SOLD (Took awhile. . .)

For several months, I had no work. Instead of worrying about it, I enjoyed guilt-free time at the cabin. Well, guilt-free except for the fact that the road was closed, and other people couldn’t enjoy Mineral King this past summer. Life is a series of good things and not-so-good things; we do our best with what we have been given. Or I do. Most of the time. I don’t know what you do. Maybe you just complain. . .

My point, and I do have one, is to show you that I did have a few sales. One must pay closer attention when times are a little hard, because the negatives are often much louder than the positives. Here are my positives from that slow period plus a couple of months beyond.

I am guessing on the titles and some of the sizes. Closies count. . .

Pencil, 6×9″, a commmission drawing
Pencil, 11×14″, a commmission drawing
Oranges, 5×7″, oil on panel
North Fork, 10×10″, oil on canvas
Navel, 6×6″, oil on canvas
Sawtooth, 8×8″, oil on canvas
Unspiced, oil on canvas, 6×12″
Alta and Moro After a Storm, 6×18″, oil on canvas
Craig’s View, 6×6″, oil on canvas, a commission painting
Orange Pair, oil on panel, 5×7″
Big & Tall, oil, 6×12″
This is acrylic on a 1’x3′ panel.

Oil Painting Comparisons

Let’s compare some oil paintings: a 2006 version reworked, a 2010 painted again, and a painting begun to its midpoint.

I painted this in 2006; my friend (let’s call him Craig, because that is his name) brought it back to me upon my request. I wanted to rework it so that I wouldn’t feel embarrassed for taking his money 17 years ago.

It took awhile, but I found the original reference photograph. With limited (ahem, zero, actually) experience in painting scenery back then, I just did my best to match the somewhat gray and faded colors of the photo. I was successful in matching, which is one of the important lessons of learning to paint. However, now I like to substitute brighter colors.

Craig also asked me to repaint a 6×6″ scene that I had originally done in 2010. I was able to convince him to just trade me rather than keep 2 almost identical paintings.

Can you tell which is old and which is new? Probably not, so I’ll tell you: old is on the right, new on the left.

Then I decided to touch up the old so that I can sell it next year, assuming my places of commerce will be open and thriving again.

You probably can’t tell the difference in this photo. That’s okay, because I can and I know it is better now.

Finally, let’s look at a painting in its beginning ugly stages, and then enjoy it after it has been worked on a bit more.

I relayered the sky and clouds, worked on the trees, and began detailing the buffalo. (For some unknown reason, I worked from right to left on the herd, rather than my normal left to right.)

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I love to draw with my paintbrushes.

Series Interruption for Painting Update

 

Recently I told an old friend that I have no commissions. He said, “I have one for you”. Many years ago he bought a couple of Mineral King paintings from me. One was when I was very new to painting, and according to Friend, I was reluctant to accept his hard-earned dollars for it. He wanted me to paint the two again, so he could see the difference. 

After he sent me a photo of the two paintings on his Mineral King wall, I asked if he wanted one or both, and what sizes. He chose one, a 6×6″, and it is the newer of the two paintings. However, it is still before I kept good records of completed work. (I started oil painting on March 8, 2006. Yes, I remember the date.)

This is his photo:

I looked through my files of completed oil paintings, and holy guacamole, look how many paintings of this scene I have in my records!

This is the first one, probably from 2006 or 2007, when I was still painting on boards rather than wasting canvas.

This is from 2010.

2013

2014

Can’t tell. . .

  •  . . .if these are painted from the same reference photos or not. I can tell that none of them are the one that Friend owns.
  • . . .if these improve through the years.
  • . . .if the 2023 version will be superior to these.

Excuses

  • It is too hot to paint for very long this time of year
  • When the swamp cooler was roaring in the painting workshop last week, I didn’t hear the plumber arrive, so the gate was closed and he left. I now have to wait AGAIN for him to show. (WHY doesn’t he call first??)
  • I am out of practice.

Beginning steps

I found two photos to help me get this right.

Ugh. It’s hot and the swamp cooler is roaring, and I want lunch. There is no deadline, so I will paint slowly with many corrective layers.

Done.

Now, we return to our regular broadcast, a series called “Cabin Life”.

Sold in Spring 2023

If you are getting this post in your email, go to the internet and type in jana botkin dot net (type it in computer style, not the way it is written here).

Sales have been slow. I am not defining “spring”, precisely, and it isn’t over yet. However, I am not producing very much: just editing and formatting 2 different books, teaching drawing lessons, communicating occasionally with the folks on 2 different pairs of murals, and wondering if there will be any reason to paint towards selling at the Silver City Store this coming summer.

 

Lest you think I am bored, your Central California artist is never bored. I am yardening, meeting up with an old friend from high school, cleaning out closets and rooms at church, yardening some more, reading, knitting, walking with my neighbor, and yardening (in case you were wondering.)

How I Finished the Oil Painting Commission

My blog seems to be back to normal, so if you are receiving my posts via email and can’t see the photographs, tap here to go to the blog on the internet.

The large oil painting commission has taken quite a bit of thought and time. It feels very important to make it the best I possibly can. This is difficult for a non-perfectionist, whose main drive is to complete projects rather than do things perfectly. However, as a grownup, I am capable of overcoming my natural bent when it is the right thing to do.

I photographed the painting while it was upside down on the easel.

Then I flipped and cropped the photo, enlarged it to fill my computer screen, and studied it.

This is a weird phenomenon, one observed and used by my drawing students and me. Things often look fine until you see a photograph on a phone, camera, or computer screen. Suddenly the flaws appear.

The result of my study session is a red oval around each part that didn’t look quite right.

Then I mixed up the right colors and began making minuscule corrections. My plan was to photograph the corrections for you, but all wet paint was shiny and looked terrible in the photos. So, never mind that plan.

I lifted it off the easel to sign it and saw that the bottom looked terrible.

Then I looked out the painting workshop door and felt happy in spite of the little hitch in my git-along.

 

Here it is on the easel, ready for the official photograph. In spite of looking tiny in this setting, it is way too big for my scanner.

Wait! You haven’t seen the edges yet!

Finally, paint the bottom of the canvas, and the painting is finished. (Still wet)

I think you need to see it in person to truly appreciate this commissioned oil painting of my current favorite scene of Tulare County to paint for the very patient and accommodating Mr. Customer.

 

Painting, Wandering, Waiting, and Wondering

My blog seems to be back to normal, so if you are receiving my posts via email and can’t see the photographs, tap here to go to the blog on the internet.

I am slowly working on the commissioned oil painting, and wandering around the yard while waiting to hear about two mural projects (each with two murals) and wondering about several subjects.

Oil Painting Commission

Wandering

Sometimes while thinking about the painting, I amble around the yard.

 

Wondering

I am wondering if the host of my website will sort out the evil robot situation, if I will be able to make the oil commission match Mr. Customer’s vision, when I will hear about those upcoming murals, when I might be able to start, and why the deer haven’t eaten all these irises and roses.

 

 

A Conversation with Mr. Customer

For awhile I had a link in these emails of my daily blog post to take you to the site on the internet so you could see the photos. Now there is some tomfoolery happening with my blog, so I am not putting the link in until it gets sorted out. If you would like to see the pictures, go to jana botkin dot net (written this way to confound the evil robots who are messing things up.)

Mr. Customer and I had a texted conversation about his commissioned oil painting.

Me: Is this starting to look like what you are wanting?

Mr. Customer: It is!


Me (knowing that he is a very encouraging and positive person and needing to verify things a bit further): I have made the mountains as perfect as I know how but I am faking the hills in front of them. The only place the mountains looked that clear and perfect and visible was from Rocky Hill, but from there the hills were just one solid ridge. Hence, fakery. 

Mr. Customer: Pretty darn close

Me: I aim for believability. No one memorizes the actual configuration of the hills, and most people only know a few specific peaks. But even those look different from every viewpoint. So as long as you are happy, then I am happy too.

Mr. Customer: I will be happy. Just so you know.

Yippee skippee! I am happy too!

Paint, Yarden, and Paint More

For awhile I had a link in these emails of my daily blog post to take you to the site on the internet so you could see the photos. Now there is some tomfoolery happening with my blog, so I am not putting the link in until it gets sorted out. If you would like to see the pictures, go to jana botkin dot net (written this way to confound the evil robots who are messing things up.)

The commissioned oil painting of mountains is challenging. I paint a little, get stuck, try to figure out which photo is my guide for whatever section I am working on, paint a little more, and then take a break. Here’s how that looked a week or so ago.

Yeah, no problem, I got this figured out.


Wait, where am I? These rocks aren’t lining up with the right peaks. Where’s a pencil??

Yeah, I got this figured out.

Hunh? Time for a break. I’ll just survey things in the yard, pull a few weeds, decide the next priorities.

Does that mean yard priorities or does it mean oil painting priorities?

These weeds are sure pretty. But remember, one year’s weeds equals seven years seeds. . .

(Oh yeah? Then why do I have prolific weeds in the areas that I have been weeding for 24 years?)

The iris around the pillars are supposed to be prettier than the weeds, but they haven’t bloomed yet.

STOP IT! YOU ARE SUPPOSED TO BE PAINTING.

I walked back to the painting workshop but kept seeing beautiful things and weeds on the way.

Finally got back to work. 

Oh no. Now I have to figure out the foothills, again working from forty-eleven photos.

In case you were wondering, I LOVE to work at home, both in the yard and in the painting workshop. 

Three Versions of the Favorite Scene

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Version One

Mr. Customer gave me permission to show his 12×36″ commissioned oil painting in progress on the blog.

Version Two

This 10×20″ oil painting has been hanging around (literally), waiting its turn at the easel. It is just part of the series I began back in February to build up the inventory of my favorite subject in a variety of sizes and shapes.

Hmmm, I think I may have overdone the size exaggeration of Castle Rocks.

Version Three

This 18×36″ oil painting is one that is destined to hang in the dining area of my house, IF I ever complete it and IF it doesn’t sell (because I can always paint another one).

Thus we conclude eensy progress on three oil paintings of the best things about living in Tulare County in the spring, after a wet winter, when there is snow on the mountains, fruit on the trees, green on the hills, and gratitude and happiness in my heart.

Somewhere North of Tahoe, Explained

If you receive these posts in email and the pictures in the post don’t show for you, tap here janabotkin.net. It will take you to the blog on the internet.

By “Somewhere North of Tahoe, Explained”, I mean the painting, not the location. Having received permission to show you the photos supplied by the customer, I thought you might like seeing what I had to work with and the final outcome, all together in one post.

The first photo is too dark but has a dramatic sky, snow on the distant peaks, and the meadow portion is green. The second shows better detail so that I can understand the landscape.

Both appear to have been taken using a wide-angle lens. This means that distant mountains seem farther and smaller than they probably look in person. 

Neither photo is the same proportions as the final painting needed to be.

Since both photos seem to have been taken from the same spot, I figured the log must be an important element. I can tell that the close shrubs are sagebrush, and the distant shrubs across the meadow are probably willows.

Most of my guesses are based on having painted similar scenes of Mineral King, but because they are guesses, I did this sketch for the customers to approve, or improve so it suited their vision.

I got lucky on two counts: 1. they liked everything; 2. they weren’t scared off by the scribbly sketch.

You saw all the steps; here is the gussied up photo when it was dry enough (and sunny enough) to take one for my records. (For some reason, the meadow appears fluorescent here, but fear not, it looks fine on the painting).The painting was picked up by the customer on Saturday. She sent me this photo of it in place.What a terrific solution for a window that looks out onto someone else’s cobwebby wall!From this:

To this:
.