My Plein Air Process
En plein air is just a fancy French way of saying painting outside. I never really considered myself capable of plein air painting until my first season as a ranger in Yellowstone in 2015. While in the park, I had the opportunity to learn from Suzie Garner, a fantastic watercolorist and plein air painter. She opened the door to landscape painting for me and gave me so much confidence! Now watercolors are some of my favorite ways to document my trips and ranger seasons.
Now that I’m back in Yellowstone, I’ll be doing a lot more plein air work this summer, so I thought I’d break down my materials and process for anyone who might be interested. I spent the morning painting the Teton range, so check out the progression below the jump!
It’s the same every year—shortly after Halloween, when Pumpkin Spice gets the boot in favor of Peppermint Mocha, my anxiety shoots through the roof. It’s November 3rd! It’s practically Christmas Eve! My love language is gifts, and my husband is gift-challenged, so the majority of holiday gift brainstorming, researching, purchasing, wrapping, and giving ultimately falls on me. I like it when I can come up with the perfect gift (like the 7-Eleven Tour de France bike jersey I got for my husband a few years ago), and I get stressed when I fall short (my brother’s wish list ranges from ‘airplane’ to ‘ski trip in Vermont,’ so I invariably end up getting him gift cards, which always makes me feel stupid).
Anyway, this year, I had a great gift idea for my youngest daughter. Before she was born, I wrote and illustrated a picture book for her sister called “Fairy for a Day.” It featured my eldest rescuing a fairy and being gifted wings and a fantastic floral wardrobe, replete with sparkles and friendly woodland creatures. Both my girls love reading it, and I figured it was high time my youngest had a picture book of her own.
The catch is, of course, that picture books take time. A lot of time. There’s a reason hiring an illustrator is so expensive, and it’s because nothing kills the look of a project more than it being rushed. Here’s a secret: I actually don’t like reading the Fairy for a Day book I wrote for my eldest. The writing is bad and the illustrations are bad, and it’s because I did it too fast, trying to whip it off with enough time to send to the printer before her birthday.
I’ve grown a lot as an illustrator since then. I dedicated most of 2016 to honing my ability to work efficiently. I’d set timers for digital paintings and make myself consider the piece done when the time was up. I participated in Inktober for the first time, which forced me to move on to a new piece each day. It’s not easy working like this—it’s a skill that has to be practiced. And of course, nothing tops the quality gained by a generous deadline. But sometimes we simply don’t have the time. I’m still not as efficient as I’d like to be, but I’m a lot better than I was when I created Fairy for a Day. So it was with more confidence that I set about creating my youngest’s Christmas present--Mermaid for a Day.
In this month’s blog post, I’m sharing some suggestions for how to create an appealing, dynamic piece while on a tight deadline. See them all below the jump!
Celeno's Design: Mini-Tutorial
This month, in the lead-up to the Creatures of Light paperback release, I've been producing all kinds of bonus content--including character profiles for a few final main characters. The most significant, of course, is Celeno, Seventh King of Alcoro and sort of the unwitting epicenter of all the messes everybody's sorting through in the series. His character design has remained fairly constant from my early drafts--my mom fan-cast him as Oscar Isaac pretty early on, which has given me a good stable design foundation (as well as a phone gallery full of Poe Dameron screencaps).
For Celeno's official character portrait, I took a video of my Photoshop process, from sketch to finished product. Check it out below the jump:
Emily B. Martin
Author and Illustrator