Started 9:15 am Wednesday May 9th, 2018.
My history at Mallorytown Landing goes back to 1960 when I was seven. Our family camped there on weekends and sometimes for a couple of weeks in the summer. We cooked on the old stone and steel fireplaces, swam, hiked and really enjoyed the experience. Back then the fishing was still great. The opening of the St Lawrence Seaway had not yet impacted on the fish populations. The swing set was terrific. Tinkerbell our cat once decided she wanted to stay. We spent hours late on a Sunday afternoon before we could find her to take her home.
I set up my easel on what used to be the sand beach in front of the artists from the Thousand Islands Artists Association. Nature has reclaimed the waterfront and that was fine. It had been a perfect swimming area right out to this rocky point. We used goggles and swim fins and played for hours in that sand and water. The shallows and shoals on the other side of the point were great for pike and bass. We trolled during the summer and ice fished during the winter. Mallorytown Landing was and is a very special place.
I had a large group of artists attending this plein air workshop. I wanted to explain the difference between painting into the sun and focussing on tonal values versus painting with the sun on your back and painting colour. I was looking southeastward directly toward the morning sun. This vantage is especially hard on your eyes but I do not do it often. This demo lasted less than an hour and I was in and out of the artistic zone as I explained what I was doing and why. Sometimes it is easier to see things being done rather than listening to an explanation. The other goal was to convince them that you could mix the correct value or colour, lay it in and leave it. Be bold. There is really no need to polish the brush stroke. Leave the stroke alone and let it breath vitality into the art. I try every approach that can be imagined to find the one that might connect with the attendees.
The spring greens were evident in the budding leaves and the grass. I was careful to match that colour. The black flies and midges were out but nothing was biting. It was a beautiful day. I had a big thank you to the Thousand Islands Artists Association for believing the forecast and moving the planned outing one day ahead in order to avoid the cold front, rain and winds of Thursday. That forecast verified very well.
I had a large group of artists attending this plein air workshop. I wanted to explain the difference between painting into the sun and focussing on tonal values versus painting with the sun on your back and painting colour. I was looking southeastward directly toward the morning sun. This vantage is especially hard on your eyes but I do not do it often. This demo lasted less than an hour and I was in and out of the artistic zone as I explained what I was doing and why. Sometimes it is easier to see things being done rather than listening to an explanation. The other goal was to convince them that you could mix the correct value or colour, lay it in and leave it. Be bold. There is really no need to polish the brush stroke. Leave the stroke alone and let it breath vitality into the art. I try every approach that can be imagined to find the one that might connect with the attendees.
The spring greens were evident in the budding leaves and the grass. I was careful to match that colour. The black flies and midges were out but nothing was biting. It was a beautiful day. I had a big thank you to the Thousand Islands Artists Association for believing the forecast and moving the planned outing one day ahead in order to avoid the cold front, rain and winds of Thursday. That forecast verified very well.
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