Monday, November 28, 2016

A guy comes up to me while I'm painting....

One of the things I love about painting outdoors is meeting the locals. While painting in Salida, Colorado, I chatted a bit with artist Ronald E. Paine.

The painting is in casein and gouache. The full account of the technique of the painting is on my new video Casein in the Wild. If you're getting this post by email, you may need to follow this link to watch the video.

Take your paints to the streets
Gumroad (Credit cards)Digital download (HD 1080p 3.1G MP4)

Find out more about Casein
Sellfy (Paypal) Digital download (HD 720p 1.5G)
DVD at Kunaki (ships worldwide) or Amazon
Casein Explorers Pack (12) (A good introductory palette that gives you a pretty wide gamut.)
Casein 6 Pack (The colors I used for this painting. On its own, it's a rather muted palette. It can be used on its own and it also makes a good supplement to the 12 pack.)
Casein 6-pack with travel brush set (Same set as above with the short-handled brushes).


Unknown said...

That guy is a character. I wonder what his artwork is like.

David Webb said...

The easel can act like a magnet sometimes. I was tutoring a class outdoors last year in Brixham, a small fishing town in Devon. An old chap approached me and made some complementary comments about my painting. Then he went on...
'Do you remember Old Bob who used to paint here?'
'Er, no I don't recall meeting him.'
'Oh you'd remember him. 'ad a wooden leg.'
'Oh, no I definitely don't remember him.'
'Eee, well it was a while back. Must've been forty or fifty year ago.'

I'm 54.
Maybe I haven't aged as well as I thought.

Daroo said...

I'm really enjoying Casein in the Wild (great variety of subjects) and was really impressed with the depth and sense of scale in this smallish painting.
I'm curious when you switch over to gouache do you try to match your casein palette with your gouache palette? In this case you used a more full chroma blue palette with muted yellow and reds for the casein palette but then it seems like you increased the vibrancy of the yellows in the second day's painting. Matching the light creates a cohesive palette, but I was just wondering if you had any philosophy on the tube colors you chose on the first and second days (i.e. muted lay in/ higher chroma finish)?

Thanks for posting!

David Webb--Good story, well told. I Chuckled OL.

James Gurney said...

Daroo and David, you guys are such loyal regulars, thank you.
Daroo, I do voiceover after the edit, and at that stage I can usually dig back to verbalize the choices that I was making intuitively at the time. When it comes to color choices, it's hard to rationalize my choices sometimes, because my palette choices are often whimsical and arbitrary. Sometimes I'm operating according to reasonable principle, such as "muted first, high chroma last," but other times I just grab tubes with funny sounding names. Going from casein to gouache necessitated some different colors, but that was OK, like a bit of fresh blood. Don't know if that answers your question, but I didn't want to pretend I was more intentional or procedural than I really was.

David, great story! I'm going to try to capture more passerbys. I did ask one lady for permission to film her but she declined (after she filmed me quite a bit).

VickiRossArt said...

JAmes, I always read your posts! Today I have a question...does your casein video explain why you finish with gouache? I've always wanted to experiment with casein, gouache, and egg tempura.

David Webb said...

Thanks James and Daroo. The easel certainly seems to attract the characters.

James Gurney said...

Vicki, I sometimes start in gouache and end in casein, and sometimes vice versa. Gouache is a little better for fine detail, and that's what I needed for the windows and store details in the scene. I switched to gouache on the recent wolf painting so that I could rewet areas and blend them.