects?

My thumbnail was fairly detailed. It showed the critical highlights and shadows. I had the subject in front of me, albeit in full shadow, so all I'd need to do is to work out what colour the sunlit areas should be.

I decided to have a go.

Since this was going to be enough of a challenge already, I opted for an "earthy" three-colour palette – ultramarine, burnt sienna and cadmium yellow deep. The burnt sienna would ensure shadow areas tended toward grey-brown rather than purple, and the cad yellow deep would give me all the warmth I needed in the sunlit areas. This selection also ensured the greens would not be too luminous as both ultramarine blue and cad yellow deep lean toward red, the complement of true green.

The sun made a few very short appearances but wasn't much use to me as the painting progressed. The thumbnail, however, proved very useful and I referred to it repeatedly. Here's where things ended up...

Shearing shed. 

Plein air painting. 40x25cm oil on board.

© Andy Dolphin
SOLD

Those angled cast shadows, on the fence and the right-hand part of the shed, were derived straight from the thumbnail. Neither was still in that position when the sun did eventually break through. Interestingly, the scene didn't look as appealing with those shadows cast at different angles.

Since I was being "creative" I invented a couple of puddles too. The highlights in the driveway mud were created by wiping back the dark brown paint exposing some of the burnt sienna under-painting.

By the time I packed up, it was about 11:30am. Or so I assumed.

In fact, when I got back in the car to drive home, it was after 1pm. I'd been here for over four hours! I know I slow down when the clouds roll in but four hours? Ouch! Definitely something going on with that space-time continuum thing.

But at least it didn't rain.

You can see in the "must-have" location shot how the sun has come out, now that I've finished, and is now lighting up what used to be the shaded side of the shed...

Early morning - plein air landscape in oil

Third update for the day.

I was up just after 7am and the sky was clear and the sun was just beginning to shed light on things. So I got my gear together and headed out for a little "early-morning" painting.

If you've been following along in the last few weeks, you know what happened next. Yes, the clouds rolled in. But I soldiered on.

I set myself up in a paddock looking towards the abandoned cottage I painted last weekend. I noticed this view yesterday afternoon and realised it would light up nicely in the early morning.

And I was right. Things were exactly as I expected, when the sun broke through the clouds.

I did a quick thumbnail while the sun was shining and committed as much of the scene to memory as I could. It was far too cloudy to risk a big painting so I grabbed a small board and set about doing a sketch.

It was cloudy most of the time, so plenty of memory was required and it rained on me, again, and it was cold (I wore my gloves again and even took a mid-painting warm-up walk) but things progressed pretty well. I spent about an hour and a half on this one, which is a bit longer than usual for a small sketch but things do slow down when the clouds roll in. I finished off the foreground and touched up a few details when I got back to the studio, so add another 15-20 minutes.

Early morning, Narpyn. 

Plein air sketch. 30x25cm oil on board.

© Andy Dolphin
SOLD

I used a limited palette of ultramarine, burnt sienna and cadmium yellow deep. The lack of a true red meant that shadow tones and greys would retain an earthy hue rather than leaning toward purple. The burnt sienna under-painting shows through in a few spots too, including the warm glow in the otherwise-grey sky.

And here's the "oops, I packed up and almost forgot to take a location shot so I'll just lean it against this fence" location shot...

So now I've done eight paintings in the last few weeks and have been rained on six of those times. I think that's a record for me. Lucky I don't do watercolours.

I've checked tomorrow's forecast and apparently we're in for some more rain. So I guess I'll venture back outside and see what happens.

Paperbark - plein air landscape in oil

After some fairly dismal weather over the last few days, the sun managed to pop out for a short while yesterday afternoon.

I found a washed out winter creek line on a property not far from home and spent half-an-hour or so wandering around it, taking photos. A gnarled paperbark arching over the creek caught my attention and I decided to grab my easel and see if I could capture something in paint before the rain returned or the sun set.

It did rain on me and the sun did set, but I got something that required very little attention back in the studio, so I'm not sure who won that race.

We'll call it a draw.

Here's the finished plein air oil sketch...

Narpyn paperbark, winter. 

Plein air sketch. 30x25cm oil on board.

© Andy Dolphin
SOLD

As has been the case with almost every painting I've done in the last couple of months, the sun disappeared behind clouds for most of the time I was painting. It was a fairly simple scene so it wasn't to difficult to remember where the highlights should be but I had to be a little inventive with hue and saturation.

And it was cold (by Western Australian standards, not by Moscow standards), it snowed in the nearby Stirling Range in the morning. I actually wore gloves for this one – another "first" for me. And it rained on me half-way through this painting. And it was windy so I had my backpack sitting in my easel tray to stop it blowing away. So relaxing!

I used the painting knife again on this one. I think I'm slowly getting to grips with it. It's amazing how, sometimes, it gives you detail you would never have thought to add with a brush, but which looks like it should be exactly where it is.

And here's the "how do we know you were there?" location shot, taken with a flash because it was pretty dark at this point...

By my count, I've painted at this location seven times now in the last few weeks, and it's rained on me on five of those occasions. Who said painting was relaxing?

Narpyn Creek - plein air oil landscape

We had a bit of sunshine last weekend so, naturally, I headed out to paint.

Here's the underpainting...

I got a fair way through the painting when I looked behind me and saw heavy clouds heading straight for me. Before I had time to throw everything in my back pack and fold up my easel, it was raining. And it got heavier.

I was over 100m from the nearest shelter and had to tread carefully as the paddock is very green, very uneven, very slippery - and uphill all the way. Carrying a French easel with wet painting on-board in such conditions is not the most fun a person can have in a day.

So here's how things looked when I made it to shelter in a nearby shearing shed.

I'd been standing down that valley, off to the right of the photo, when the rain hit. I was somewhat damp by now.


I plonked the almost-finished painting on an easel back in the studio, let it dry, then added a few finishing touches. Here's how it ended up.

Narpyn Creek.  

30x40cm oil on board.
© Andy Dolphin

Looking at it with fresh eyes, I think I need to go back and try again on a day when the sun plans to hang around a while. This one goes in "the pile". It happens.

Cottage - plein air oil painting

I mentioned recently that I've found a new favourite painting spot. It's a farm, less than 10 minutes from home, with a history dating back to the late 1800s.

I've been given permission to do some painting around the property and have spent quite a lot of time out there over the last week and have taken a lot of photos since the weather has been less-than-forgiving and mostly not suited to painting outdoors. So far, I've managed to paint five times, and it's rained on three of those occasions.

On my first visit, I wandered around an old, derelict cottage and was captivated by its sunlit eastern face. I photographed it and studied the photos over the last week. I even did a rough Photoshop sketch of it.

Today we had clear skies again, so I headed out to the farm knowing exactly what I planned to paint. It was time to test my "contemporary impressionism" skills again.

So, without further ado, I bring you "Narpyn Cottage, winter morning"...

Narpyn Cottage, winter morning.
Plein air. 38x35cm oil on board.
© Andy Dolphin

At 38x35cm, this is probably the second-biggest plain air painting I've ever done and, at somewhere between 3.5-4 hours to complete, it took the longest, by far. I don't think it's finished yet, though.

Here's stage 1 - the under-painting...

This is a combination of washing-in and wiping-out. Although the idea is to keep things fairly loose, a lot of important questions are asked at this stage. Where are the major darks? What's warm, what's cool? Is it too centred, too high, too low? Why do people say painting is relaxing? Should I have taken up golf instead? The questions just keep coming – the same questions, every time. Some remain unanswered.

There's 15-30 minutes work here.

And here's stage 2, almost two hours in (I didn't know it had taken that long, but that's what my camera claims)...

By this time, the sun had risen pretty high and shifted across to the left, so the shadows had all changed. It was important to try and stick with my layout and not be tempted by what I was seeing in front of me. By the time I finished, the sun had moved far enough that none of these walls were sunlit.

Ordinarily, a thumbnail sketch is a useful reference for dealing with the changing-shadows problem but, in this case, I'd had the image stuck in my head for a week, so I didn't do a thumbnail.

I used the palette knife quite a bit in this painting - for adding and removing paint. That's a whole new world for me. Until this week, I've usually only used a palette knife for mixing paint or, more often, cleaning my brushes - or, sometimes, deleting sections of paintings, or deleting entire paintings. I still have to tame the knife, but this property will offer me a lot of opportunities.

I was exhausted, mentally, when I got home. So I had some lunch and a nanna nap. Then I got up, had coffee and went back for more before sunset. I didn't have much time so I almost literally threw this one together...

Evening, winter.
Plein air sketch. 34x30cm oil on board.
© Andy Dolphin

There's just less than an hour's work here, and much of that time was spent on the two sheds. Actually, most of it was probably spent on the white shearing shed. So many shades of "white"!

When I put the brushes down, the sun had set and the entire scene was in shadow. But when I turned around, the sky was a brilliant orange-violet. Five minutes later, it was all gone.

It was great to have a day with mostly-clear skies.

Stirling Afternoon - plein air video

My latest plein air landscape sketch video has just been uploaded.

This painting features a view across farmland to the Stirling Range, home to Bluff Knoll – the the highest peak in southern Western Australia.

(Stirling afternoon. Plein air sketch. 30x25cm oil on board. © Andy Dolphin)

It was a very cloudy day but the sun did break through occasionally and light up the view. Days like this can be challenging if the sun spends too much time behind clouds but it peeped out often enough on this occasion to keep me almost sane.

I actually began this painting on a board I'd previously used for a plein air painting that ultimately failed. I had only laid in the foundational wash of that painting when the sun disappeared behind heavy cloud and all semblance of light and shadow vanished with little hope of returning that day. I scraped the paint off the board and wiped it back with a paper towel. This left me with a board already stained with a warm, transparent earthy tone.

NOTE: You can watch the video here on the blog but I'd recommend going to Youtube and viewing it at full size (click the little "cog" symbol and choose 480p if your internet connection can cope).

Thanks again to Kevin MacLeod, who offers hundreds of royalty-free music tracks on his Incompotech website.

Uploading this video generated an interesting copyright dilemma. If that sort of stuff fascinates you, you can read about it here.

You can see my first painting video, Barrow Road, on Youtube too.
Or my second video Winter Light - plein air painting.