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Author: Larry_Seiler, Contributing Editor
 | Now I turn my attention to the water. I know my time with the existing light left to me is limited, and I have kept my background treatment simple enough that this finishing will get my greater focus.
Looking at this closeup, you see lots of marks. Color marks. Water is an intimidation for many, at least judging from questions I get...but one has to give oneself permission to have fun with it. Take some risks! I often tell folks that I look at water no different than any other subject. Every painting is nothing more than one spot of color put down next to another until finished. A portrait sitter's nose, a tree...and water. I squint my eyes...at the source, the water. Looking for hints of movement indicators, changes in values of light and dark, and squinting the eyes eliminates the unnecessary isolating the essentials. I also squint my eyes at my painting. The effect of the water will be fully felt by the viewer standing back about 3 paces or so looking at the work. Coming up close will be fun, revealing the organized chaos...the painterliness. I have several brushes in my hand at this time, smaller filberts, a few rounds...designated for certain values and color. I wipe much, as clean color is important laying wet into wet, and certainly this image goes to show how I stick to that "laid is stayed" axiom. |
| Now...as I'm working, this is what I see of my painting. Squinting my eyes, I get a sense of how it will work cohesively to suggest water with all its properties of flowing, reflecting and so forth. I get a sense without having to back up 7-8 feet or so, thus saving time.
Its a habit some struggle with, and one my students hear me rant on and on about. If it doesn't work with eyes squinted, it won't be working from any distance stepped back. Seeing it work with eyes squinting will also build your confidence and boldness. At this time I am looking for any hint of color to include, for I want to add punch to this area. Consideration for color used elsewhere in the painting is considered applicable to include here to add to greater color note rhythm and a cohesive unity. |  |
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| Here at last is the end result of this session. Inclining to add anymore at this time will feel like fiddling and muddling. Light is changing so much, that I would risk compromising the work, and I feel I have captured the moment, thus, I am satisfied. Having stood in the cold this long the thought of gathering up my gear and headin' back to warm up the truck is a welcoming thought.
Back instudio, the piece will sit on an easel for a number of days as I go about my other work, and in time I will note if a minor addition or change will be warranted. For one...I am questioning the near rectangle'ness of the point of snow protruding out and toward the viewer into the water. I may add variation to make it less angular or squarish. That is yet to be determined. Oh...yeah, nearly forgot to share that while backing up to take a digital picture of one of my paint stages and look it over, I accidentally kicked my shoulder bag for my Guerrilla box easel into the turbulent swift current river. Immediately, I plopped myself to the shore's snowy edge and stuck my leg out, dipping my boot toe into the dark water. I managed to come beneath a floating strap and brought my toe up catching it. Then lifting the leg up and over dropped the bag onto the snow. I was quite glad to have waterproofed boots and warm ones at that. Another reminder that it was good to have extra gloves or mitts with me for unforeseen events came when handling the wet bag to put my easel away. My gloves got quite wet, and then just how cold things were getting became apparent. Regard nature with respect and take measures to plan ahead and prepare, and in so doing you will enjoy every prospect of a pleasant outing. This little incident though reminded me that even the most seasoned veteran cannot anticipate all that might happen, and that of all things one can afford to slip into second nature considerations...one's potential safety cannot be one of them. Always plan ahead. Let others know if you are out alone the general area you plan to be, and if you live in an area where reception is good it may well do to carry a cellphone. To give my wife peace of mind, I commit to carrying a few "just in case" items in case I find myself spending a night in the woods...such as a waterproof gadget to store and keep matches dry to make a warm fire, a knife and so forth. Have fun...keep safe. I hope you have found this outing with me in the northwoods of Wisconsin enjoyable, instructive...and considering you've come this far with me you have even somewhat endured the conditions! Now...it's your turn! Larry |
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| B i o g r a p h y | |
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Larry Seiler has near 20 years experience instudio as a Wisconsin midwest wildlife artist, (including such distinctions as Wisconsin's Wildlife Artist of the Year 1984, and the state Inland Trout Stamp design winner of 1998), and near a decade experience painting outdoors (plein air). Living and working in NE Wisconsin's Nicolet National Forest, represented by Main Street Gallery and Parkside Gallery of Minocqua, WI; Moondeer Gallery of Boulder Junction, WI, and Frame of Mind Gallery in Lakewood, Wisconsin. Larry is a long time staff member/moderator of Wetcanvas.com, and an Industry Partner offering many educational helps, updates on workshops, and instructional aides for members in his own Partner forum. Larry recently wrote and released his first book on landscape painting, 307 pages on CD Rom in Adobe Acrobat Reader format for both Mac and PC users. Information on availability of his book, and contents can be found on his website and his Industry Partner forum. Larry is also a working musician, fronting on occasion with his band "Beggar's Joy" Playing more the coffeehouse style folk/blues with two CD's of his original style music. |
| E-Mail: lseiler@ez-net.com Web Site: http://www.artlandishconcepts.org | |
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