Bridge Building (With Paint)

Incremental Improvements

Painting #38 of Tulare County’s best bridge (according by your Central California artist) is inching forward into excellence. Can you see the incremental improvements?

We can probably consider it all finished now, EXCEPT FOR THE BRIDGE ITSELF!

Ahem. Excuse me for shouting. It just surprises me that after I put an enormous amount of concentration and effort into the painting that the most important part remains to be detailed.

Maybe it would be fun if I did a series of posts with all the different versions I’ve painted of this bridge.

But first, this one needs to be finished.

Here is a photo taken with my real camera instead of the inferior phone camera; the colors aren’t as strong, but neither is it as pixelated, which doesn’t matter here on the interwebs.

We call this the Oak Grove Bridge; people who don’t know it very well might call it the Kaweah River Bridge or the Mineral King Road Bridge or the East Fork Bridge. Those names sort of work.

Not that bridge

There are folks who, when they see my paintings or drawings of the bridge, say, “I’ve eaten at that restaurant”. They are wrong—the only eatery at the Oak Grove bridge might be the tailgate of one’s pick-em-up truck. The Pumpkin Hollow (“Gateway”) bridge is at the confluence of the East and Middle Forks of the Kaweah River. It isn’t over a deep canyon, just one lane wide, and with a single arch.

See the difference?

Maybe it is time to draw the bridge again in pencil. I’ve lost track of how many times I’ve done that; there are only 2 versions in my computer, because so many drawings didn’t get scanned or reproduced or even photographed in my early days.

Moving Forward on the Two New Paintings

Eagle Lake

Such an ugly start.

Let’s git ‘er dun!

Eagle Lake (a painting formerly known as a dog’s breakfast), 7×14”, oil on wrapped canvas, $200, currently drying, destined for the Silver City Store, unless it sells first from this little spot on the interwebs.

Oak Grove Bridge

The Oak Grove Bridge is a bit more challenging. I started with the attitude of “close enough” and as usual when drawing or painting architectural subjects, I ended up measuring and redoing several things.

The width of each arch needed to be the same, and the top of the bridge was too thick.

So I measured, redrew the arches (yes, with my paintbrush—anyone here have a problem with that?), lowered the top of the bridge, and then planted some manzanita on the lower left. I also started locating various rocks.

You’d think that after painting this forty-eleven* times, I’d have all the rocks and the arch proportions memorized. You’d be wrong in that thinking. I could make it up, but I’d also be wrong.

Such a grand little bridge for our slightly down-at-the-heels Tulare County. There are plans to turn it into a pedestrian-only bridge with a stout replacement safe for driving upstream of this classic one. The county had to do the eminent domain thing to acquire the land, and I have a feeling this will be a long, disruptive, and messy construction project.

Change can be so difficult.

Thus, for now we must enjoy the bridge as it was and as it is, and not think about as it shall be.

*This is actually #38, if I kept count correctly, which is doubtful.

Starting Two New Oil Paintings

Favorite Bridge

The commissioned painting of fields and groves needed more drying time, so I began a new painting of my favorite bridge—Oak Grove, on the Mineral King Road.

It is always difficult. I make it even harder by choosing canvases of non-traditional proportions. This is 8×16”.

It sometimes helps to crop off the unnecessary parts, making the photo the same proportions as the canvas.

But sometimes I do that too late, and decide to just go with the close-enough approach. Can you see that the bridge takes up more real estate on the canvas than on the photo?

Good enough to start.

Is that a Dog’s Breakfast or a Painting?

Next, a 7×14” canvas for another new painting. It might be too ugly for you to tell what it is going to be.

Jackson doesn’t really care what I paint as long as he gets fed.

These paintings are destined for the Silver City Store this summer. Each year I think I have enough inventory, then around early August, I have to slam some out very quickly. I try to guess what subjects, sizes and quantities will sell, but there are no proven formulas.

P.S. Blog reader/author/artist/friend Louise thought I could do a better job finishing the commissioned oil painting. She always tells me the truth, something I value highly, and she was right. Here it is after I followed her suggestion. It is not in my nature to be a perfectionist; instead, I am always wanting to finish things. So, sometimes it takes an honest and wise second set of eyes to make sure a piece of my art is finished well. THANK YOU, LOUISE!

Am I Finished Now? Commissioned Oil Painting Saga…

Avocado Leaves

My single photo of avocado leaves was inadequate, so I stopped by the largest avocado tree I’ve ever seen in my life and took these photos.

I didn’t copy any of the leaves or branches exactly. These are all too thick and overlapping for me to untangle. So, I just studied them awhile until I thought I could make up my own that would look convincing.

Blueberries

I also tightened up the blueberries.

I sent this to the customer (there are 2 partners in the business but I am now just dealing with one—hence, the switch from plural to singular) to say that I wanted to do a bit more detailing on the fields and groves, and to verify if there was anything I missed.

A Little More Work

She agreed that some of the fields could use some tighter detailing and requested that I plant an orchard on the barren hillside on the right and add some avocados to the framing branches.

This one passed, so I photographed the entire painting again with the requested improvements and additions.

It is quite wet, but we are having a warm spell and I expect it to be dry enough to ship on Monday.

This has a been a thoroughly enjoyable commission, working with someone who communicates well, is open to suggestions, trusts my abilities, and provides me with a bit of artistic license (but not too much).

Close to Finishing the Oil Painting Commission

The distant groves and fields are probably finished.

Time to begin the embellishments. I found blueberry photos on the interwebs, AND I have my own from excursions in Oregon.

In my extensive collection of photos, I found one of avocado leaves, pre-digital. I used my inferior phone camera to take a picture so I could flip it on my laptop.

Not really adequate. . . I know where there is an enormous avocado tree, so I’ll go get some better photos to finish the leaves.

Then I’ll retouch some of the other details, paint the edges, sign it, wait for it to dry again, varnish it, and then package it up to ship to the realtor customers.

Reminder

I help people write books and get them printed. The books that I have shepherded from idea to publication but that I don’t sell can be found on this new page: OTHER PEOPLE’S BOOKS. This includes Tales of TB, Springville’s Hospital, The Crooked Cross of Diamond Lake, Only the Living, and Adventures in Boy Scouting.

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Further Development on the Commissioned Oil Painting

Five step-by-step photos today, mostly painting left to right.

So many parts in the photo were ambiguous and repetitive that I often lost my place. A way to combat this lostness is to first paint the things that are definite, then make up the stuff around them. Some of my sizes are probably definitely wrong, and some of the fields are missing. The customer said accuracy isn’t important—she is looking for conceptual interpretation of the subject. I don’t think there are any Geography Police gunning for me.

Lower left will be blueberries; upper right will be avocado leaves.

I am liking the painting, which is always a relief, especially when it starts out so loose and rough and confusing.

Beginning a 10×20” Commissioned Oil Painting

The real estate customers chose the panoramic shape.

Good thing they know I can paint. (Well, duh, that’s why they commissioned me.)

This is similar to my current favorite subject to draw and paint, but there are blueberries and avocados rather than orange trees. There is also a distinct lack of snow-covered mountains and no poppies on the distant hills, but still, it is similar.

View from Wutchumna, 12×24”, private collection

Wait, “current” favorite subject? The painting above was completed in 2022. Here’s the first one I did in 2008.

Family Farm, size forgotten, private collection

Before oil painting, I drew similar scenes in colored pencil in a year I did not record, before I had a scanner, and when I had a web designer who added watermarks.

And before that, I drew similar scenes in pencil.

Spring Citrus, pencil, sold long ago

Enough remembering and bloviating. Get back to work, Central California Artist!

Reminder

I help people write books and get them printed. The books that I have shepherded from idea to publication but that I don’t sell can be found on this new page: OTHER PEOPLE’S BOOKS. This includes Tales of TB, Springville’s Hospital, The Crooked Cross of Diamond Lake, Only the Living, and Adventures in Boy Scouting.

Long Distance Oil Painting Commission

Some friends in real estate in a distant place have occasionally asked me to paint something for a customer after a large sale is made. Client. I think “client” is probably more correct here.

Remember these?

Hmmm, was my scanner going south back then too? This is darker than the painting.

I wonder if the clients appreciated the paintings. No one has gotten in touch to thank me or ask for more.

Doesn’t matter. My customers are happy enough to come back to me. (Yes, my people are customers, rather than clients, and no, I don’t actually know the difference except that one sounds more expensive.)

My customers sent me the listing with gorgeously staged photos of the house and some drone shots (also gorgeous) of the giant property.

From these, with a little bit of guidance after I asked all the questions I could think of, I did two quickity sketches. The customers chose two possible sizes, probably based on their budget, and the sketches are proportional to each of the two sizes.

The property is a blueberry farm along with avocado groves. The house, although fabulously fabulous beyond all fabulosity, isn’t that important here.

Good thing they know that I can paint and draw.

To be continued. . .

BONUS: I read this from James Clear’s newsletter: “The problem with keeping your options open is that every option requires energy to hold. And a shelf full of maybes is often heavier than a hand holding one yes. Put something down.”

Oil Painting Some Local Stuff

What word did people use before “stuff” became so ubiquitous?

A little more work on these quail made it good enough to sign.

Quail Pair, 8×8”, $150

More work ahead on this one:

The scanner could not do this justice, so I put it in the sunshine and took a photo with my inferior phone camera.

Looking Up the Kaweah, 10×10”, $2,000,000*

And this one was photographed with my point-and-shoot Canon Elph pocket camera. Sure wish I could get all this techie stuff sorted out.

8×10”, Blossom Overlooking the Kaweah, $200

REMINDER (Because I know you all are just dying to go to Ivanhoe):

*I just put that price there to see if anyone would notice.

Painting Three Rivers in Oil

We last saw this painting of Alta Peak and the Kaweah River (just “Kaweah River” without any identifying titles because here all the forks have come together) looking hopeful, but with much work ahead. It was time, nay, past time to get this done. (So many distractions!)

Here you can see how I progress from the farthest things to the closest things, adding more definition and detail as I work forward. I’m not saying this is either the only or the right way to paint—it simply is the way I learned and what works best to achieve the level of detail that I prefer.

1. Mountains and hills first, with some definition on the rocks
2. Moving closer forward, completng the distant trees.
3. Riverbank, rocks
4. Water, more rocks
5. Grasses next to last; signature at the end.

I could have kept going, and still wonder if I ought to add a few closer wildflowers, but I signed it and moved ahead. Chances are I will mix some new greens and brighten the closest grass.

We last saw this one of Blossom Peak and the river looking like this:

The river is rockier and even more confusing in this scene, so the work of simplification is the first challenge.

Sky and Blossom Peak first—that was the easiest part.
Not sure what I did next—this one is difficult.

The afternoon light was waning while I sat, stared, and contemplated how best to interpret real life into something paintable and believable.

The light is weird on this, so in better light I will study it some more to figure out how to improve it before signing.

You can see that the colors here look different from the 2 photos above. That’s how it goes when painting with natural light. Lots of people use an “ott light”. I don’t understand the word “ott” and only use mine if I’m on a deadline and have to paint when light is low. My approach is based on the fact that no one who buys my paintings will be displaying them under an ott light. They need to look normal and natural and good in regular light.

So this one will have to just hang loose and be cool for awhile longer. That’s what people used to say before “mellow out”, “chill”, “chill out”, and “chillax” came into use. Now I don’t know what people say other than “it is what it is”, meaning you can’t do diddly squat about it. Wait, does anyone say “diddly squat” anymore?