Optimal Orientation of Subject and Artist in Plein Air
Before the first daub of paint is squeezed out of the tube and
brush is put to canvas, many plein air painters have already set themselves up
for failure. How? By selecting a site that doesn't translate well into
painting. Just because a scene is beautiful or interesting doesn't necessarily
make it a good subject for painting. There are many conditions that can be met
to help maximize your ability to translate the scene from the real world to a
two dimensional canvas.
I began painting directly from nature after college, but my
first efforts in plein air painting were disappointing. I knew how to draw and
paint well, but when I painted outside nothing seemed to work as it had in the
studio. The paintings lacked depth and life. Only after several seasons of
trial and error did I realize that I was "setting up" my subject
improperly. I chose subjects that lacked clear patterns of light and shade to
define form. All artists desire clear patterns of light and shadow and volume,
but in plein air painting, finding them is a matter of putting oneself in the
right place at the right time.
The Light Upon the
Scene
Painting in nature more than just finding a beautiful scene that
you like. Because of our keen depth perception, every scene appears
three-dimensional. But not every scene presents its depth in a way that the
artist requires for translation on canvas. Remember, three-dimensionality in
painting and drawing is always an illusion. So we should look for sites that
present the visual cues we need to bring depth into our "flat"
two-dimensional paintings.
Where the sun is. Because
the sun is lower in the sky in the morning and in the late afternoon, the
light-side and shadow-side of forms are more clearly defined and noticeable.
These are ideal times to paint. At midday the defining shadows are diminished.
Trees are likely to be top lit and cast shadows are at a minimum. If you rely
on these diminished cues, it will be harder to find the form and structure you
need. While your depth perception allows you to always perceive the landscape
as three-dimensional, there won't be any cues for the viewer's depth perception
in your painting unless you put them there.
In the spring and summer, any time after sunrise to about 10 am
is ideal. The sun is lower in the sky, cross-lighting forms in the landscape
with defining shadows. If you like to sleep late, you can catch the crisp
shadows a little later in the afternoon, beginning at 3 or 4 pm and as late as
8 pm. Of course, these times vary depending on the season and your latitude.
Depending on where you live, winter can be an ideal season, as well (if you can
stand painting with your mittens on!). Not only does winter offer a unique
palette of colors, but the sun is always lower in the sky, never directly
overhead, so it casts desirable patterns of light and shade throughout the day.
Because the photo at left was taken early in the morning, it
reveals a distinct crosslight. When the light-side and shadow-side of forms are
expressed in the painting (Mitchell Albala, Autumn Boughs, 1997, 12 x 16),
there is much greater suggestion of volume.
Finding the optimal
crosslight. Try to orient yourself as close to 90° from the angle at
which the sun is striking the subject, so as to get the best view of cross
light and shadow patterns. Here's a trick I always use: stand facing the sun.
Then raise your arms so your body forms a "T." The direction your
arms point are the two best directions from which to select your site, give or
take. Avoid painting with the sun directly behind you or directly in front of
you.
Where you are.
Even if you paint at these times, you can still position yourself so that you
won't be able to take advantage of the light patterns! Even in the morning or
late afternoon, you can orient yourself to the subject in such a way that the
sun is directly behind the subject (back-lighting )or dirctly in fromt of the
subject (front-lighting), which hides the shadows altogether.
Where the sun will be.
Pay attention to where the sun is headed. Say you've found a sunny spot filled
with interesting shadows. Is the sun just over the top of that building or
tree? Is it going to disappear in ten minutes? If so, all your interesting
shadows will disappear with it. If the sun about to come up from behind a tree
or building, changing the light and color structure of your entire scene?
The Light Upon You and
Your Painting
Make sure the palette and canvas receive equal light. A single color
appears different under lights of different brightness. An awareness of this is
crucial to the painter, especially when working outdoors, where the light
cannot be controlled. Imagine your difficulty if every time you mixed a color
and applied it to the canvas, it appeared either darker or lighter than you
intended. You'd spend all your time trying to compensate for the difference.
This is exactly the problem you will face if the light on the your canvas and
palette is not the same. The following examples show the various lighting
arrangements of the easel and palette, from worst (left) to optimal (right).
1. Severe
imbalance. In the worst possible arrangement, the palette is sun-struck while
the canvas is in shadow, or vice versa. This imbalance makes mixing the desired
colors almost impossible. Too much of your time will be spent trying to
compensate for the difference.
2. Canvas and
palette in full sun. Not only is this arrangement blinding to look at, judging
colors in direct sunlight is next to impossible; colors appear overly
saturated. Color choices made in direct sunlight will also look very different
under normal, indoor viewing conditions. Although the landscape you are
painting can be under full sunlight, you and your painting should not be.
3. A balanced
light in soft shade. The most balanced painting situation is achieved when
palette and canvas receive equal light. This is most easily found in soft,
diffuse shade, such as under a tree or in the cast shadow of a building or
hill. Colors mixed in a balanced, shaded light are more likely to be the color
intended when applied to the canvas. Shade is also closer to a normal indoor
viewing light. Overcast or cloudy days naturally offer a diffused, balanced
light.
4. Create shade
by blocking. Often you find a beautiful location, but can't escape from the sun
shining directly onto you and your easel. In full sunlight, the easel can
sometimes be positioned opposite the sun so that the painting surface casts a
shadow onto the palette. You may still be in the sun, but your palette and
canvas will have some protection. With French easels, cardboard or an extra
canvas panel can be propped vertically behind your painting surface to block
some of the stray sunlight.
Upright palette. With a French easel, an easy way to ensure that equal light falls
on the canvas and palette is to place the palette upright on the same plane as
your canvas. Use a mini bungee cord tied from behind to hold the palette
against the frame.
Artist's umbrella.
An artist's umbrella allows you to make your own shade wherever you are. The
best umbrellas are white or neutral-colored; a colored umbrella will create a
color cast over the painting. Umbrellas have their risks. In even moderate
winds they can turn your painting session into a sailing session. An umbrella
with ventilation slits will reduce this risk.
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Mitchell Albala is the author of Landscape
Painting: Essential Concepts and Techniques for Plein Air and Studio Practice
(Watson-Guptill, 2009). Find him on Facebook and YouTube.
Additional Resources:
Landscape
Painting: Essential Concepts and Techniques for Plein Air and Studio Practice
Chapter 6, Site
Selection