This week I had to make a sojourn to the Bay Area. The fiddler likes to drive, so while the fiddler steered the infernal combustion machine, I painted.
I love passenger-seat painting. Give me a wide enough view and a straight enough road (I suffer from motion sickness), and I can paint for miles.
In the studio, it’s easy to get in that zone of hyper-focus where thought takes a backseat to conscious action. If you’re a painter, you know what I mean. Pick up some color with the brush, dab it on—ooo pretty—dab some more—ooo pretty pretty—dab, dab, dab—pretty pretty pretty—dab, no, wait, dang it, arggh! What have I done? If you don’t pause and move back, pretty soon you’ve created a muddy mess.
Painting landscape studies in the car (while someone else is driving—duh!) is a good way to break that kind of zen-zoned out paint daubing. You can’t focus for very long on one scene, because the scene changes minute-by-minute. So you have to make your decisions rapidly and correctly.
All you have time to do in the car is decide on a quick composition, draw the big shapes, get the right color and value on the palette, and paint the shapes. I start with the sky first usually, the brightest and lightest shape. The jiggling of the car prohibits any attention to detail; it’s all about composition, color and shape.
I love these little watercolors. The challenge is to bring this freshness and life into larger studio paintings.