I had hoped that the greater color saturation and bolder values I arrived at in the memory studies will carry over to my plein air paintings. There is some evidence that this is happening, but it isn’t as easy as I had hoped: what seems right in outdoor light still often falls short  when I bring the sketch inside and see it in indoor light. I am experimenting with how to light my easel outside, to give myself the best shot at not being disappointed when I bring the painting inside.

NB Photography lies, and I find my grey paintings often look quite good posted on the web, while the ones that look good in indoor house light, often  look over- the- top on web pages. I have tried to compensate for this effect, but  all computer monitors differ. If my grey paintings look good and the more chromatic ones garish on your screen, you have to believe me that in indoor light, my more recent landscapes are more convincing and less depressingly dark than

the ones I did before I had played around with these memory sketches.

(For an Update on this and , I think, a significant jump forward, see OCAG talk ( part 2))