Because I Wanted To

When I began oil painting with only the primary colors (“double primary palette” means 2 each of the 3 primary colors + white), I wondered why I thought that 2 different sets of 120 colored pencils were necessary. Colored pencil is not a main part of my art-making life: De Quervain’s tenosynovitis, Carpal Tunnel Syndrome, and extremely slow production combined with low sales sent me to oil paints.

If one can paint using only the double primary palette, doesn’t it stand to reason that one could use a box of just 12 colored pencils?

In the last handful of years, my favorite brand of graphite drawing pencils is Tombow. This is a Japanese word which means “dragonfly”, for some unknown reason. (A country that names its companies things like “Google” or “Yahoo” isn’t allowed to poke fun at something as straightforward as “Dragonfly”.)

When ordering some art supplies recently, I saw that Tombow has colored pencils. I bought their box of 12. They aren’t available any longer, although I only bought them a week or two ago. Life is full of mysteries.

This stellar jay caught my attention (they are fairly demanding birds) in Mineral King a few weeks ago, and I chose it for my trial use of Tombow colored pencils.

This is small—5×7” piece of paper with about 1/2” margin—so it didn’t ignite any wrist troubles. You can see that I made up the background, and the colors aren’t exacatacally* right on the bird. Trying to do exact matches is good learning practice, but I am a little past that in my career now, and besides, no one cares. I loved the challenge of trying to force the right colors from a box of only 12.

If you are really into colored pencils and want to know a bit more, these are very soft, possibly even softer than Prismacolor. I prefer the Blackwing brand of colors, but they include a white and a silver pencil, which I find to be almost useless; this causes their overpriced box of twelve to only contain 10 useful pencils.

*My blog, my spelling, my pronunciations.

Custom Art Job—A Map

The owners of a ranch used a hand drawn map to show visitors (for various reasons) how to find the right pastures, and they decided that a pretty map would better serve their purposes. They brought the hand drawn map along with a county map showing property lines and buildings.

Think, think, think. How do I do this? I started by tracing the country map and transferring it to a large sheet of drawing paper. Then we went over it together to determine property lines, fence lines, troughs, internal roads, gates, and to list what else would be helpful to add.

When all those things were figured out, the lanes were named, the pastures were numbered, and all the gates and water troughs were located, I walked the property a second time for a sense of what belonged in the margins to prettify the map.

When all the drawings were in place, I scanned it in 2 parts, because OF COURSE it was too big for my flatbed scanner. Then hours and hours using Photoshop began. (I seriously underbid this job. . . so what’s new?) When it seemed finished, I emailed the owners to see how it would print for them, since they often need to hand one to a visitor. (Duh. That’s why they had me do this job.)

The owners thought it was great, but needed to make a few corrections and changes

We decided that the heron looked weird, the word “faucet” on the legend needed to be replaced with “trough”, a fence line was missing, the map and words needed to be darker without changing the drawings, and, get this, I drew the wrong horse at the bottom left corner.

What?? Seen one, seen ‘em all (and I think most yellow flowers and most babies look alike too.)

So with coaching from these horse experts, I turned Mr. White Nose into Hopper, a black horse (yes, I can tell the difference in horse colors, just not features).

There were many layers of tissue paper, sketches to figure out what might fit where, copies to correct, piles and piles of papers when the job was finished.

Here is the final map of the Bar-O Ranch. Really challenging job, very satisfying results, lots of new experience in problem solving and design that I probably won’t get another chance to use. However, if you know of anyone who wants a pretty map, I’m the one to call.

New Notecards Coming Soon

Notecards have been a mainstay of my art business since 1987 (maybe you weren’t born yet). There used to be many stores throughout Tulare County that sold these steadily, and I spent copious amounts of time packaging cards, sometimes with the help of my parents or my friend Gnat.

The packages had two each of five designs and retailed for $5.00. It was possible to make a profit because I worked at a print shop and received a discount, but had to order large quantities to make this work. “Large” means 1000 or more of each design, instead of the 100 or so I now order. Since this was before email, most of polite society used cards. (Impolite society didn’t send thank you notes.)

Now notecards can be ordered online, and if I wait for a discount sale from the company who prints the cards, I can make a small profit selling four cards (all same design in a package) for $10.

Have you picked yourself back up off the floor? Okey dokey, let’s see the new designs coming soon. These were chosen to please my higher selling stores’ customers, many of whom are visitors to the area in the summer. The pencil drawings aren’t new; the paintings were completed recently (within the last year).

Kaweah River
Generals Highway
General Sherman Tree
Lake Kaweah
Sawtooth #65 (such an elegant title!)

These are all scenes drawn or painted from my* photos, sometimes embellished and made up from several photos and my memory, all specific to eastern Tulare County: Three Rivers, Sequoia National Park, and Mineral King.

The notecards will be available at Kaweah Arts in Three Rivers and on this page of my website.

*Except Lake Kaweah, generously supplied by my friend Rachel.

An Unusual Job in Three Rivers

Some folks in Three Rivers with a horse-breeding ranch asked me to turn their hand-scratched map into a thing of beauty. It doesn’t need to be to-scale, but all the pastures, corrals, gates, arenas, barns, ponds, and various buildings need to be in proper relation to one another.

This necessitated a walk around the place, which was very appealing in spite of the green turning to yellow.

I pulled out my inferior phone camera to gather a sense of the place and to see if inspiration and ideas would emerge.

Hmmm, this is an unusual assignment, perhaps even an odd job, for some folks who are very delightful and easy to work with. I’m thinking of drawing the map lightly in pencil, getting it okayed by the customers, then inking in the lines. After that, I might add some pencil drawings around the edges, because as you know, I love to draw. I’ll do it twice the size of 8-1/2 x 11”, and then they can print out as many maps as they need to direct customers and workers around the property.

This will be a fun job, no real rules, just freedom to turn this into whatever I want. If the customers like it, they’ll get it framed. (The walls in their house are full of art, so they might have to put it in a barn!)

An Old Drawing Reappears

Someone I’ve never met called and actually left a message. I returned the call to learn about someone (Let’s call her AF) who bought an old home and had seen a pencil drawing of the house. The seller was supposed to leave it behind, but took it away. AF had the foresight to take a photo of the drawing, and then she sleuthed around until she found me.

It took a bit of conversation until I figured out what house she was speaking of. She was hoping to be able to buy a print of the house, but when she told me it had the date of 1995, I told her that I didn’t even own a computer back then, much less a scanner.

However, sometimes when I have prints made, I keep one in my flat files. I told AF that there was a possibility that I had one.

The bottom drawer of my flat files is very hard to open, so I rarely fight it and as a result, don’t know what it contains. But the label indicated it might contain the desired print, so I wrestled it open.

AHA!! EUREKA!! Here it is!!

I couldn’t get the drawer to go back in so I made like a snake and bellied up to peek inside. Look what was shoved behind that bottom drawer! I had occasionally wondered where these drawings were, but as someone who loses things regularly, I had other missing things to occupy me.

I called AF to let her know I found the print. She was quite excited, as was I. Before packaging it up for her, I scanned it for you.

I remembered that the customer had only the bottom portion turned into notecards, and just two weeks prior, one of my drawing students brought one to me that he found in his mother-in-law’s stacks of stuff. (Weird.)

Turns out, that card was the drawing that AF had seen at the house, and she had no idea that the drawing was an intricate collage of many parts. She has connected with my original customer and will get an explanation of everything included. (Obviously I drew this before instigating the rule of No Faces Smaller Than An Egg.)

I love it when things turn out like this, with the added bonus of finding missing items for myself too. (Who cares if I talked myself out of a drawing commission? That’s not as important as actually helping someone.)

Working Toward a Solo Show

In August, “Around Here and Sometimes a Little Farther” will open in Tulare at the Tulare Historical Museum’s Heritage Gallery.

What is this? So glad you asked! It is another solo show of my art.

Pieces have sold since the show last fall in Exeter at CACHE, new pieces have been painted, and it is time to assess the collection. Do I have enough paintings? Is there enough of a spread of sizes, shapes, and subjects?

How do I figure this out? So glad you asked! (Have you noticed how many times an interviewee responds to a question with “great question”? I try to avoid clichés, so I made my own clichéd response.)

Trail Guy and I set up my display screens in the painting workshop and hung all the larger paintings. I made lists: how many of which subjects, how many vertical, how many horizontal, which ones need to be touched up or improved or finished, and what shall I paint next?

The two blank canvases will become Sawtooth paintings, one horizontal, and the other vertical. The vertical canvas is turned around because it has a painting on the other side, done many years ago by a friend’s daughter. She passed the canvas along to me, rightly discerning that my frugal self would say a hearty “THANK YOU!” and turn it into something else.

These look rather undignified, all squished together, crooked, some on the floor. Doesn’t matter for purposes of this evaluation session.

I wanted to go lie down, eat some chocolate, read a book, pull a few weeds, knit something, or just rock while staring out the window, but instead we schlepped all the paintings to the studio and replaced them with pencil drawings. Sometimes I can find my inner warrior and soldier through.

Are there enough? Are any too tired to show? What pieces need to be added? Do I have frames that will work or will I need to fork out money for more framing? (My framer is wonderful, in case you are interested. I take him pieces, tell him my budget, sometimes indicate a mood such as “formal” or “rustic”, tell him to make it look good and call me when it is finished. His name is Ed, and his business is Express Framing in Visalia. Tell him I sent you.)

This list is shorter than the oil list because I have many many many pencil drawings. How many? Glad you asked! A LOT!! (I don’t want to count.)

Currently I have 24 larger paintings, about 15 smaller ones, and 9 tiny (5×7”) ocean scenes that will sit on easels. That is 48 paintings, but there is a chance some of them will sell at Silver City this summer. There are two new large ones to paint (maybe more if the asphalt paver coming to repair our driveway decides he would like to barter), three to improve, and one to finish.

I will probably add about four more to the current batch of pencil drawings: another pier, another portrait, and two with some color in them.

What was so tough? It was a lot of schlepping, but that’s no biggie. Sometimes it is just hard to face reality: is my work good enough? How much work remains? Have I bitten off more than I can chew? Can I do better? Am I promoting my work enough? Does anyone care? Should I just go get a real job?

All of this thinking and planning is simply part of the business of art.

Successful Drawing Workshop

The recent drawing workshop in Three Rivers was successful; everyone learned, and everyone had a good time, including your Central California artist, in her role as a drawing teacher.

We met at someone’s house on the river, a place full of beauty, so there are photos of things that caught my fancy along with photos from the actual drawing session.

This is a little store where the hostess and her husband sell their beautiful pottery.

Some of the pottery that did not make it intact out of the kiln is now stepping stones. Could you imagine stepping stones any more classy than this??

Ten students sat at a long table inside the house because the river made it too hard to hear outside.

I discussed drawing steps and tools, and they started on some beginning exercises to practice the techniques.

After about 15 minutes, 2 hours had passed. (That’s how one of the participants described the time.) The hostess fed us a wonderful lunch out on her deck.

Everyone began working on a drawing after lunch, and I circulated around the table, showing them how to see what is really there, rather than what they thought ought to be there. Weird, I know, but that is what drawing is, at least the way I teach it. I teach people to see, which is also weird, considering I am one of the most nearsighted people I know of.

People had such a good time that there is talk of a follow-up drawing session. Regular lessons, or another workshop? Where? When?

More will be revealed in the fullness of time. . .

Drawing Workshop

Upcoming!

Besides loving to draw, it makes me happy to help other people learn to draw. A friend named Anne Brown has been asking me for many years to give a workshop up here, and since she offered to host it and for whatever reason I now have some time, (OH, because I’m not preparing for a solo show since I still have paintings from the last solo show, phooey but yea), we scheduled this drawing workshop.

Because I Felt Like Drawing

In 1990, I drew the Exeter Woman’s Club. (Yes, that is the correct name—I just work here.) It was part of a set of notecards called Tulare County Landmarks. No one can find the original drawing. All I have is this scan of a notecard with a hole punched in the corner.

The club asked to use the drawing, and had an old scan or some other format, not really up to my standards. But I didn’t mind and gave my permission. (It is rare that people know the copyright law which is that the artist holds the copyright, so I was impressed and thankful that they asked.)

They are celebrating a big anniversary (100 years?) and plan to publish a cookbook. The president of the club and I are longtime friends, and we began discussing the cover of the cookbook. I couldn’t stand the idea of a shoddy reproduction of my old drawing (not that it was great 35 years ago), so my friend went spelunking, unsuccessfully, in all sorts of places trying to locate the drawing.

Because I hit a slow time (feast or famine in the art business), I asked her to send me a photograph so that I could draw it again. She complied, and I dove in immediately on a rainy day.

Before finishing, I scanned it without a background, since that is how I drew it 30 years ago.

Then I drew in a dramatic background and scanned it again.

My friend asked me to make a couple of adjustments, which were easy to do. Here it is in its final form. After growing the new shrubs into a hedge with my pencils, I photoshopped the palm trees because of a strange request to shorten them by 1/4”. (As I said earlier, I just work here.)

I love to draw (But don’t ask me for a freebie, okay?)

P.S. My friend did NOT ask for a freebie—I offered. She did ask for some modifications, and I happily complied.

Thinking About Water and Feeling Reckless

Because it is raining while I write this, I am thinking about water. A few years ago, we had a very wet winter after several dry ones, and I became obsessed with watching flowing water.

Here are some of the results. I was quite pleased with the drawings and pretty proud of the titles too. (There were more, but they sold.)

Every Drop, matted and framed, 15×17”, $400
Life Source, 9×12”, graphite on archival paper, unframed, $250
Rock and Roll 2, graphite on archival paper, unframed, $250
Turbulent Times, graphite on archival paper, unframed, $250
Frozen and Flowing, graphite on archival paper, unframed, $250
Liquid Fury, graphite on archival paper, unframed, $250
Steady Stream, graphite on archival paper, unframed, $250
Wet and Wild, graphite on archival paper, unframed, $250

All the unframed pieces are 9×12”.

I’ve had these too long, and this is a slow month. So, for the rest of the month of March, THESE ARE NOW ALL HALF-PRICE! (half of what is written beneath each one here on the blog) See? Reckless.

(Oh hush up, snobby Art World who says art should never be discounted! I’m in Tulare County, and I’m the boss of my art.)

They aren’t on my website, so you’ll have to talk to me in person, text me at five-five-nine-561-7606, or email me at cabinart-at-cabinart-dot-net (both written this way so the cyberjerks don’t mess with me.)

Yes, there will be sales tax.

If they don’t sell, I might just shred them. Ooh, feeling really really reckless!

“Reckless” is a weird word. If one is feeling reckless, one might not remain wreckless.