Cecy Turner is an award-winning artist and a Texas native. She graduated from Vanderbilt University and did post-graduate study in art at University of North Texas.
Feature articles about her have appeared in Art of the West, Artists Magazine, Watercolor Artist Magazine (cover) and she was chosen by Southwest Art Magazine as an "Artist to Watch."
Cecy holds Signature Memberships in National Oil and Acrylic Painters Society, National Watercolor Society, Western Federation of Watercolor Societies, Outdoor Painters Society, American Women Artists and Plein Air Artists Colorado, and is a Fellow of American Artists Professional League and Master Signature Member of Women Artists of the West.
Several awards include National Oil and Acrylic Painters Society, Salon International, Oil Painters of America, National Watercolor Society and finalist in the American Artist Magazine Landscape Competition.
Most of Cecy's work is done plein air, and she lives part of the year in Colorado where she paints outdoors daily.
How do I use shapes to point the viewer where I want him or her to look?
In “Summer Glow” I rearranged some logs that were there (and eliminated the ones I didn’t need) to “point” the viewer into the painting. There is no way the viewer can’t to into my picture with these strong “pointers” in the foreground! Click on the image to enlarge.
Be sure the shapes you add as “pointers” don’t actually take you OUT of the foreground at the bottom of the painting! I tried to prevent this from happening, which would defeat the purpose, by putting my logs in shadow closest to the viewer, then having them come out into the light as they “point” into the painting. Strong lights at the bottom of the painting would lead to the bottom of the painting, not to the aspen trees.
I hope you’ve enjoyed this post and will visit my web site, www.cecyturner.com to see the eight new paintings I’ve added under Plein Air Studies and under Landscapes.
In order to make the center of interest aspen stand out, I made its foliage the brightest, and this meant that the foliage of the other aspens had to be dulled down a little, or put partially in shadow. I hate using the word “dull” or “gray” when it applies to yellow aspen leaves, so how do I keep them bright and clean while dulling them? First I take a color I use in the bright yellows, for instance cadmium yellow medium, and add touches of the other two primaries – in this case, alizarin crimson for the red, and either cerulean or cobalt blue for the blue. Using touches of the last two primaries darkens the yellow while keeping it clear and doesn’t muddy it. (Click on the image to enlarge it).
When I dull down the aspen foliage, notice that I didn’t use any white! I want to keep it in shadow. If it gets too dark, I add more yellow. Some people seem to stick white in everything, thereby cooling the mixture and sometimes making it chalky looking. Use as little white as possible!
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“Autumn in Bloom” will be on display at the Panhandle-Plains Invitational Western Art Show and Sale at the Panhandle-Plains Historical Museum in Canyon, TX, from March 7th – 28th, 2015.
How to keep yellows bright in fall aspen tree foliage
Autumn Showcase was painted in front of our house in Colorado. I changed the background and singled out three trees and went to work! It will be one of my submissions for Plein Air Southwest Salon (PASW) at Southwest Gallery in Dallas, TX, beginning April 11, 2015.
On a sunny day, I try to keep my yellows as bright as possible, because that is the way I see them on sunlit fall aspen trees. To do this, I use three yellows in varying combinations: cadmium lemon, cadmium yellow medium and Indian yellow. On the beginning block-in and first layer after that, I do NOT add any white. At the very end, and only for the most sunlit leaves, I add a tiny bit of white to this mixture. Too much white changes the color of the bright yellows and makes the paint have a chalky look.
The sharpest edges should be kept around the center of interest, in this case the largest tree out in front. Most of them, not all of them, should be softened as the foliage goes away from the center of interest. It’s kind of like a camera focusing on something and the rest of the picture is a little blurry. To do this is easy if you’re painting plein air – you can just put down the color and with one brush stroke, sweep the color out into the background while it is wet. (Click on the image to enlarge). Stay tuned for next blog, how I mix the yellows in shadow. Feel free to pass this on to a friend and tell them they may email me at email@example.com to receive notifications of posts, or they may leave a comment on my blog. Thanks for tuning in, and Happy New Year!
This large painting was done from several studies I did in Rocky Mountain National Park. I often work this way because it gives me the truest colors and values, much more accurate than a camera, because it is what I saw, not what the camera saw. I added the puddles in the road for a reason.
I decided that another way to lead into the painting could be puddles, placed in strategic places, not just at random, to work in the painting. The largest puddle in the foreground is mostly in the shadow, so it won’t distract, but the right top edge of it forms a sharp “pointer” to the main aspen on the right. Click on the painting to enlarge it and see what I’m talking about. Then the logs take over and hopefully further lead you to the aspen tree.
I hope you’ve enjoyed this post and that it gives you something to think about. Feel free to share with friends and have them email me at firstname.lastname@example.org if they want to be placed on my notification list of new posts on my blog. Merry Christmas!
In this watercolor, pharm I have a very strong lead-in of the log on the lower right. It leads you to the main aspen on the left, and there is no subtleness or misunderstanding about it! I used the small pine tree in the distance between the two trees to hopefully lead you back to the right with its foliage connecting to the aspen tree on the right. This allows the viewer to go back down the right aspen, back to the log, and back up to the main aspen on the left. I painted this on the Gem Lake trail in Rocky Mountain National Park.
I purposely “broke the rules” in the watercolor by having the log coming in right from the corner. I wanted to make a strong statement on this one. However, I was mindful that the portion of the log from the corner to the left of the corner was a larger measurement than the portion of the log from the corner to the upper right. In other words, if you make something come in or out of the corner of a painting, make sure the two distances on either side of the corner are not the same!
Most of the time in any landscape, we face a lot of greens, and, in this case, yellows and yellow-greens also. Adding a touch of violet or red-violet is the compliment of yellow and yellow-greens and does wonders for a landscape of mostly greens!
I added the purple wildflowers to add the complimentary color to all the yellows and yellow-greens. I tried to add them in a pattern that would lead back to the log, then to the aspens. After that, I wet the paper and added them wet-into-wet so that they would be soft and not lead the viewer anywhere. I hope it worked – the log to the aspens, down to the yellow and back to the log in a kind of circular, or C composition. Any feedback on this – feel free to email me at email@example.com and I have very tough skin, so you won’t make me feel bad, I promise!
I hope you’ve enjoyed this post! Sorry it’s been so long – I’ve had a lot going on, and will try to do better on a weekly post.
I decided to use this painting as an example because I have some very exciting news about it. “Autumn’s Peak at Wild Basin” just won Best of Show in the Rocky Mountain Plein Air Painters Centennial Celebration Plein Air Fine Art Show in Rocky Mountain National Park. Part of the proceeds from the sales (and this one sold minutes before the opening reception began!) benefit the Rocky Mountain Conservancy. I am so honored to have won this! So…I must have done something right here, and let’s discuss: There is a small log on the left, partially buried by grass, that helps as a lead-in (click on image to enlarge). Then when you get to the big aspen, the bright foliage behind it (which is brighter than the foliage behind the aspen trees on the left) curves from right to left and almost connects you to the foliage on the left, which completes an “arc” and leads up the two aspen trees on the left. Then, at the top, you are stopped by more foliage, which almost connects with foliage from the “main actor” aspen on the right and has you look at it again. You come back down it and hopefully the arc leads you around again (instead of leading you out of the picture and on to the next painting)!!!
Many times in my preliminary sketch, I’ll use arrows to remind me how I want to lead the eye around. Also, as in the above foliage, things don’t have to actually connect – they can almost connect, as in this painting, and the eye automatically connects them! Hope you’ve enjoyed, and please feel free to tell your friends about my blog!
Here I rearranged the logs while painting this on location. The bottom one “swoops” you right into the picture and immediately points you to the major aspen. Then the log to the left of the “main star” aspen allows your eye to travel to the group of aspens to the left, and the log on the extreme left points you back in to the picture. Notice how the log on the left is highlighted nearest the aspens and more “lost” as it goes out of the painting for less contrast there.
“End of Summer Greens – Endo Valley” 11×14 Plein Air Oil
I see a lot of paintings where students have set up a “roadblock” to the eye instead of planning how to lead into and around the painting. Think of a zig-zag or S-curve (I think these are the two easiest ways) and set it up yourself, even if it isn’t already there, which it probably won’t be. Next blog will explore other ways to lead into and around the painting. Hope you have enjoyed my blog, and, remember that you can click on the painting to enlarge it.
Negative painting simply means “painting behind” something else to make the positive part come out in front. To me, it is one of the best methods one can use in a watercolor (and also oil) because you can create many layers of “depth” in an area. In this watercolor, I began the foliage with a wet-into-wet wash of the lightest color, yellow, then let it dry. While it was drying, which doesn’t take long in Colorado, I spattered on Miskit where I wanted the wildflowers in the foreground. Click on the image if you want to see it larger.
I first like to “sneak up on it” by starting with a midtone color instead of adding the darkest darks right at the beginning. Then, I can add darker and darker colors, while not completely covering the midtone I’ve just added, which gives more layers and creates more depth. In this way, I finally ended up with the darkest darks where I wanted them, behind the whitest whites of the major aspens. You might want to draw in your negative spaces first until you get the hang of painting them. Add as many layers as you can and don’t always use exactly the same color, for more interest.
I haven’t posted for a couple of weeks because I’ve been involved in Plein Air Rockies, a big plein air event in Estes Park, Colorado. I had to turn in my paintings yesterday. I’ll make up for it!
My oil workshop in Rockwall, Texas, Oct. 27-28th, is full, but please sign up on the waiting list if you haven’t signed up and want to. Things do change for people! See my web site, www.cecyturner.com.
Here is an example of having to alter a composition late in the painting to make it a better one. My original concept was to have the two aspens standing alone. Here, I’ve drawn them in pencil on the watercolor paper and added some local color (I mixed a red, yellow and blue on the right tree and added some burnt sienna to the left tree).
Here I wet the paper around the aspens and add washes of yellow, red and blue and let them “mingle” on the paper. I also add a touch of mineral violet. It’s always good to include violet in a landscape!
I add a little more shadow color on the trees, more dark markings, start the log and pine tree, and add a few deeper greens (out of the same three colors) behind the trees, plus some more purple. All of these colors will have an influence, although I’ll cover some of them up later.
In this step, I further develop the background, adding the other pine and some darker foliage. This is when I begin seeing that things aren’t right.
I’ve decided that because I didn’t repeat the white trees anywhere, you are “stuck there” and the eye can’t move around the painting. That is not good! The trees are too isolated, so I pull out a small piece of Mr. Clean Magic Eraser, wet it, take a couple of scraps of watercolor paper (you can use any stiff paper), put them on either side of what I want to lift, and lift out three small additional trees. Already, it looks better. While I’m at it, I lift out a little light green foliage for the aspens.
Finished! I darken the top half of the tree on the right to make it less similar to the left one, put shadowing and detail on my new trees, add a shadow in the right foreground so that your eye goes to the left foreground and follows the light up to the main tree.
Being able to spot a problem and decide how to correct it comes through a lot of mileage with the paint brush! If you know something isn’t right but don’t know what, get a “second pair of eyes” to look at your painting. Classes, workshops, dvd’s, books, critiques – all of this helps train you to spot a problem and solve it yourself.
I hope you’ve enjoyed this post and that it was helpful. Pass it along to your friends! Next post will be about negative painting.
Two spaces left in my Oil Painting Workshop October 27-28th in Rockwall, Texas. See my web site for details!