California Oak Wildflower Landscape – Karen Winters
The Oak’s New Spring Gown
9 x 12 oil on canvas panel
SOLD
In the western foothills of the Sierra range, valley oaks begin to deck themselves in fresh green foliage … lacy layers of silken fluff. Out in the meadows they look like girls going to their first big dance. The late light of day puts the lady in a spotlight as admiring wildflowers look on.
The Meadow Wakes – California landscape painting – Karen Winters
“The meadow wakes”
(Sierra foothills, east of Visalia)
6 x 8 oil on canvas
SOLD
When the first strong rays of light hit a meadow filled with fiddlehead flowers, the mist was still rising from the nearby hills, providing an interesting contrast of saturated and desaturated colors. The statuesque valley oak was just starting to put out its new foliage, creating that lacy effect that is only characteristic of earliest spring. I wonder what it would be like to live on a farm like this, with so much beauty to see in every season.
California plein air oil painting – Days End in Fallbrook
SOLD
Days End in Fallbrook
California landscape plein air painting
11 x 14 oil on canvas
At the end of the first day of Libby Tolley’s workshop, which was held in the classroom, I was excited to get outside and find a location to paint. All day the temperatures soared into the high 90s, maybe even 100 degrees, and we were all relieved to paint and practice indoors. As evening came, it had cooled off enough to be tolerable. But on top of that there was a brush fire nearby which filled the air with smoke and gave the sky a warmer than usual color. The color combination was irresistible.
What attracted me to this scene was the beautiful eucalyptus, and the layers of color and foliage disappearing in the smoke back to the distant mountain range. On any given day, the scene may have looked entirely different. A little earlier in the year and the foreground grasses would have been green. On a fire-free day the atmosphere would not have provided the interesting sky effects of warm and cool, intermixed. In the morning, everything would have been lit from the opposite direction. This is one of the things I love about plein air painting – the practice of capturing a very specific moment in time that may never occur again.
While I was there, next to a curb on a culdesac where no houses were built, a man who lived nearby hailed me with a wave and I told him what I was doing. He and his sons came over to watch me paint for awhile, and then I packed my things up. It turns out he’s in the agricultural business and knew a number of places to paint where there are reflective pools of water. Like I’ve said before, I think I could be in the middle of the wilderness and still draw a crowd. It always happens and because I’m a social person, I don’t mind sharing my love of painting.
A plein air study – granite rock group
Sketchbook, rock study
From time to time I’ve mentioned that I keep an industrial-strength watercolor sketchbook with nature studies of trees, geology, animals (occasionally) and other features of the natural world. Because the focus of this blog has changed to reflect my evolution into a full-time painter, I have stopped posting those studies. But recently I’ve joined .a group of nature sketchers on a group blog, so I will be posting some of those studies here as well. And, of course, I’ll continue to post new paintings daily, or as often as I can.
This is a study of some granitic rocks in cool morning light. The gentle morning light made the gray rock look violet, which was a beautiful complement to the yellow green spring grass. I did this study to learn more about how rocks can have several types of shadows, depending upon whether there is a hard or soft edge. This sort of observation is very useful to a plein air painter, whether one works in an impressionist or realist style.
For those of you who get this blog in an email, you may notice that these sketchbook posts will have the words “nodp” at the bottom. That is a secret code that tells the Daily Painter software not to post these entries to dailypainter.com because it’s not a painting for sale. So if you’re wondering what that phrase means, now you know.
nodp
Fallbrook Landscape Oil Painting – Morning Breeze – by Karen Winters
Morning Breeze (Fallbrook, California)
16 x 12″
oil on canvas
• SOLD
As the week progressed in Fallbrook, the weather cooled and large clouds would appear every morning. This painting, inspired by my visit there, depicts a view looking eastward across a small creek that helped irrigate the ranch where we were painting. Clouds are among my favorite subjects to paint and in this case they are the primary interest.
If this painting is dry, I might be bringing it to the Montrose Art Walk this Saturday on Honolulu Avenue in Montrose. I can’t promise, because it may not be dry enough. But on the other hand, at a plein air event, the patrons buy paintings at the end of a QuickDraw event, and they are soaking wet, painted just an hour before. So I might very well bring this one along.
Fallbrook Country Road – Plein Air Study
Fallbrook Country Road
Plein air oil sketch
9 x 12 oil on canvas laid on board
Eucs, palms, oaks, sycamores. I’d have a hard time deciding upon my favorite California tree.
This time, eucs are featured. and it turned out to be one of my favorite on-location oil sketches from Libby Tolley’s workshop. It was late top-light, about 3 in the afternoon, before the sun made its final descent. The hillside was starting to go into shadow, but the warm light was still touching the tops of the brushy shrubs here and there. The eucs are getting the kiss of the sun on their heads but shortly afterward became more sidelit. What attracted me to this scene was the warm glow of light striking the grass at the base of the eucs. I thought that it gave an interesting way to show the trunks that are usually hidden in shadow.
This is a transitional season painting. There still remains some spring grass, especially in the irrigated pasture, but the non-irrigated fields are turning the gold so characteristic of California in the summer and fall. The warm light of the day creates cool shadows – and I like the way the gold of the grass complements the shadowed blue-violet. The suggestion of fence posts adds a bit tot he composition, but I didn’t want to paint them so stiffly and regularly that they became a barrier. Just enough to let you know it’s a fenced pasture, no more.
If you’re in LA, this Saturday I’ll be showing paintings at the Montrose Artwalk, May 2. I’ll be near the bowling alley.
Lean on Me – Fan Palms – Plein Air Oil Landscape Painting
“Lean on Me”
9 x 12 oil on canvas panel
(Fan Palms in Fallbrook, CA)
This friendly palm twosome caught my attention on Wednesday morning at the Libby Tolley workshop. Our assignment was to find a composition that interested us and to paint it in two hours before the light changed. The week got progressively cooler, with atmospheric mornings and more brilliant sunsets. Capturing the quality of cool morning light was one of the many enjoyable challenges we rose to. This painting represents the moment where the morning fog is just starting to burn off, when the sun catches the edge of the palm fronds. Close to the ground the mist still hovers and swirls. But higher up, the clouds are breaking up to reveal a brilliant blue sky.
More palms in other workshop paintings to come …
What I love about workshops – going somewhere new to paint – meeting other artists and making new friends – getting immediate critiques and suggestions about one’s work “in the moment” – the fun of experimenting and trying new solutions to common painting problems – seeing how other people paint a similar scene – feeling tired but satisfied at the end of the day.
Morning at the Ranch – Libby Tolley plein air painting workshop
Morning at the Ranch (Fallbrook) by Karen Winters
8 x 10 inch
plein air oil painting on canvas panel
This past week I had the pleasure of spending five days in a plein air painting workshop with Elizabeth (Libby) Tolley, who is a remarkable central California coast painter. The curriculum for each day built upon the day before, taking us from a demonstration of how she sets up her palette and mixes accurate color quickly to the uses of a quick-drying medium for underpainting. There’s too much detail to share it all here, and besides, it’s all in her North Light book Oil Painter’s Solution Book 
On Monday of the first day, the temperatures were in the 90s by early morning, so instead of going on location and sweltering, our demo was done in the classroom at the Fallbrook School of the Arts. On the second day, we went out to a rural location and were given an hour to do a small painting exercise for mixing greens. This painting was the result. Composition wasn’t the primary goal here – identifying the color and getting it down was. I did touch this up a bit back in the studio to add some details and refine some brushwork, but I didn’t change it much.
Libby is an excellent teacher as well as a gifted painter. She’s clear and precise in her instruction, well-organized, flexible in the face of changing conditions and very down-to-earth in her teaching style. No question is off limits and she is generous in sharing her knowledge.
More about the workshop (and more of my on-site studies) as the week goes on.
Valley Girls – Landscape oil painting – Cows on ranch in Central California
Valley Girls
8 x 10
oil on canvas on birch panel
SOLD
This painting is the result of a test of a new panel I’m working on – a very fine canvas, primed for oil painting and then attached to a birch panel with acid-free archival glue. I didn’t have time to get out today so I used some reference sketches and photos to compose this peaceful scene of a valley in central California.
Although I like the “spring” of stretched canvas, these panels are very light, portable and good for plein air studies.
As I painted this, it started to have sort of a folk art feeling, so rather than fighting it, I just went with it and had fun with the process.
California Plein Air Farm Painting – Peaceful Valley – Karen Winters
Peaceful Valley Farm
9 x 12 inches
plein air oil painting
SOLD
Last week I noticed that the theme on the Creative Construction blog was “farm” and that jogged my memory of this farm study, painted last fall, up around the Santa Ynez Valley. I don’t know the location since we were driving around without a GPS. So I found it in my archives and put on a few finishing touches and here it is.
Today my project is to make canvas panels for a workshop I’ll be attending in Fallbrook the week after next. Someone asked me recently about the importance of study in painting. I think that it’s essential to be a perpetual student, either literally, as in taking classes and workshops, or self-study by learning from nature.
When I’m riding in the car with my husband, if we’re not talking, I’m constantly observing and making mental notes about the landscape. It might be the color of the clouds when the light is coming at a certain angle, or the value difference between the light-struck part of a bush and the underbrush on a bright day. I might think about how I’d mix a certain shadow color that I see on the hills, or the sort of brushstroke I’d use to convey the softness of a field of grass vs. the roughness of a broken stump. We are not just painters when we sit or stand at the easel. We are painters every moment of the day (and sometimes, when we are asleep, too.)
