Penn Valley Ruins

This old stone structure is inviting from many different angles.  I first drew this composition from outside of the structure.  With the sun approaching noon,  I could certainly draw this, but paint would have to wait as the light soon hit the front straight on, changing everything about the values.  The back side was also very interesting, giving me the feeling of standing inside, looking out.  This building has called to me every year I've painted here for Plein Air KC, and this is the first time I've answered the call.  I'm sure it won't be the last.  Painting number 1939 in 1939 days.

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Kansas City Scout

The Scout draws visitors far and wide, and is truly a Kansas City icon.  When I arrive on location, I like to check out all the angles, looking for the best composition.  After sketching from this side, I hiked down the hill a little for another striking view.  I drew three different ink drawings before I finally got into the paint!  Painting number 1938 in 1938 days.

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Creekside in Penn Valley Park

This lovely creek called to me as I approached the stone bridge.  Looking towards the lake, I could not resist it.  I set up on the bridge, wanting to catch all the angles of creek and land.  Their interplay was inviting, so I penned it first, going right into paint.  The light changed quickly, so I kept the first color marks, avoiding the "chasing of the light".  Several artist friends were painting in the same area, which is always fun.  We can visit a little or work in silence, always checking in before moving to another spot.  There is so much camaraderie in the field, it is something I really LOVE about plein air.  Painting number 1937 in 1937 days.

oil on panel, 9x12
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Penn Valley Park Morning

This peaceful, tranquil painting was like birthing a baby to finally turn it in for judging!  Day one of painting was serene and still, and I used my acrylics for the underpainting.  Day two was windy and sprinkling, and I found myself holding the panel as I painted in oils.  What should have been a breeze to complete took longer than expected, and actually encroached into my quick paint time.  Family arrives in town, we celebrate the graduation of our youngest, and I get a call from another artist about the drop off time for our large pieces.  OMG, I completely forgot about the early time and my painting is as I left it two days ago.  No problem, I'll just do all my paperwork, pop it in the frame and get it downtown in the 3 hour window.  I sprayed it with a quick dry medium, which I forgot in the field, and tried to set it in the frame.  It wouldn't go.  I measure the panel and measure the frame.  The frame is 1/32 of an inch too tight!  No!  After trying to shave the edge with a chisel (to no avail), I gave up and sawed that edge off on the table saw!  Ever try to saw a wet painting?  I tried to shield the still wet paint with cardboard while cutting.  After blowing off the sawdust and touching up a chip, finally this baby was framed.  One just never knows what extreme measures must be taken at the eleventh hour.  What a relief to turn this painting in on time!  Painting number 1936 in 1936 days.

Showing at Buttonwood Art Space
oil on panel, 24x36

Penn Valley Lake Inked

I have tried 14 different shades of brown ink, looking for the perfect color, to no avail.  On a crazy whim, I decided to half load Levenger Cocoa and add Levenger Raven Black to my newest TWSBI Eco T fountain pen (in yellow green!).  Guess what?  I LOVE the color!  It is exactly the rich dark black brown I've been searching for!  That vintage quality it adds to this drawing is timeless!  I found a perfect solution!  The way it spreads with water is also perfect.  It's a great day, my friends!  Painting number 1935 in 1935 days.

ink on paper, 4x6
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Roanoke Gates Inked

Loving the stonework pillars and the iron gates, I set up in the shade to determine my composition.  With the light streaming through the trees, the landscape was very inviting.  Taking out my favorite pen (which I just refilled with raven black ink) I drew the scene before me.  Today's paper is 100% cotton rag with a rather rough texture and a thicker coat of sizing than my usual paper.  The ink flowed perfectly, and I didn't have trouble with my water brushpen gumming up (as I sometimes do).  This paper is available in town, though it's origin is also India.  Great to find another paper to love, there are so many that fall short of excellent.  Painting number 1933 in 1933 days.  My, how time flies!

ink on paper, 4x6
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Evening at Penn Valley Lake

I'm painting my large piece in this same location, and worked on it right up to the time of the quick paint.  Grabbing my panel and rain gear, I got my quick paint stamp, and hiked back to my easel.  The light was already so different than earlier, so this painting has a completely different mood to it.  It was very peaceful painting on the bridge, overlooking the lake, and that feeling seeps into each brushstroke.  Now, if only everything was ready for company when I got home.  A girl can dream, can't she?  Painting number 1932 in 1932 days.

Union Station Reflections

I've painted Union Station several times over the years, but I have never stood in this location with that beautiful fountain in the foreground. I LOVE this view!  That warm golden hour light is gorgeous and fleeting, and one must be ready for speed painting to capture that light!  I drop the lines with my favorite TWSBI fountain pen and Levenger Raven Black ink, coaxing those grays with a wet brush.  The energy of the city is in the very air, and slips right into my work with every stroke.  I'm so lucky to get to do this every day.  Painting number 1931 in 1931 days.

Light on the Gate

I have lived most of my life in this area, and I have never been to this park. Furthermore, I did not even know it existed!  The area is gorgeous, and so historic.  After a little scouting, I returned to what grabbed me right at the beginning - this open gate with the dappled sunlight pouring through.  This was a two hour quick paint, and I didn't start my sketch until 20 minutes in.  So, I cut my allotted two hours down to just under an hour and a half.  I had already thought out my painting during the drawing process, so I got right down to business getting those lights marked first.  I pushed into the darks next, getting those masses down.  I work very intuitively when I'm in a race with time, using those last minutes to merge masses and complete the finish work on the edges.  It was a lovely place to spend a couple hours.  I will definitely return here to paint!  Painting number 1930 in 1930 days.

Standing for Liberty

Already a busy morning, I found myself driving from our Urban Sketchers KC event to the Plein Air KC one!  This view grabbed me as I parked along side it.  Setting up on high ground allowed me to become emersed in the sights and sounds of the city.  So many people visit this park, on foot, with their kids or dogs.  I could hear music wafting up from two venues, one obviously celebrating cinqo de mayo.  There's an energy here, one that is new to me.  All of these sounds are different from those in the country.  I don't realize it until I spend quality painting time in this spot.  Can't wait to do it again.  Painting number 1929 in 1929 days.