by Nancy Macdonald

On site, I make a number of sketches and color studies, which I use as reference for larger paintings in my studio. I try to capture the harmony in the scene as well as the feeling or element that drew me to it.

Whilst in Ecuador, I saw women wearing striking vibrant skirts and shawls everywhere I went, particularly in rural areas. They would often have their babies strapped to their backs, even when they were working the fields. They made such a strong impression on me, especially with the magnificent mountains as their backdrop.

My Palette

When I paint locally and in my studio, I use a palette box made by my husband. It’s lightweight and contains two large mixing areas of 14 x 18 inches. I typically set it up as shown, with piles of gray on the right side followed by cooler and warmer versions next to each.

My Toolkit

Support: Gessoed board or linen glued to a board
Paint: Gamblin — alizarin crimson, ultramarine blue, manganese blue, yellow ochre, lemon yellow, black, titanium white; Winsor & Newton — scarlet lake, transparent maroon
Brushes: Small Bristlon and Rosemary & Co Eclipse brushes
Palette: Large handmade fold-out palette
Misc.: Alla Prima pochade box; Mefoto tripod

Pen-and-Ink Sketches

I work quickly on location to capture the gestures of the figures before they move.

Plein Air Color Studies

I also make a series of 30-minute, 6 x 8-inch color studies in oil.

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Step 1

I start the painting with a sketch on a lightly toned 20 x 16-inch canvas using transparent maroon. I then lay in the main darks thinly, and establish the volume and contour of the mountain. I try to get variety in my shapes while keeping the composition simple. I avoid parallel lines, and opt for a low horizon line to reinforce the grandeur of the mountains.

Step 2

I begin my block-in of some simple color shapes. I like to keep my light-toned canvas showing through for as long as possible; it helps me to not get too dark, as anything will look dark against it.

Step 3

I establish the ground plane, which I need to keep light, and add dimension to the mountain and the figures, putting in some lights in those areas as well.

Step 4

I add the lights in the tracks and try to set the mountain back using cool colors. I also block in the sky, paying attention to the edge of the mountain. I strive for variety of temperature and brushstroke.

Step 5

I feel as though my painting of the figures is getting too tight, so I scrape them and make some dark strokes to try again.

Step 6

I work much more broadly on the figures, knowing that I will refine them somewhat later. I also start working grays and cools into the foreground.

Final Step

I add finer detail to the figures and use more grays to harmonize the ground plane.

Nancy Macdonald, “Las Mujeres de la Montana”

Connect with Nancy Macdonald at www.nancymacdonald.com.

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