I love the soft overcast light of late winter here by the coast. It’s wonderful for creating quiet paintings of everyday interior scenes around the house. They suit the subdued and reflective mood of winter in the country, perfectly.

A process shot of painting Pantry Corner. More photos of this one, below.

I first began painting small interior studies a few years ago, around this same (late-winter) time of year, as a matter of practicality. It was the subject that was at hand and interested me the most. Once I began creating them, however, I was totally hooked!

I loved the sense of place, the personal spaces and quiet moments of everyday life that they made record of, and I found them thoroughly satisfying to create.

Now, I keep them in my toolkit as a type of painting study I can create when I am focussing on other projects and only have a short window of time to paint each day.

Creating in Cycles

I am not great at juggling many things at once – especially if they require very different headspaces. I’ve learned that I get more done – and enjoy better creative flow! – if I embrace rather than resist this about myself.

So, I try to arrange my days and weeks thematically, focussing on a few key areas at a time. This sometimes means setting certain things aside. Other times, it looks like moving them forward at a smaller scale or slower pace.

I find that it helps to trust that you will cycle back when the time is right… and that everything is still moving forward. Living seasonally has taught me a deep appreciation for the cyclical nature of things.

I try to arrange my days and weeks thematically, focussing on a few key areas at a time. This sometimes means setting certain things aside. Other times, it looks like moving them forward at a smaller scale or slower pace... These small studies are a great way to ensure that I continue to paint regularly when I otherwise might not.

A way to continue painting when short on time

Creating these small (approx. 5x7”) painting studies take me about 2-hours start-to-finish. If I’m really short on time, I make quicker, looser studies more in line with my plein air studies (further below) which take about 30-60 minutes, at the very most. I find this necessary outdoors because the light and conditions change rapidly… but I find it more challenging to stick to indoors.

The more resolved interior scenes of everyday life are some of my favourite, so I prefer to plan around the time they take, when I can. I create several each week when I’m working on other projects and don’t have the focussed time to create studio paintings.

I keep the process and materials simple, using two or three brushes, an easy-to-use palette of gouache paints, and the same design process for each. These small studies are a great way to ensure that I continue to paint regularly when I otherwise might not.

Dining Room Light. Gouache on tan coloured paper. An example of my studies from life around the house – see more of these at the bottom of the post!

My Process FOR PAINTING FROM LIFE

I keep my materials very simple, using a prepared palette of paints and just a few brushes. I often work on the same tan coloured paper and choose from three image ratios. I also follow a methodical process for composing each study. This reduces decision paralysis and makes it more likely that I will actually sit down and paint.

Quick framing & composition, simple tools

I follow this same framing and composition process for each of my studies from life. Unless I something has already caught my eye, I use the DIY viewfinder/composition tool I made with the rule-of-third gridlines (see the next picture, below). I walk around looking for scenes of interest.

When I see something, I hold the framing tool up to my eye and squint, evaluating the values, light, colours, and framing options.

Unlike with my studio process, I tend to skip any kind of thumbnail sketching process and compose the scene in my mind by squinting and using the framing tool to preview the finished composition. If I can see a strong composition in the scene, I quickly get to work.

ABOVE: My tools for painting from life indoors. (1) Cardboard stencils that match my viewfinder, allowing me to quickly draw a frame and mark thirds without measuring. (2) Drafting tape and a mason jar of water. (3) A viewfinder/composition tool I made after reading Ian Robert’s book Mastering Composition. It enables me to both crop scenes and to get angles and composition right using the simple grid. (4) A small selection of mostly flat brushes, a pencil and eraser, tan coloured mixed media paper, and a rag. (5) Gouache paints ready-to-go in a travel palette with a spray bottle to keep them moist. (6) A tube of white gouache.

Framing the scene & creating the pencil drawing

Before going any further, I will define ‘the simple statement’ of what the scene is about for me.

Then, I will select the horizontal/vertical and ratio I prefer to emphasize that focus AND create the strongest composition I can. Using the cardboard stencil, I will make a quick pencil frame on the paper and mark the lines of thirds. Having these lines helps me to check ratios and proportions in the drawing, using the viewfinder tool.

I frequently use tan coloured paper. It can be nice to start with a warm mid-value surface. I often tape around the edges of my painting to keep things clean and crisp around the edges, while allowing a looseness of brush movement within the painting itself.

Next, I sketch out the scene, ensuring I get the proportions and perspective as correct as I can (without spending too long).

Pencil under-drawing and first areas of colour – Brightest colours, darkest darks, and lightest lights are now mostly laid in.

Laying down the first areas of paint

When I’m ready to paint, I ask myself how I can get the essence of the scene down as quickly as possible. This can often mean painting in the larger areas of light and/or shadow. I also give some thought to an overall colour and/or light scheme that I might use to unify the painting as I go.

I try, as much as possible, to work from larger to smaller. It varies based on the painting, but I tend to put in the largest areas of dark (or light), followed by the darkest darks and lightest lights, as well as the strongest areas of colour. This enables me to see the overall composition and ensure it’s working as intended. It also allows me to step back and check that no proportions or elements are way off before proceeding to smaller objects and details.

I do everything I can while painting to focus on holding onto the simple statement of the scene as a whole – and not get distracted by countless small details. Maintaining the overall composition and value statement can be quite a challenge, especially if the light changes, but it ensures that the finished painting holds together as intended.

I also try to keep my brushwork loose and let some things ‘just happen’ – it’s part of the fun of painting, in my opinion! There’s nothing more magical than putting in a few swipes and seeing a familiar boot or household object appear recognizably before my eyes!

My favourite brushes are flat ones. I do most of my painting with these. I can fill large areas, make sharp lines, or use the corners to make small dots and details. I use Winsor & Newton gouache paints, and a large tube of Permanent White gouache in whatever decent brand I can find affordably. (White is added fresh to the palette for every painting session.)

My Process FOR PAINTING PLEIN AIR

I get to know new places – and reconnect with familiar ones – by walking. Each place has so much to share, when you pay attention. I file all of this away in notes, memories, and sketches, because it is an essential part of creating new work. I have been experimenting with adding plein air painting to my process.

I am quite new to painting outdoors and shared more about my first experiences with plein air painting.

In the interest of starting simply and affordably – with as little barrier to getting out and painting as possible – I currently have a VERY simple setup. It’s a variation of the process and tools I use for painting indoors from life.

My setup is greatly inspired by Nathan Fowkes, whose book and course were instrumental to my learning. If I continue to paint outdoors, I would like to scale up my toolkit to enable creating more finished and/or larger paintings en plein air. This would likely involve investing in a pochade box… but, for now… I’m keeping things very simple.

A few simple tools and materials

ABOVE: An even more simplified version of my toolkit. (1) My top two image ratios in a viewfinder and framing-stencil combo, with third lines marked for helping with composition and proportion. (2) A small mason jar of water, with lid. (3) A tan coloured pad of mixed-media paper, and a simple selection of brushes, a pencil, eraser, and rag. (4) A travel palette of gouache paints, plus a tube of fresh white (I prefer Permanent White to Zinc White), and a spray bottle to keep paints from drying out.

ABOVE: Plein air painting by the beach. Using my cardboard viewfinder, which I sized to fit 2-3 studies per page, I can quickly create a series of thumbnail studies before the light and conditions change.

A few plein air studies

ABOVE: I created dozens of these urgently scribbled thumbnail studies (the light changed SO quickly!). They somehow have the ability to take me right back to the moment, which has helped enormously when creating finished studio pieces.

Finally, a few paintings of late winter light, around the house

Laundry Room Pastels. Gouache on tan coloured paper. Approx. 5x7”

Reading Corner (Mom’s Chair). Gouache on tan coloured paper. Approx. 5x7”

Artist’s Note:

I follow a different process – and use slightly different tools – when painting in the studio. Go Behind-the-Scenes: How I Create Studio Paintings to see the process I followed when creating my New Horizons Collection. It is a collection of twenty-two original paintings of the coastal landscape I now call home.

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Behind-the-Scenes: How I Paint From Life