Marsh Creek Plein Air Painting - Racing Time and Tides

Plein air painting on location is never more challenging than when trying to record rapidly changing weather conditions such as ebbing tidal water and the setting sun.

I started this creek side marsh painting in the afternoon with a quick charcoal reference sketch on a toned canvas about 3:00.

An hour later, I had laid in mid tones and was trying to refine my values in the sky and creek which were rapidly changing. Notice the dropping water level in the creek.

Soon the creek had run dry, the afternoon light faded, and I still had away to go with the painting. I like to finish plein air works "alla prima" (all at once) but I lost the light and tide this afternoon.

In today's race to paint the score is: Mother Nature "1" vs. Plein Air Painter "0".

I could finish the painting from my reference photos but the finished painting wouldn't be the same.

I'll return another day to paint faster and smarter. Time and Tide wait for no one...

To see more of my marsh paintings click here.

"Autumn Gold Marsh" A Plein Air Painting of a Lowcountry Marsh

This view of a Lowcountry tidal creek winding through marsh grass turning gold in the autumn light caught my eye as I searched for a painting location during the Oil Painter's of America's (OPA) "Great American Paint Out" at Poplar Grove this weekend.

Plein Air painters from all over the region including members of OPA, the Charleston Outdoor Painters Association, the Charleston Artist Guild, and the Community of I'On Artists gathered to paint in the beautiful fall weather at the 6,000 acre property of Poplar Grove.

Painting this tidal creek required working fast to capture the ebbing tidal water and rapidly changing afternoon light. These conditions often create a painting that is looser and more expressive than work created in a studio environment.

The need to work quickly is one of the challenges that artists find both frustrating and rewarding about painting on location-"en plein air". Sometimes the effort to paint en plein air produces a fresh, exciting finished canvas. Sometimes a less finished but still useful color study or location sketch. Whatever the result, the experience of plein air painting on location in a natural setting, renews and expands an artist's skill.


"Autumn Gold Marsh"
Oil painting on canvas panel
11" x 14"
Price: $450.00

Plein Air Artist Reception for the Oil Painters of America "Great American Paint Out" 2008 Charleston, SC

Many of the nearly 30 plein air artists participating in the 2008 Oil Painters of America sponsored "Great American Paint Out" gathered Sunday in the spectacular setting of the Poplar Grove Boathouse on Rantowles Creek near Charleston, SC.

Good food, friends, and artwork all added to the enjoyment of a beautiful Fall day spent relaxing on the spacious porch overlooking ancient oaks and the sparkling water of Rantowles Creek at Poplar Grove.

The afternoon provided painters the chance to discuss their weekends work with each other and Poplar Grove guests.
Pictured left to rt. are artists Hilary Lambert, Ann Merrill, Bonnie Stabler, OPA member and event organizer Sara Jane Reynolds, Barrie Hinson, and Veronique Ariel.

When asked what would be their advice on painting "en plein air" (painting on location) to new plein air painters, some of the artists offered the following replies.

"Make yourself come out. A photograph is nothing like being out there." Barrie Hinson
"Don't let Nature intimidate you." Veronique Ariel
"Keep it simple. Streamline your equipment." Almeda Kelly
"Don't forget your bug spray." Diane Balister
"Forgetting something essential (like your brushes) forces you to new solutions, like using your palette knife instead." Ann Merrill

"The camaraderie among fellow artists who share the same passion as I do for plein air painting is an important part of painting en plein air." BeNita McAdam

"Squint for shapes. Open your eyes for color." Hilary Lambert
"The vertical plains are darker than horizontal plains. Shadows in the horizontals (like the ground) can't be as dark as in the verticals (like a tree)." Bonnie Stabler
"Use thumbnail sketches or a viewfinder to simplify your compositions. Use a mirror to help correct errors and strengthen your painting." Kay Schneider

"Don't throw everything you have at the canvas. Keep something in reserve. Winston Churchill in his book "Painting as a Pastime" uses the analogy of creating a painting to fighting a battle. If a general uses everything he has, all his artillery, and keeps nothing in reserve, and if at the end of the day he hasn't won the battle, he has nothing left. Likewise an artist needs to keep something in reserve." Sara Jane Reynolds

I wish I'd had a chance to hear comments from all the artists painting en plein air this weekend. Several artists advised against using "tube" green paint. They believe mixing greens from their palette colors unifies and strengthens their plein air paintings.

Do you have a tip or trick about plein air painting to share? Maybe something funny happened while you were "out there" painting? It'd be great to hear your comments.

Oil Painters of America "Great American Paint Out " 2008 Plein Air Event at Poplar Grove

The Oil Painters of America (OPA) organized a plein air event this weekend at Poplar Grove Plantation near Charleston, SC as part of OPA's "Great American Paintout".

Local OPA member Sara Jane Reynolds invited regional artists including the Charleston Outdoor Painters Association , and the Charleston Artist Guild to paint with OPA members on this spectacular 6,000 acre Lowcountry Preserve.

The weather was perfect for plein air painting, sunny and mild with few bugs - a rare day in our semi tropical climate.


I took a break from my afternoon painting on a peaceful tidal creek to see who was painting where.

Here are a few of the painters I found painting at locations all over the 6,000 acres of property that make up Poplar Grove.

The covered dock on Rantowles Creek was a popular painting site.
Taking advantage of great views from every direction were painters Barrie Hinson, Ben Nita McAdam, Ann Merrill, Sally Reynolds, and Rick Reinert.


Sparky Howard, Property Manager of Poplar Grove takes notes while keeping things running smoothly as Sara Jane Reynolds and Ann Merrill enjoy the views of the creek.


Linda Hickman chose to paint an open marsh view including a creek side oak tree used as a "rookery" by herons in the evening.

in the shade of a group of trees. The afternoon light on a marsh vista and distant tree line made an interesting composition for her second painting of the afternoon.



Carol McGill was putting the finishing touches on her palette knife painting of Rantowles Creek at Bulow Boat Landing. Carol had created two plein air paintings of Poplar Grove that could be hung together as a set. She said a number of "Paint Out" artists had chosen to paint at the landing earlier in the day.

The Oil Painters of America SC "Great American Paint Out" plein air event continues tomorrow with a morning paint out session followed by a reception from 11-1pm to meet the artists and view the artwork in the Poplar Grove Boat House.

Angel Oak - More Trees to Be Cut ???

Angel Oak has been a source of artistic inspiration for many artists in various forms: music, dance, poetry, folk stories, novels, painting, fine art photography...

It's age, beauty, and size all make a lasting impression that's rare in our modern world.

Sometimes it's important to become involved in the preservation of the natural beauty that inspires and enriches our lives.
A writer to this blog has sent the following comment that I want to pass on.

Emily writes: "Please Come Out on Oct.1, 2008 To Help Save The Angel Oak"
"A meeting of the Board of Zoning Appeals - Site Design Will be held on Wed, Oct. 1, 2008 at 5 pm in the Main Conference Room, 3ed Floor, Charleston County School District Building, 75 Calhoun St. Chas, SC. The following applications will be considered:
A. Application advertised for previous Board of Zoning Appeals - Site Design agendas but not heard due to meeting cancellation or deferral. For information on this application, call 724-3790.
1. Maybank Highway and Bohicket Rd. (Johns Is.) (TMS#279-00-00-142, 248 and 309).
Request a variance from Sec. 54-327 to allow the removal of 11 grand trees ( Ordinance prohibits the removal of trees having a 24-inch or greater diameter at breast height (D.B.H.).

Request a special exemption from Sec. 54-327 to allow the removal of 14 grand trees.

Request a variance from Sec. 54-330 to allow a reduced impervious construction setback near the bases of five (5) grand trees.

Zoned PUD.
Owner: AOV-AOD, LLC and AOD Develop.,LLC
Applicant: HLA, Inc

"Plan on being at this meeting Wed, Oct 1 2008 at 5:00 PM at 75 Calhoun St. 3rd floor, Main Conference Rm. We have to show up at this meeting and tell the Board of Zoning Appeals we say NO to the destruction of these trees.

"Paint Charleston Daily" is about painting in the beauty of Charleston and the SC Lowcountry. While I don't oppose well planned development, I agree with Emily and many other concerned Charleston residents that this developer's request to remove 25 more "Grand Trees" and to increase the encroachment allowance around 5 other "Grand Trees" on the land to be developed around Angel Oak is not in the best interest of Angel Oak or the Charleston community.

Board of Zoning Appeals Meeting: Oct 1 2008
5:00 PM
75 Calhoun St. Chas, SC
3ed floor-Main Conference Rm.
Chas County School District Building

A New Drawing of Angel Oak by Charleston Artist Katherine M. Schneider

The light is softer and the air is sweeter under the sheltering branches of the Angel Oak.
What a wonderful way to spend a fall morning in the Lowcountry.
Today's charcoal and conte drawing of Angel Oak is a welcome change from my plein air painting in oils.
Drawing on location with charcoal and other dry media is a looser, more direct artistic treatment of a subject which helps keep my oil paintings fresh and expressive.
I also enjoy the unique beauty and expressiveness of the artist's "mark making" evident in a Fine Art Drawing.

"The Angel Oak"
Charcoal and Conte on paper
Drawing size: 10.5" x 14"

Here's a link to more of my Live Oak drawings and paintings.


The woods along Angel Oak Rd. are full of red survey markers signaling the soon to be cleared woodlands surrounding Angel Oak Park to make way for high density housing and commercial development.

Hurricane Art - "Waterspout " An Etching from the Hurricane Hugo Storm Series

September is the peak season for hurricanes in Charleston. Tornado damage in SC from Tropical Storm Fay last week and the strengthening of new storm systems in both the Gulf of Mexico and Atlantic Ocean have alerted locals to the danger of these storms. Many new residents of the Lowcountry have never weathered a hurricane.
I'm posting photos of storm damage from Hurricane Hugo and the etching "Waterspout" from the Hurricane Hugo Storm Series as visual reminders of the powerful destructive forces in all hurricanes.

"Waterspout"
Variable wiped zinc plate etching on rives BFK paper
Image size: 27.5" x 25.5"
Framed size: 39" x 32"
Price: $450.00

"Waterspout" is one of 12 etchings in a series created from storm damaged zinc printing plates of my impressions from Hurricane Hugo. The etchings have been exhibited as a group show "The Storm Series" in Charleston, SC and individually at the University of South Carolina Aiken's Etherredge Fine Arts Center and The Piccolo Spoleto Juried Print Exhibition at the Old Charleston Jail.

Although my family evacuated our home on the Isle of Palms for Hurricane Hugo, we underestimated the storms strength by staying in Mt. Pleasant,SC. We were lucky. Only our property was damaged. Next time we won't wait to evacuate much farther inland!

Hurricane Art - "Wind Over Water" An Etching from The Hurricane Storm Series

As the September 21 anniversary of Hurricane Hugo's 1987 arrival in the Lowcountry approaches, I'm posting another of the etchings from "The Storm Series".

7 storm damaged zinc etching plates I discovered in a Charleston, SC art store after Hurricane Hugo became the inspiration for a series of large etchings of impressions from that "Storm of the Century".
The etching"Wind Over Water" is an artistic expression of the powerful winds and storm surge I experienced during Hurricane Hugo in Charleston.

"Wind Over Water"
Variable wiped zinc plate etching on rives BFK paper
Image size: 27.5" x 25.5"
Framed size: 39" x 32"
Price: $450.00

12 "variably wiped" etchings and 3 of the original 7 storm damaged zinc printing plates have been exhibited in a show entitled "Storm Series-Hurricane Hugo Etchings"at the Saul Alexander Gallery of the Charleston County Library. Etchings from the series have also been selected for inclusion in shows throughout SC including The University of SC Aiken and The Piccolo Spoleto Juried Print Exhibition at the Old Charleston Jail.

Hurricane Art - "Flashing Water" An Etching from the Hurricane Hugo Storm Series

As Tropical Storm Fay dumps up to 30 inches of rain in areas of Florida, Charleston and the SC Lowcountry are also getting lots of rain from the outer bands of the storm.

This stormy weather reminds me of a series of etchings I made after Hurricane Hugo struck Charleston, SC on September 21, 1989.
After Hugo hit Charleston, I found zinc printing plates that had been etched from the storm surge, rainfall, and high winds which had also heavily damaged my home and much of coastal SC.

These storm etched printing plates became the inspiration for a group of etchings I created of my impressions from Hurricane Hugo.
Driving wind, rain, high seas, tornadoes all found expression in a collection of large etchings I call "The Storm Series".

The Storm Series - Hurricane Hugo Etchings
"Flashing Water"
Variable wiped zinc plate etching on rives BFK paper
Image size: 27.5" x 25.5"
Framed size: 39" x 32"
Price: $450.00

The zinc plate etching "Flashing Water" has been exhibited in shows at The Etherredge Center for the Fine and Performing Arts -University of South Carolina Aiken, The Saul Alexander Foundation Gallery of the Charleston County Library, Print Studio South and the Piccolo Spoleto Juried Print Exhibition.