Forrest’s Dream Cabin Again

The title of this commissioned oil painting is Forrest’s Dream Cabin, so it is imperative that I move it from nightmare to dream status. Here is the next painting session of step by step improvement.

  1. Sky first, painted upside-down for easier reach.

2. The colors on my palette look so dull.

3. Water next. I could reach this part right-side up.

4. Mountain and foreground branches

5. I want to start drawing with my paintbrush on the cabin detail, but I think the water and background mountain will need more layers first.

The colors are so much duller on screen than in real life. Forrest said, “it’s like a ghostly cabin is emerging out of the scene, nice!”

P.S.This is not a houseboat; it is a cabin on stilts in a lake in Northern Italy.

More on the Gift Exchange

As a thank you gift for a gift of oil paints, brushes, and an easel, I am painting a Karmann Ghia.

No, not painting a car, making an oil painting of a Karmann Ghia.

This is for a former drawing student, and because my students and I always tell each other the truth about our art, I asked him to tell me if the painting was finished. 

In the photo he sent to me, there was a piece of chrome missing from the door. I wasn’t sure what he was referring to, so I took a close up photo of the door on the painting to ask.

He replied with another photo of the car. (I deleted it before remembering that you might want to see it.) 

Aha! I fixed the painting.

This received approval, but I told him that I think oil paint is so wobbly compared to pencil. It is. The canvas has texture, the paint doesn’t often flow smoothly, and the brush hairs go rogue. But I keep trying to make my paintings look as good up close as they do from the back of a fast horse (or across the room).

I touched up the sky, brought the painting into the house to dry, and then scanned it.

Karmann Ghia, 8×8″, private collection

Another one of my drawing students asked me why I painted it so small. BECAUSE IT IS FREE! Besides, when you give someone a piece of art, it isn’t wise to assume they will love it as much as you do or that they might have space for something large.

Slow-poke Cabin

“Slow-poke” is a weird old word that probably has a good story behind it. This cabin isn’t a slow cabin; the painting of it is slow. Wait, no, the painter is slow. No, not slow–the painter is painting slowly.

Good Grief Charlie Brown.

I added shutters to the windows and door, changed the color of the cabin, began the dreaded lattice, added some dirt, tightened up the steps, began detailing the windows, changed the skyline and the forest in the background, and then needed to go have a smoke.

JUST KIDDING! I’ve never smoked anything in my entire life.

Isn’t it peculiar how the colors differ so greatly in different times of the day? When the painting is finished and dry (at this rate in another several months, GGCB), the scan should show the truest colors.

Using pencil, oil paint and murals, I make art you can understand of places and things you love, for prices that won’t scare you.

(But sometimes the process might scare you.)

Sanctioned Graffiti

A friend in Three Rivers has a rock in her front yard (well duh, most people in Three Rivers have rocks in their front yards) and for a few years, she has wanted some words painted on the rock. She mentioned it to me and I said, “I can do that!” 

After she explained her idea, I spent time messing around with typestyles, looking for something I could imitate. After experimenting awhile, I realized the only choice was Papyrus, the type that graphic designers love to hate. I love it. What do you expect from an unsophisticated, marginally educated, DBO* from Tulare County?? It was the best choice because it has ragged looking edges, and I was painting on a ragged rough surface.

I forgot to bring my chalk to mark the borders, but was able to scratch in the lines with a rock, then put a first layer down to see if I could control the paint and a brush. 

Yeppers. I can do this. A new brush helped.

Layer layer layer. Watch out for drips.

 Remember to step back and see if it is readable.

My friend wanted it subtle, and liked the light color. I asked if I could add shadows, she was good with that, and we both liked the results.

Voila! Sanctioned graffiti (or sanctified graffiti?) My friend said, “Tell your people that I am thrilled, filled with happiness and joy over this!” I said, “We are ending this year proclaiming the truth.” She said, “Amen”, and we were both quite satisfied.

*Ditch-bank-Okie is supposed to be a pejorative term, but I view it as a compliment.

Cabin Commission in Oil

I met a cabin owner who was interested in a drawing of his cabin. The cabin was closed for the season, which meant the flag wasn’t out, and the shutters were closed over the windows. I took an entire roll of film (JUST KIDDING – I’m not that old fashioned!) and then did this sketch to see if everything important to the cabin owner was included.

His wife asked if I could do the drawing in colored pencil. No, I cannot. Well, I could, but it would take months, and then I might need carpal tunnel surgery. 

So, we decided that an oil painting is the answer. These are really nice people, and they are not in a hurry. That’s good, because I want to do a great job on this, and I have the photos to work from. (Never mind that it was smoky smoky smoky when I took them.)

The proportions aren’t right. I let this dry (for 3 weeks!) while I worked on the jobs with deadlines. Then, I got serious.

This still looks rough. The windows are in place, but will look different when I open the shutters. This stage is still the early layering, getting the canvas covered, the placements and proportions correct.

After another layer or two, I’ll begin the fun phase of “drawing with my paintbrush”. I’m 61 years old and I can paint however I want (as long as the customer likes the results).

P.S. Because this is the World Wide Web, I am not showing the photos in order to protect the cabin owners’ privacy.

Big Sigh of Relief

After finishing the commissions with tight deadlines, I went back to the ones without a timeframe. 

First, the most difficult one, the Hard House. 

It needed some tightening up, and 2 baskets of fuchsias. But I decided it needed something more. There had been a birch tree in the front yard, but I didn’t want it to cover the gable end. So, branches coming from the left seemed to be the right approach.

The photo had a palm tree in the distance, and that seemed to be a helpful addition to all the empty sky on the right.

The edges are painted, it is signed, and now it needs to dry for awhile. It is too big for my scanner, so when it is dry, I’ll carry it out into the sunshine for a proper photograph.

Big deep sigh of relief.

Now, will I learn to turn down jobs with inadequate photos?

Probably not. Challenges are how one can increase in skill, and I like the idea of getting paid for the practice.

Turns out the sigh of relief was premature. To be continued as I bumble along in order to keep. . .

. . .making art people understand of places and things they love at prices that won’t scare them.

 

 

Custom Oil Painting, continued

First, the sky, then the roof, and next, the details that I can see.

Greenery helps.

I’ll keep working at the details that I can see, then move to the parts that I have to make up, and finally, I’ll ask my Customer/Friend to help me understand the parts that she remembers.

Then, I’ll tighten up the details and correct the color and who knows? Whatever it takes to make it look the best I can make it. I can do this! (Like the Little Engine That Could – “I think I can, I think I can. . .”)

Ran out of daylight to paint during the last session. Hence, the darker photo.

New Custom Oil Painting

Because I can’t start painting on the mural until afternoon, I can work on a new custom oil painting in the morning.

This is for a friend of mine. This house belonged to her grandparents, and she doesn’t have many photos other than the ones taken after the house changed owners. So, I am working from mediocre photos and verbal instructions from my friend/customer. Tain’t easy, but we can do this.

Adjusting and Advancing

I did it again – worked with a customer until she was happy with the sketch, and then after doing the drawing (well, not completely finishing), she wasn’t entirely happy with the results.

This is my fault because when I saw there was a problem, I made an unauthorized change to try to fix it. Instead, I should have gone to her first and said, “I think there is a balance problem here”. But if I had said that and she liked it, would she have felt stupid? It is a good policy to never lead a customer into feeling stupid. 

She made a suggestion, I countered it by proposing an additional adjustment, and then I warned her that erasing may leave a shadow. She was okay with that, so I feel good about our combined decision. 

Here is the before:

This is the after:

 I am once again awaiting her approval in case there are more adjustments. More will be revealed in the fullness of time.

Are We Happy Yet?

I don’t want to talk about wildfires, evacuation orders, plagues, epidemics, or politics. I just want to draw and make my customers happy.

This is before:

And this is after:

Now I am waiting for my customer to tell me if this is what she requested. I can keep going, if I have good instruction. It is a pleasure to work for people who know what they want and express it clearly.

Yes! Happy customer!

P.S. Happy artist too.