How to build your own Pochade Box

I've been busy working on a project for my other site dedicated to en plein air painting (painting on location from life). Part of my efforts there was to design and build my own Pochade Box and Panel Carrier. When i decided that I would tackle building my own Pochade Box, there was a precise set of criteria I needed to meet. It needed to be a simple, functional design. Most importantly, it must be easily built without the use of a shop full of equipment. I've seen some wonderful “build your own Pochade Boxes” online. But most people do not have routers and table saws, or any method to cut dados into material. So it had to be constructed with just a set of hand tools, any average person would own and simple joinery. No complicated hardware to fabricate. So here are the results of my efforts. If you are interested or would like to see more details visit my other site, Pochade Box Paintings by this link.
Enjoy Jim.

Since I first published my simple Pochade Box Plans in 2009 I have received many images and emails from both students and professionals who have made a  Serrett Box ( as the simple box with a bungee cord has come to be called ) If I do not get a chance to respond to your email or post your kit on my Pochade Box site, let me say it has been so rewarding to see your efforts, and your correspondence has been greatly appreciated.
 Thank you and keep paying it forward.

Philosophy, or three items in a still life

Oil painting on canvas, 11x14
Another still life done from the site size method. I was attracted to the cast shadows and the rhythm it formed from one object to another. An old brush from my sign painting days. A drift wood stick we found on the beach, that someone had carved initals and numbers into. And of course those yellow pears that keep popping up in my paintings.
I do not consciously think about a metaphor or any symbolism when constructing a set up for a still life. However when completed, there almost always seems to be some narrative to them. In this case I've titled the piece, "Philosophy". There is something hidden here among these subjects, some truth or knowledge. Some relationship we need to ponder. Or it could just be three items in a still life.
Enjoy Jim

This piece avaliable, to purchase click here.

The Odd Couple

The Odd Couple
Oil on panel 8x10

I really like the similarities of the shapes, and the color contrast. The reflective imagery and light help move the eye around the piece. Again I am looking for the simple unique beauty that can be found all around us.
Enjoy, Jim
Sold

Misty Creek, Great Smoky Mountains

Misty Creek, 36"x24"
Oil on canvas.

This studio piece was based on some small plein air sketches from a week long backpacking trip in the Cherokee National Forest.

Standing in this stream bed trying to capture the energy and feel of these deep woods was a great experience.
I hope I caught some of that emotion and overwhelming beauty in this untamed place.
This piece is available, to purchase click here.

Two Bulbs

Two Bulbs

8x10

Oil on panel

I'm am always playing with lighting in the studio. Using different combinations, for shadows and balances. They are usually laying around so I figure I might as well paint them.
Again thanks for looking and all comments are welcomed.
Jim

Pochade box paintings

Oil on panel, 5x7.



A couple of small landscapes from my oil sketch box painted on location. Eliminating the unnecessary details and just laying down the shapes of colors. Going for the statement.
As the artist Kevin MacPherson says it, "Analyze everything as particular color notes."


Certainly a good diversion from the studio pieces, and a chance to loosen up with the paint.

These works currently available, to purchase click here.

Rock and feather

Oil on panel, 8 x 10 inches, Rock and feather.
A studio painting from life. Using a gray box as a stage for the still life, I achieve some interesting shadows and reflection. The feathers were found in Illinois, the rock at the beach in Michigan. So maybe I should call this piece Midwest still life.

Enjoy, and thanks for looking. Jim Serrett

Still life with Two Pears, finished work

Oil 24x30 Still life with Two Pears - finished work
Still life's are such a joy to paint, they can become very intimate moments in time. And remarkable abstract qualities seen within the play of light and shadow. It is those subtle and complex relationships within a painting that attracts me to a subject.
This piece was done in a very traditional or classical method of thin transparent color, "velaturas" applied over a gray " grisaille" monochrome under painting. Posted earlier in this blog.
The amount of light, depth and atmosphere you can achieve in this manner is almost magical. Multiple veils of transparent color contrasted by opaque light passages, produces a level of realism that I believe can not be matched with other approach. You literally carve out volume with this method.

Enjoy, thanks for looking.

Study for still life with Two Pears

Charcoal, 14x16 – Study for Two Pears

This study is for a studio painting to be done in the indirect method. A traditional method of painting in transparent layers of color over a monochrome under painting.
It is my most preferred painting technique because of the illusion of three dimensional form it produces. But before I dedicate too much time to a canvas I will produce a sketch, to work out composition and design. Looking for simple shapes and patterns. Considering design elements such as, focal point, variety, unity and balance. A successful painting has an underlying structure. But at this stage I am not as much concerned about draftsmanship as natural organizing principles and if the image inspires me to move further with it. So the preliminary sketch is kept fairly simple, to the broadest forms
and patterns of light and dark. I will start with a quick contour sketch in graphite. And mass in large tones with soft vine charcoal, lifting out the lights with a kneaded eraser.
Not too much time committed here, but enough for me to decide if I want to develop this idea into an oil painting.



Grisaille, 24x30 – Still life with Two Pears

The under painting is done in values of grey, mixed from white, burnt umber and ultramarine blue. The canvas was covered with a mid tone grey and modeled with lighter and darker tones of that mixture. Since I have already decided on the structure and composition of this piece, I can focus my attention to the value relationship and draftsmanship I will need to convey the illusion of depth. Keeping the forms round and edges soft, and slightly out of focus. At this stage you can work in a vigorous and subtractive method; adding and removing paint as you move shapes around modeling light and shade. Fine tuning the structure and values, of the under painting. In the indirect method I have broke down the complicated production of a painting into smaller more manageable stages. And laid down a foundation, for the building transparent layers of colors. That will give the painting a rich resonate depth. And a true illusion of dimension and atmosphere.

Leonardo study

Garment study for a seated figure.
Leonardo da Vinci.
Italian Renaissance, born 1452- 1519
Charcoal, pen and ink, between 1470 and 1484.
Musee du Louvre, Paris, France

After Leonardo.

This study I have always admired. Just an amazing play of light and shade across that material. The depth and dimension is wonderful.
Drapery has always found a way into my work. And after this study it has inspired me to included it more often as an element. I certainly have gained much from the effort.
12 x 14 inches, charcoal on paper.