One More Autumn Break from Painting

That flowering pear tree!!

A friend and I took a walk around her neighborhood. It is the only traditionally laid out group of homes in Three Rivers, often referred to as “the suburbs” for its resemblance to typical neighborhoods in the non-foothill towns of our county. (Yeppers, we are special here.)

Check out this house! That is a wooden tree, made in four custom panels to fit each window.

Blossom Peak is visible from the ‘burbs, and it looks so different depending on where you stand. (See? special!)

Because this blog is supposed to be promoting my art, here is a painting of the most common view of Blossom Peak, which is actually 3 peaks. One friend has corrected me on the moniker “Blossom Peak” as the name of all three; apparently one is Blossom, one is Britten, and one is a why bother.

And here is a view from the ‘burbs looking up North Fork. It took us a minute to discern that we were actually seeing up the canyon of the North Fork of the Kaweah River, and then I remembered that when one is standing on the Airport Bridge (there used to be an airstrip near the North Fork), Blossom Peak is visible.

Let’s have another visual aid, another oil painting, of course.

Finally, since the point was to enjoy autumn in Three Rivers, here is a final photo of splendid color, Virginia creeper this time.

P.S. HAPPY BIRTHDAY, SHIRLEY GOODNESS!

New Oil Commission, Chapter 5

Before I finished layering the background things, I blew off any discipline about painting, ignored conventional wisdom about The Way You Are Supposed to Paint, and I launched into detailing.

When I draw, I work from top to bottom, left to right. This way I don’t rest my hand on finished parts, thus not smearing graphite around. So, in spite of generally painting from back to front (the farthest away thing like the sky first, moving forward toward the closest objects), sometimes I resort to drawing with my paintbrush in places where there are enough layers to warrant the detail. This means the left side of the canvas might start looking pretty good while the middle and the right side still resembles a dog’s breakfast.

I couldn’t see very well with the doors open and bright light behind the canvas, so I rotated it. Hence, the colors appear to have changed. (Did anyone notice this?)

Bark on trees, more branches, better grasses, humanoid becoming more human (and now wearing shorts), more leaves, more this, that, and the other thing.

It was a very satisfying afternoon of painting (and only a little mosquito slapping.)

HEY, SEARCH ENGINES, IN CASE YOU ARE LISTENING, THIS IS A PIECE OF CUSTOM ART, AN OIL PAINTING OF A MINERAL KING SCENE. (Just in case there are a handful of folks who wish to join my tens of readers and see how a painting is built by this regional artist, this self-trained, user of a paintbrush like a pencil.)

WHAP, SLAP!! WHY are there mosquitos still plaguing me in November, for Pete’s sake?!

New Oil Commission, Chapter 4

About the mural

The threat of rain prevented me from beginning on Friday. More relevant:the powers that be did not offer me a key to their building, which means I can only paint on Fridays. This coming Friday I will be setting up for the Holiday Bazaar, and the following Friday is part of Thanksgiving weekend, with no idea if the library will be open. So, why start and then wait 4 weeks before continuing??

Commissioned Mineral King Oil Painting

This custom piece of art, a commissioned oil painting of a Mineral King scene for a customer we will call Mister while not assigning any pronouns in order to protect anonymity, is starting to come together enough that I am no longer questioning the wisdom of accepting the job.

You can see the difference in color below because the sun was behind the hill. The inferior camera phone makes adjustments for low light, while changing the color. I sat down to work on the foreground, to get the darks and lights in the right places, hoping the colors were good (are shadows blue? purple? or just darker dirt and darker grass colors?). Tricky stuff to paint in low light.

I got tired of slapping mosquitos so I stopped after here. (Stopped painting, in hopes that I could stop slapping.)

I am still somewhat apprehensive about my ability to create a humanoid which is not only believable, but recognizable.

But it is too soon to worry about this. Actually, why worry at all? Instead, I’ll continue to paint.

I considered making a list of everything remaining, but it is too soon for that too.

New Oil Commission, Chapter 3

On Monday, you saw this version of the custom oil painting of a Mineral King scene.

Next, I put more paint on the sky and worked more carefully on West Florence. (The humanoid is still a mess.)

Time to rescue the humanoid from embarrassing me. Wait, time to rescue me from the embarrassment of the humanoid. Something. . .

What’s different here? A little more background spots, using dark green and the grayish blue/bluish gray of West Florence.

Let’s make like a tree and leaf.

More color and texture on the tree trunks.

Something… Oh. I moved the tree on the left closer to the viewer.

In spite of using Trail Guy as a human-size model in the scene, I’ve decided to make the human larger in the painting.

Many more leaves, branches, trunks, grasses, and trail work to go before getting into the nitty-gritty of putting the correct human in the painting. That is going to stretch my skill to the nth degree.

New Oil Commission, Chapter 2

Here is my usual collection of thoughts about custom art: This is too hard, I’m a washed-up has-been, why does anyone think I am qualified? And: These people are counting on me and I’d better get started because it is going to be hard and take a very long time. Finally: Just paint, you Goober! You know how to do this!

This is what you saw at the end of Monday’s post:

I started with sky because it is the farthest away, then put another layer on West Florence.

Sometimes I turn the canvas sideways because I can better control the brush and see it better for certain areas.

Here I started putting more paint on the trees. I’m also just planting them where they look right to me. The actual tunnel is kind of a mess, hard to find individual trees. If I painted more loosely, I could just slap on spots of various shades of green and then put in hints of blue sky beyond along with hints of tree trunks. But then I wouldn’t have gotten this job, because Mister likes my style of painting, not that loosey-goosey style.

This must have something changed for me to have taken another photo. Oh, I see that I tried to take some of the ridiculousness away from the humanoid-like figure.

More tomorrow. . .

New Oil Painting Commission

“Commission” means someone is paying me to paint custom art for him. Them. Her. Shhhh, I think it will be a Christmas present.

Let’s call the customer Mister. You can decide if it is a man, a woman, or several humans. Mister decided on 20×20”, a square format. The canvas arrived, and I put a very thin coat of paint on it.

This is the version of the requested scene. Yes, it is Mineral King, and that is Trail Guy for size reference.

No wonder my laptop gets splatters on the screen.

Here is the beginning. The photo says “Yellow Tunnel” but Mister is requesting the tunnel to be green.

That’s as far as I got. When it dries, I’ll put in a better sky and a better West Florence (that’s the peak on the left side of Farewell Gap.)

In case you are curious, I painted the tunnel in the green season several years ago. (If it feels like three years, it was probably six.)

Heh-heh, it was actually just five years ago. I think I paint better now. Sure hope so, otherwise I am One Stuck Central California artist. Gotta keep improving. . . always. And don’t give me this “your own worst critic” stuff either, because if I’m not, how will I get better?

And that’s all I’ve got to say about that. For now.

P.S. HAPPY BIRTHDAY, LAURIE!

Sold in Summer—Oil Paintings

These “Sold” posts are mostly to reassure myself that I’m not just drawing and painting for the fun of it. They serve a secondary purpose in reminding my tens of readers that I accept commissions (lest you think I am a prima donna who only creates what I “feel like” creating) and that I do sell my work (lest you think I just prefer to cover my walls with my own art.)

I distorted the proportions of West Florence and Vandever in this painting. I hope someone from far away bought it so that they don’t notice my “artistic license”.

Most of these sold at the Silver City Store, four miles below Mineral King. The sequoia paintings mostly sold at both of the stores which sell for me in Three Rivers (Kaweah Arts and Stem & Stone). One sequoia painting was a commissioned piece for a long time friend and customer, and another was to some new friends/customers.

If it weren’t for all those folks passing through town on their way to Sequoia National Park, I’d be sure that only my friends and relatives buy from me. It is thrilling when a stranger likes my art enough to part with their hard-earned pieces of green paper with dead presidents’ faces on them.

Tomorrow I’ll show you all the pencil drawings that sold. You’ve seen most of them already, so it will be reruns for you.

Procrastination and Completion

The plan was to finish the 10×30” commissioned oil painting of the two redwood trees. When I set up in the painting workshop, it looked too hard and too big and too daunting. So I indulged in some productive procrastination, opting instead to finish the plein air painting of the pumpkin field.

This meant that I added a few blossoms, detailed some foreground leaves, and signed the painting. Since it is too wet to scan, here is the photograph, which include shiny spots.

No, no, no, REALLY, it looks so much better in person! And it might be a bad idea to title it “Pumpkin Patch” since no pumpkins are visible. Besides, Mrs. Texas and I thought it was a field of summer squash for a few months.

Never mind. Let’s return to our twin redwoods, Sequoia Sisters, Sequoia Siblings, Aunt Tillie & Uncle Pete, Two Sisters. The last title is the real one, because my boss chose it. Who is my boss? Mrs. Customer, of course!

The upper mid section of greenery and trunk was lacking in detail. Mrs. Customer also requested to see some flowing water into the trough, along with a few wildflowers.

The water really flummoxed me because it flows in a little ravine, not right at the surface where it is visible. So, on the way up the hill recently, the idea of a waterfall came to me. On the way down the hill, we did a drive-by shooting of the waterfall. I’ve circled it and messed with the contrast so you can get an idea of what I am working with.

First, I had to paint out the fake-looking stream that I put down in order to force myself to address the issue. Buh-bye, little fake stream. You can see that there are boulders indicating a stream flowing into the trough. However, there isn’t room for a believable waterfall.

Oops, too small to see. Here is a close-up of the bottom left corner.

Allrighty then, let the water fall, and let the lupine bloom!

Will Mrs. Customer approve? (I signed it anyway. . . always hoping for the best.)

Why two photos of the (hopefully) finished commissioned oil painting? Because I photographed one with my inferior phone camera and one with my little Canon Elph, which probably is also inferior compared to most people’s phones. This will be an enormous challenge to photograph. When it is dry, I’ll tackle that aspect of the job. Or, more accurately, after Mrs. Customer is pleased and it is dry, then I will take on that challenge.

P.S. I like this painting a lot. Thank you, Mrs. Customer for commissioning a subject that I’ve never done for some odd reason!

Back to Work, Central Calfornia Artist

With two Giant Sequoias to paint, I chose to finish, nay, ALMOST finish the painting I started in Gilroy. Why not the Sequoia paintings first? Because I missed Mrs. Texas after spending so much time together.

I think it might need a blossom or two and better definition on the closer leaves.

Because I was painting two at the same time of the same scene, and they are the same proportions, I can’t tell which photos are which paintings. So, no in-progress shots today, just a beginning and an end of the day photo of each.

The small one (6×18”)

The 10×30” painting.

This one is too tall to reach the top when it is sitting on the table-top easel, so I worked on the lower part first, then flipped it upside down to work on the top. The middle section isn’t finished.

The painting isn’t finished. I sent a photo to the customer so she can tell me if I need to add, change, or delete anything.

I am just a hired brush, using oil paints to make art that my customers can understand of places they love for prices that won’t scare them.

Plein Air Painting in Gilroy

Mrs. Texas is at the edge of a pumpkin patch, a big “patch”. Okay, a pumpkin field. We mistakenly thought it was summer squash, that yellow crookneck stuff that prompted a friend of mine to say, “‘Squash’ is the past tense of ‘squish’, and ‘squish’ is not a food.” (Right on, Ben!) But pumpkins? Yes!

I took many photos, trying to see what was most pleasing. Some I took in the morning, some in the evening, some with the inferior phone camera, some with the little Canon Elph camera.

I took many more photos, and will show those next post. Meanwhile, let’s continue with the plein air process.

First, some sketches. Super scribbly, but good enough to make a decision.

Good enough for now. This took about 1-1/2 hour, and definitely needs more layers and detail. I might work on it in the painting workshop when/if the commissions get finished.

Wait, they WILL get finished. I mean if there is a gap before more commissions arrive.