Aaron Holland Fine Art

This shows a work-in-progress. I will post the finished painting in the Plein Air gallery.

The scene shows a view overlooking the Bay of Sturgeon Bay in the distance. The bay is visible only by a large valley from where I am looking. On the opposite side of the Bay can be seen the East-side of the city of Sturgeon Bay. In the foreground is an old abandoned Cherry Orchard.

The sun is just starting to set over my right shoulder.

24x30", oil on linen- HOLLAND

This is a Direct Method of painting, as you can see from the start in the background- what I see is what I paint!

Below is a demonstration on a Plein Air technique that I use for painting in one session:

 

Step 1: The Drawing

Begin by drawing an outline of the major elements in the scene. I used a thinned mixture of Ivory Black and Permanent Alizarin. Begin to make notes of any and all shadows; in this picture the sun was high so there were only a few prominent shadow shapes.

 

 

 

Step 2: The Wash

With thinned, and somewhat transparent, paint I cover the canvas. I want the painting to look like the finished picture as soon as possible! I work in simple, flat masses of color. Often-times I will work with the flat side of a china brush in a scubbing motion (against the bristles) to apply paint. When the canvas is covered I begin to paint opaquely.

 

 

 

Step 3: Thick Paint.

I now begin to add opaque paint ( once the canvas is covered), and at the same time I continue to develop more specific shapes and colors.

 

 

Step 4: Finish

Develop details, refine shapes, build up thicker paint in the lights. More blended color in the background, more broken color in the forground.

 

"Gill"s Rock" oil on linen 8 x 10" HOLLAND

The Nina was reported to be Columbus' favorite boat.

This last weekend, an authentic replica sailed into the harbor of my hometown. The captain of the vessel said that it is authentic even down to how she was built. This Nina was built by shipbuilders in Brazil who still practice making boats the same way as the original.

The Nina is currently on a tour of the Western Hemisphere, according to the shiphands. Since its conception 16 years ago, she has already logged over 300,000 miles.

 

"The Nina"

oil on linen, 8 x 10"

There are only a few rivers where I live.

One of them (though it is really only a stream) runs through a large open field of tall grass .

 

The day was hazy, and I followed the stream as it meandered through the grass, looking for a place to paint...

It was an enjoyable walk. I was heading back to the car to get my gear when there was a disturbance in the grass- a large movement. I was hoping to see a deer, which always makes the day better, but was happily surprised to see a large Turkey (about three feet, round) pop up not ten feet away.

 

Ahhhh, nature.

Turkeys are common, and I have seen a number of them, but none so close as this one. Just last week someone had mentioned that Benjamin Franklin had wanted to make it the National bird. This person laughed and expressed his relief that it was not chosen, because "it's rather a dumb bird", he said.

I didn't know about that, but those were my thoughts as I looked on this large bird.

He didn't fly away as I expected him to, instead he began cackling very loudly and flapping his wings and running around. I gave it a wide berth, but instead of running away he started running towards me. I moved back, he moved forward. I moved left, he moved right. It was not your typical square dance. All the time it was cackling loudly at the air.

I was pretty sure I could take it if I had to, but I didn't want to find out how I was going to do it.

I stopped to see if it would just keep going, but it kept circling and cackling and flapping its wings wildly.

I made loud noises and kicked at the air. Now I was looking as dumb as the Turkey. (A grown man yelling and kicking and waving his hands at a turkey smacks of the ridiculous, but I assure you it happened just as I am describing it).

Well, the Turkey finally ran off when the Vultures arrived.

I looked into one of their eyes (so cold as death). I could hear their wings flap just above me. Needless to say, I didn't stick around to talk Turkey with them.

I walked rather briskly from the scene scratching my head and decided I could surely find a more peaceful place to paint than this...

"SERENITY"- WATERCOLOR PAINTING DEMO.

1. I start with a finished drawing on drawing paper, working out all the difficult areas and potential problems there, first.

2. Next I trace the drawing using clear acetate, and a sharpie pen (pictured below).

3. Next I lay the transfer over a "stretched" piece of water-color paper (as shown).

4.Re-draw using acetate to guide you lightly with a pencil, do not scratch or score the paper if possible. This outline will give you a solid foudation when you begin painting, and craete an environment that encourages "planned spontaneity"!

5. The finished drawing, lightly, in pecil.

6. Before beging with any watercolor, and before adding any moisture to the paper, Now is the time to add a Masking Fluid. Masking Fluid is a little like watered-down rubber cement usually with a colorant added. This allows you to preserve the white spaces which are so charecteristic to water-color, especially Transparent Watercolor. This must be done while the paper is completely dry or it will become permanant. Allow to dry before proceeding.

7. I almost always add a golden or orangish wash first, if I am painting a sky. This shows through later, and gives a warm sunlight effect through blue sky. Do this evenly from top to bottom using a very pale wash of color overlapping your strokes on a slightly tipped-up board. I use a 2-3" wash brush made from squirrel hair. Do not go back over your previous strokes if possible. Allow this to dry before proceeding- you can paint again when the paper is no longer "shiny".

8. I generally work from light to dark in watercolor, gradually pulling out the darks. Watercolor is more difficult to correct, so I prefer to slowly add the darks when I am more sure about their placement.

When that was dry I felt it needed a gradated pinkish wash in the top and bottom portion of the sky.

9. On a very slightly-dampened paper I added the wash of orange in a darker color. I am careful at this stage to not over-mix the color, but to let it mix a little on the paper. You can paint on this if you wish, as long as the paper remains shiny, but I would suggest you stop at that point or you are likely to get unwanted edges. To soften an edge, use a clean brush with a minimal amount of clear water on it, and quickly work it over the edge. Restraint is needed in watercolor. Less is often more. A watercolor that is underworked is generally more interesting than one worked-to-death.

10. You can always do it again if it doesn't quite work out!

I start to add a little blue- violet in very light washes over the pink in sky and water. When that dries I decide to do a darker blue wash, until the colors in the sky and water are the shade I am looking for.

* Note - it is better to do less washes in the sky (and here water too) to keep the light feeling of air and atmosphere. The more washes you add, the heavier it will feel. I think I settled on two under-washes, and two washes of blue on top to get the finished result.

Finish: When you are happy with your picture (or decide it was a practice run) allow painting to dry thoroughly overnight before removing tape. At that point you will first want to remove the masking fluid to reveal your white spaces.

Frame and hang accordingly.

Below is a demonstration of a Plein Air technique that I use for painting in one session:

 

Step 1: The Drawing

Begin by drawing an outline of the major elements in the scene. I used a thinned mixture of Ivory Black and Permanent Alizarin. Begin to make notes of any and all shadows; in this picture the sun was high so there were only a few prominent shadow shapes.

 

 

 

Step 2: The Wash

Using thinned (somewhat transparent) paint I cover the canvas. I want the painting to look like the finished picture as soon as possible! I work in simple, flat masses of color. Often-times I will work with the flat side of a china brush in a scubbing motion (against the bristles) to apply paint. When the canvas is covered I begin to paint opaquely.

 

 

 

Step 3: Thick Paint.

I now begin to add opaque paint ( once the canvas is covered), and at the same time I continue to develop more specific shapes and colors.

 

 

Step 4: Finish

Develop details, refine shapes, build up thicker paint in the lights. More blended color in the background, more broken color in the forground.

 

"Gill"s Rock" oil on linen 8 × 10" HOLLAND