Knot Tie Down - Field Easel Follies

Get Wind Load Protection with This Bomb Proof Tie Down System for Your Field Easel

Get in an Anchor and Snug it Tight

The Secret Formula - A Triple Equalized Bowline Knot Keeps All Three Legs On the Ground

In getting ready for your outdoor trips, one of the fiddly things is sun protection and wind defense. The umbrella, which I have bungee corded to my Mabef Field Easel, may defend me from the sun, but it also makes the wind load worse. Also, when I add the pastel box and drawing board, I'll have other surfaces that catch the wind. I don't want to have to pick my expensive set of sticks out of the nicely plowed dirt, do I?

Who says those days of rock climbing were wasted? The fancy rope tricks I learned apply to various of life's problems, such as tying down your field easel.

Here is the break down of my system. Buy a section of perlon (nylon) cord) - this one is a 7mm cord bought at REI. I reckon it's about 18 feet long. The carabiners (REI) are attached to the three legs with mini bungee cords (Home Depot). Tie a Triple Bowline to equalize the load (Video Instruction Shown Below - Sorry About the Ads) and attach to the carabiners.

Hammer in a tent stake and attach your rope. I used a Trucker's Hitch, but I fancied it up by using a directional bight. Hey, I'm not giving up all of my secrets, here!

How to Tie a Triple Bowline Knot -- powered by ExpertVillage.com

Thanks, Dan!

Reality check: I did have to do a gentle one hand grab of my kit when a 4 MPH gust of wind threatened a topple. I made a note to myself to directionalize this set-up with a cord going out to the windward side as an additional measure. Vented umbrellas are available for artists, too. I would still use some kind of wind proofing even with that type of umbrella, as your drawing board and pastel box are wind catchers, too.

Bald Ridge Road Trees

Bald Ridge Road Trees
Graphite in Sketchpad
@9" x 9"
Casey Klahn

Enjoying some plein air sketching.

At The Lake

Lake Sketch with Teal, Blue & Red
@4.5" x 4.5"
Charcoal
Casey Klahn

Lake Sketch with Green, Red, White & Black
@4.5" x 4.5"
Charcoal
Casey Klahn

At The Lake
@8"x 6"
Pastel
Casey Klahn

Docks at the Lake
@6"x 8"
Pastel
Casey Klahn

As promised, here are the sketches done at the lake over the Fourth of July holiday. You'll recall that I got to the lake without paper, and so a search of the cabin revealed some old sketches that I had done many years ago taped on the wall in the dining room. Already, acid was starting to yellow the edges on these, but you make due with what you have!

Luckily, a small Le Maxi sketch book stays in my canvas sketch bag all of the time, and so I was able to sketch as well. I also severely missed my umbrella, and made due with tree shade that was barely adequate.

What I liked about these scenes were the colorful boat canopies. I didn't really overcome the warmth of the paper for the first pastel. The evening light was very warm, but I still think it's too much in the resulting work. I did better on that account the next day for the second one.

I really enjoyed having my large palette box on hand with dozens of colors. And considering that, I feel very good about keeping the colors under control for these realist works.

Big Palette for Plein Air

Newly Minted Large Plein Air Palette, with Medium Boxes Shown at Top.

Over the Fourth of July holiday, the family and I enjoyed our traditional weekend at the lake cabin. Complete with fireworks and a fun boat parade, this vacation offered me a much needed chance to sleep like the house cat. I couldn't get enough!

Because of a mix-up, the pre-packed plein air kit that I had staged by the door of the studio arrived at the lake with no paper! Try that for an obstacle, some time. Safely there were my French easel, my canvas bag with accessories, and my newly supplied big palette box for its maiden voyage.

You may recall that my Plein Air Project had featured my Six Unisons "Go Kit", and my medium sized palettes, but the big box hasn't been shown yet. So, here is the reveal.

Many years ago I had purchased a box of 100 Senneliers at a clearance price from Jerry's Artarama, and like all of my original boxes they become something to reuse. I keep a stock of small wooden boxes, especially cigar boxes, ready for my next idea or need. The great thing about this Sennie box is that it is made-to-order and divided just right. Without foam inserts, I figure it must be good for about 200 sticks. Then, I add foam over the top to make a tight clam shell.

Next time: Lake Images, and How to Cope Without Paper. Also, at The Colorist, I will be writing about my conversation at the lake with our cousin, the HP color printer soft ware engineer. He took me to school about the computer and printer world of color theory.

Battle Sketching!

Sharpshooters in Green, On Site "Battle" Sketch
Pastel, Casey Klahn

Photo: Casey Klahn

It never crossed my mind before that sketching a (reenacted) Civil War battle could be so difficult. Or exhilarating! This is the Memorial Day weekend, and the war between the states is one of the things we remember.

Reb

Charcoal
Casey Klahn

Needless to say, one must work fast! I was very happy with the outcome. I sat cross legged on the sidelines and worked back and forth between two sketchbooks, in charcoal and charcoal/pastel to capture the mock battle's ebb and flow.

After the battle, I was able to set up my field easel behind the medical tent and painted a fun work with a Medical Assistant and his banjo. The blue jacket caught my eye, as it could be tied in with another blue uniform jacket that was hanging on a camp tripod, and a third element (perfect!) of a large flag. The backdrop? White canvas tentage.

Sketch


Civil War Medic with Banjo Sketch

10.5" x 9"
Pastel & Charcoal on Diane Townsend Paper
Casey Klahn

Rebel
Charcoal
Casey Klahn

Lessons Learned:

1. I don't draw animals as a habit, but I am happy to get the impressions I got here.
   
2. Following the rule of keeping my field works in a reduced value scale (nothing too dark or light) doesn't work when faced with Army Blue. I should know that stuff, as a veteran myself!
3. The Banjo Player WIP I think may need it's blue elements split up into a triangular composition, with the coat to the right of the figure, and with the white tents as framing highlights. And the background needs work.
4. I wanted to "model" the form of the banjo player, but didn't quit make it. An opportunity there!

Cavalry Formation, Action
Charcoal
Casey Klahn

Battlefield
Pastel in Moleskine
Casey Klahn

It didn't escape me that painting on sight is just as anachronistic as the dress-up event I was chronicling. The camera was just making it's (evil) debut in the same time period, and it would forever make the painting less dear in the public mind.

Rainy Day Plein Air

Back Property Trees
6 5/8ths" x 9 6/8ths"
Magnani
Casey Klahn

Back Property Trees - Pastel
6 5/8ths" x 9 6/8ths"
Magnani
Casey Klahn
Six Unisons Only

Bald Ridge, Pencil & Pastel
5" x 8"
Sketch Paper
Casey Klahn

A rare outdoor trip
usually on foot, but this time in the Chevy.
As I unpacked, a downpour.
I clipped the umbrella to the hatchback
and sketched from the tailgate.

Articles of Merit

The Cup of Chocolate, 1897
Pastel
28.7" x 21.3"
Mary Cassatt

Two pastel related articles stand out for your consideration this weekend. One was in The Pastel Journal, June, 2008, regarding your plein air kit: "Let's Take it Outside," by Richard McKinley. He covers the big parts of your set-up, from easels to shade umbrellas. For this article, you'll need to get the hardcopy at your magazine stand. We've been ticking off the list of kit in depth with our Plein Air Project posts here at Pastel, too.

Who are the great historic lights of pasteldom? The answer is briefed in Pastel Masters, by Naomi Ekperigin at American Artist Magazine's website. See what the influences of Edgar Degas, Mary Cassatt, Jean-Baptiste-Siméon Chardin, William Merritt Chase and Jean-François Millet were on our contemporary burgeoning medium.

Grab yourself a cup of chocolate, and dig in to these articles!

Thumbs

Drawings for some recent landscapes.

Expressive Plein Air Work

daviddrawsandpaints

In my quest to get back to nature in my drawing and pastels, I have been posting about my Plein Air Project, and over at The Colorist, the Wolf Kahn (drawing) Project. Continued snow, and other frictions are keeping things slow, but I do plan on posting a display of some of my recent works that have evolved because of these projects.

The work of David Cornelius of Scotland has been hitting the nail directly on the head. So free and loose are his plein air pastel drawings, that I will be looking in on his work at the same time that I look at Wolf Kahn's for lessons in how to stay loose. Don't miss his posts here and here, where he shows off his new works and his lightweight outdoor kit.

Six Unisons Only

Deer Lake Cabins
@6" x 8"
Pastel
Casey Klahn

It may be hard to believe that one can be happy doing a pastel on-site with only six Unisons. Here's the proof that it can work, with some creative blending. I did this work by the lake about two years ago, using my French easel and standing on the deck at the cabin.

If I did it over, I would vary the tree heights a bit. Otherwise, it was an old effort at plein-air that has never been posted.

Also, if you are visiting here for the first time, greetings. Enjoy this blog about my pastel work and the broader world of the pastel medium. You would also love my blog: The Colorist, a blog about art process and New School Color.

The Season's Plein-Air Artists

Here is a round-up of bloggers who are doing their art-making outdoors. I'll cover the old hands, and then introduce you to other artists who, like myself, are taking serious new ventures into on site work.

The experienced ones at on-site work include:

1. A Plein Air Painter's Blog - Michael Chelsey Johnson
2. Robin Weiss (local to me, in Poulsbo, WA)
3. Colette Savage - Pastel Painter, Plein Air Artist
4. Mike Rooney Studios - Painting a Day
5. Michael Pieczonka Painting Blog

Blogger artists who are putting their plein-air kits together anew include:

1. Eden Compton
2. David Cornelius
3. Rhonda Hurwitz
4. Brian McGurgan
5. Mary Beth Young

See my recent efforts here.

Fine Weather for Plein Air

M-27 Field Easel, Mabef

Holds the drawing board high and stable; arms support a box of pastels.

What kept me from making these logo banners for my various blog projects before now? I think they'll be a good way to highlight and keep organized the umpteen projects I have going simultaneously.

On the Plein Air front, I finally got out on the weekend to do some plein air with my new Field Easel. I price-shopped this Mabef M-27 easel, and found it available from a California art store for $25 cheaper than the next outlet. I'll review it for you when I get a little more practiced with it.

By the Heath Place
April, 2008
8.5" x 7.25"
Pastel
Casey Klahn

My experience was very rewarding. Of course, there was the mandatory "save" from the wind blowing over the kit. Looks like 5-6 MPH is the limit for wind behavior if I want to be happy at this easel. I have an artist's white clamp on umbrella, but it needs some modification to be workable. I found a hunter's tree stand umbrella for a third of the price of the art models, and it bungees onto the field easel like it was meant to be there. Nifty.

I have three images for my labors, but only two will make the cut. And, they will need the studio finish. I see now that one can't simply get "off the couch" and succeed at this plein air work.

Here's a fellow artist who is using a field easel set-up and who is, like myself, starting anew with the plein-air style. David Cornelius of Scotland.

Sky Over Bald Ridge

Sky Over Bald Ridge
6" x 8"
Pastel on Rives BFK Heavyweight
Casey Klahn
March, 2008

Our area is known as the Bald Ridge. Relatively rural and very bucolic. I haven't done skies very much for the past few years, and I like the treatment that the Rives paper can give to a skyscape.

Plain Delight of Plein Air

See Brian McGurgan's Drawings and Paintings blog. His thoughts and plein air goals are well organized, and a delight to view.

Also, if you're here looking for My Book, the post is linked here. That's what I get for having two active art blogs. Purchase inquiries are accepted via e-mail or comment.

Pastels Go In

Unison "Go-Kit"
Six or Seven Pastels for Ultra-Light Field Trips

What I am about to reveal will change your plein-air life forever. I can't claim it for my own original idea, but I do embrace it as the lightest possible kit for making pastel drawings in the field. At this point, unfortunately, I have lost the link where I learned this and sadly can't give her the credit by name.

The mini, mini absolute least number of pastels to take on a drawing hike are the following six Unison pastels:

Y-15, RE-9, Green-29, Y-10, BG-11 and A-30.

These colors are designed to offer the bare minimum choice of hue, value and intensity for drawing the landscape, and "mixing" colors by blending and open-layering is required.

My little cigar box with this kit is pictured above. If I have room in my box, I add Grey-18. Also, since my little cigar box has the space, I add an eraser, a few pencils and some hard pastel grays. Tissue paper makes the cushion.

Medium Pastel Kit Organized by Value

Now consider your medium-sized plein air palette. Illustrated is my two layer cigar box. The second tray is one I made out of Fome Core and glue, and is lifted out with a broad ribbon.

This is what I wrote in a previous post about my medium sized kit:

Since I am not in my big studio during my remodel, I am working in the house with my plein air kit. I make my kits from shallow cigar boxes. This one is a PADRON (Nicaraguan, Hand Made) cigar box: 6.5" x 11.25" x 1.75". The shallow depth allows for security of the sticks, and I find that wood's gentle touch is the kindest to my pastels. I notice that few cigar shops actually sell their empty cigar boxes, but those kind ones that do, get my return business. Cardboard is also gentle; plastic transfers too much shock, IMO. For extended trips (air travel), I add a sheet of thin foam bought at an upholstery shop, or scrounged from other places.
Further, I have constructed a tray out of foam core, with foam core dividers glued in place with Elmer's (children's) glue. A ribbon allows me to get the top tray out. When I do go (rarely) out the door, I put a couple of extra long rubber bands around the box.

When I went to Italy, I knew to add some yellows for facades, umbers just because and tile reds for roofs. You may wish to pick some colors that remind you of your painting locale. Mostly, I follow the artist's idiom that says, "If you get the values right, it doesn't matter what the hues are". You'll see in the photo above that I have six values represented, with an assortment of colors chosen almost by random. I try to stay away from too dark, and too light of vales, since this works best for "naturalist" works. Try to select tinted grays when you do choose gray.

If you have a burning desire to make your color statement, then you may finish your work in the studio where all of your colors are at hand.

If you absolutely must finish your work on-sight, then you'll need a big tray of pastels at hand. We'll cover the big tray next time, and then we'll go on to the easels that I choose for outdoor use.

Cigar Box

Cigar Boxes

Equipment can be, after the weather, your worst enemy when doing your art in the open air. Make your kit as light as necessary for your given trip.

If I am going to paint from my van, then there is no limit. I will take my sturdy French easel and as many pastels as I can find boxes for. But, the emphasis I wish to make with this thread is how to go light.

"Light is right, less is more," and all that stuff. I enjoyed taking up the sport of mountain climbing in my late twenties, but suffered from the mentality that the army had given me that I could pack heavy because I was tough. After many years, and much trial and error, I got the knack of going light. And I enjoyed telling new companions who came out of the army and into backpacking, "you need weight therapy!"

Go to as many tobacconists as you can find and see who will sell you empty cigar boxes. Many don't resell them, you see. I prefer the flat or shallow kind, so my pastels aren't going to rattle around. Do not pay much more than a few dollars per box. The junk store will try to make you pay $10 for a cigar box, but I find the cigar shops will let you have them for $1-3.

And be a peach while you're there and buy your husband a nice cigar.

Thin wood is the standard for nice cigar boxes. If you look closely, even the ones that look cardboard or paper can actually be covered wood. Of course, some have a little hasp, and open upward on little metal hinges. Others lack the hardware, and the lid fits snuggly in the top of the walls. The hinge is just paper. Some have removable lids. I use all sorts; finding different uses for each.

Roll of Thin Foam

Try an upholsterer for thin foam as gasket material. I buy as big a sheet as possible to cut to size.

Another trick I've found for cigar box pastel kits has been to put in dividers. There are dividers to organize the single layer, or dividers that create a second tray. I use Fome Core, which is a rigid framing board, to cut my dividers as needed. The tray for a second layer also has a broad ribbon underneath to facilitate lifting, and the tray then rests in the open lid. I'll post a picture of that next time, when we choose our palette.

Stack two or more cigar boxes with a band or miniature bungee cord, like a school child with his books. If you're cunning enough, perhaps your support paper or board will also fit in this bundle.

Original Flat Pastel Boxes

The next size up from the cigar box can be a store bought travel box designed for carrying pastels. See them at your favorite art supply retailer. Or, my choice is to select an original shallow wooden box that housed my pastels when they came from the manufacturer. Since I have taken out the original contents, then I have a number of these "empties".

Extra.

Judson's Art Outfitters has a new cigar box paint box that adapts to a camera tripod. If this product existed when I ordered my pochade box, I may have considered it instead because of it's compact qualities. Remember that developing your real cigar box into a small pochade can suffer from the flimsy nature of most cigar boxes.

This young Viennese artist has built his blog around the subject of painting from his cigar box. A great theme that works for me!
Michael Ornauer - Painting in the Zigarrenbox

References:

The Pastel Palette
(Pastel palette with an emphasis on plein air)
The Pastel Palette, Part 2
(continued palette focus oriented for the studio)

Next, we'll cover what to put in your cigar boxes for your pastel sessions. Some pastel artists wish for many sticks, but there is a way to pare your kit to only six colors. Don't miss my posts on plein-air palettes with anywhere from 6 to 50 or 60 colors.

Spring Time & Open Air Drawing

Casey Working en Plein-Air

Spring! Get yourself ready for some open air painting and drawing. I am.

How will I approach my outdoor trips? There should be goals and philosophies. There will be the impedimenta.

I can say for now that I don't have the goals of strictly finishing a work in the filed. I'm too much of a studio painter for that. And as far as equipment goes, the fewest and the lightest things are necessary. My French easel is usually too much!

Philosophy? I am reminded of some things Wolf Kahn said about nature. For him, nature is a pretext. He is more interested in landscape painting than he is in the landscape itself. I subscribe to that formula, too. I want to be a man of the landscape in the vein of Vincent van Gogh, or of Wolf Kahn.

Don't forget what the bard Bob Dylan has said,

"I am against nature. I don’t dig nature at all. I think nature is very unnatural. I think the truly natural things are dreams, which nature can’t touch with decay."

Of course, as I write this it's snowing outside!

Here's some grist for the mill:

Guerrilla Painter
PAPA
Rebecca Grantham
Rene PleinAir
Michael Chelsey Johnson