Poppies and oranges are two of my most popular subjects. Orange and green, green and orange. Orange is yellow and red; green is yellow and blue. I’m getting more relaxed about the specific shades of each, focusing more on values, which is Artspeak for darks and lights.
This painting will take awhile, because I want it to be perfect. Do I always say that? Prolly not. I’m not a perfectionist. It takes discipline to keep returning to the same painting over and over when I just want to cross it off my list and keep going on to the next one. BUT, I have learned that it is better to be a little annoyed during the process than embarrassed later.
This one has been very fun. It seems finished now, but chances are that I will see small things to correct once it is dry.
Finally, this one has orange trees that are green but the ones on the right are really wet and shiny.
This is an excellent example of how to not photograph a painting.
All three paintings show the beautiful parts of Tulare County at the prettiest time of year. When these are finished, I will begin one in the fall season. It won’t be orange or green.
I think it will be a good one. I combined about 4 photos on Photoshop Junior* to see if my version of this scene was better than reality and concluded that yes, indeedy it is, or it will be if I can execute it with excellence.
Let’s go!
I am choosing to not show the beginning photos for a couple of reasons.
I don’t want any input as to whether or not I have chosen the correct elements in the correct sizes and placements. Sometimes I do want input; this time I do not; that could change. . .
I want you all to judge the painting on its own merits rather than whether or not I can accurately copy a photograph.
Phooey. I can see 3 shapes that look wrong right now. “Wrong” in that they don’t look fully natural or believable, because I am only judging this painting of one of Tulare County’s pretty places on its own merits, not while looking at any photos.
*Photoshop Elements is the “easy” version of Photoshop.
Jackson is our least friendly cat. He just comes around if he needs or wants something (not that he can tell the difference between needs and wants.) He is the most likely to ignore curfew and then come yelling around the bedroom window late at night when he wants to get into the workshop.
I painted later than usual one evening, and Jackson decided it was time for dinner. He would not be ignored. At least he didn’t bite me on my donkey. He has done that many times, the little big brat.
Doesn’t he have gorgeous stripes?
I started a new painting after putting several photos together on Photoshop Junior to see if my idea would work. Yeppers, I think this will be a winner, and I’m confident enough to paint it large (as I define “large”) —16×20″.
This is a painting that I work on in my head when I am out walking (or in the middle of the night when I can’t sleep.)
I was so absorbed in this painting that Jackson resorted to vandalism to get my attention.
This scene has been tempting me for quite awhile, but I kept waiting for something. What? Maybe until I had more experience, more confidence, more ability. Or maybe I was waiting until I knew there will be a solo show to prepare for.
I painted a smaller one from the same viewpoint a few years ago as a thank you to the farmer who allows us to glean oranges (and take photos) in his groves.
He doesn’t read my blog, so he won’t say, “HEY! The new one is better than mine!” (even though it will be.)
Yes, I enlarged the mountain in the distance because I am the boss of my picture and this is the way I like it. it is either Maggie Mountain or Moses. I am voting for Moses, which is further north than Maggie.
Seeing a collection of paintings that has sold provides fuel to keep me painting during a season of slow sales. This is a season of producing; November-December was a season of selling.
Sometimes people wonder if I work on more than one painting at a time. Yeppers, for sure! Today’s post is a look at several paintings at various stages of completion.
This one is getting close to completion. I like it better with each new iteration.
This will go quickly. I mean the painting process will go quickly; selling is an unknown in terms of speed.
The poppies look good but the painting needs more. . . . . . lupine and popcorn! Now it is drying in the house.The Four Guardsmen, as you head up to Giant Forest.This will definitely need another detailed layer.
8×8″, oil on wrapped canvas, The Big Trees, FINISHED!
There are more in various stages, but this is enough for today. Thanks for stopping by.
Orange groves, foothills, and mountains remain my favorite subject to paint. (It used to be the Oak Grove Bridge, and who knows what it will be next?)
I painted this to hang in my dining area, but put it on my website and then, lo and behold, it sold! (off the website—I didn’t open my front door to customers)
No problemo—I just started another painting.
Then, I just left it on the easel for months.
After starting all those small paintings for Kaweah Arts, I finally went back to this painting. If I don’t get it finished soon, suddenly it will be October and then it will go to the solo show and then it will sell without ever hanging in my house first! The urgency. . . !!
Details, details. All those close trees needed details. Of course, once I’ve put all those leaves on, the oranges will need more color or shaping. Then I’ll decide to add blossoms. After that, the ground will need some debris. Next, I’ll decide to put cows on Wutchumna (the hill). Maybe all the distant rows will need refining, the hills reshaped, the mountains improved. . .
Never mind. How about starting another one?
I do love me some orange groves in the foothills with the Sierra in the distance. These subjects are a real benefit of life in Tulare County. (But DON’T move here. It is in California, where people are leaving in droves. Wait—what is a “drove”?? Aren’t people leaving in U-Hauls?)
When Kaweah Arts closed in early January for a couple of months, I retrieved all my paintings. Kaweah Arts sold well for me in its three year span despite serious hardships: a plague, a fire, another fire, and a flood, each one leading to the closure of Sequoia National Park, which meant the flow of visitors to Three Rivers ceased. I went through my records of sales, and came up with a list of sizes and subjects that sold the best.
The average price was $145, and the most popular subject was sequoia trees, Sequoia gigantea, AKA redwoods (the common name) or “big trees” (local vernacular). Two other popular subjects were mountain range views and poppies.
I gathered seven blank canvases from 8×8″ ($100) up to 6×18″ ($165) and then went to my oh-so-lovely newly organized photo files. The efficiency. . .!
After pairing the photos with the right canvases, I then did some preliminary sketching. This isn’t something I normally do, but in the interest of painting quickly, this seemed like a prudent move. (Remember, I also need to produce 20-30 larger paintings for the solo show in October AND paint for the Silver City Store, which sells well for me in the summers when Mineral King is open to the public.)
Next, I did the boring tasks of assigning inventory numbers, and putting the hanging hardware on the back. (This is the sort of task that makes me wish I had an apprentice or an intern.)
All-righty, then! Let’s start with the assembly line style painting of the first layer to establish where colors will go and to cover the canvas.
Painting back to front means starting with the sky. The order of colors and placements doesn’t really matter at this stage, but it is wise to practice good habits whenever possible.
Green next, just using whatever is on the palette, but occasionally making dark/light adjustments.
Browns and oranges, same color family, plus yellow.
Looks like seven little messes that vaguely suggest what they will become, but with almost 18 years of oil painting, this is no longer alarming to me.
I hope you are not alarmed either. This is the most efficient way I know to paint, and these seven paintings will be finished, signed, dry, varnished, and scanned by the time Kaweah Arts reopens in March.
It’s all part of the business of art. (Just in case the Art World is checking in and judging my use of photos, let me explain that I took great care in composing those photos and have taken great care in cropping, blending, adjusting, and arranging the parts of each one of these paintings. So There, because working from photos is not wrong.)
Your Central California artist bumbles along on one Tulare County oil painting, almost finished another, and finished a commission. Let’s start with the bumble.
The differences are subtle between the before and the after version. In the after version, the lower left corner makes more sense, and there are more branches on the trees.
BeforeAfter
A neighbor-friend stopped by to bring her recyclables because we share garbage services. She works alone at home as I do, and sometimes we just visit for awhile, perhaps our version of hanging out at the water cooler. (Pay no attention to those garbage cans.) She expressed an interest in my current projects, and when I showed her my challenging painting, together we came up with a couple of ideas for improvement. I will continue to bumble along on this difficult painting.
But wait! I made two more adjustments, and then photographed it more carefully. My neighbor approved, which gave me hope. (There will be more adjustments, corrections, and added details.)
I thought I was finished on the Lower Dry Creek Road oil painting. However, the closer fence posts might require some wire. On the other hand, I might not be capable of such minuscule detail. It still needs a signature and the edges to be painted.
Better detailing and color on the golden hills, the dam, the trees. Cattle, fenceposts, wildflowers, done. Maybe I can put in wire on the fence. Maybe I can do a little brain surgery while I am it. . . not feeling capable of wire. . . will it matter?
Better detailing, stronger colors, and a signature now done on Sawtooth #34, a commissioned oil painting for JL’s son. This one is only photographed, not scanned, because it is wet.
Someone, let’s call her JL, bought this 8×8″ painting, “Hiking Mineral King” at Kaweah Arts as a Christmas gift for her son.
He loved it and requested a second 8×8″ painting to go with it for his birthday. JL isn’t familiar with Mineral King, so I made a couple of suggestions. The son chose Sawtooth, based on this painting that I sent to JL.
I must have made that one up because there is no such photo. As a result, I spent a big part of a day making it up again, looking at a handful of photos. (The photo on the right does NOT have a waterfall—that is a reflection.)
After this dries, I will work on more details, polishing and finessing. I need to hustle my bustle, because there is a definite delivery date.
Tucker stayed with me for most of the day as I painted.
On the same day, I spent a fair amount of time studying this painting.
Can you tell any difference now? I can, muy poquito.
This painting reminds me of one I did several years ago, one that was definitely a large challenge for me in 2015 (might still be). I just kept guessing, layering, correcting, and slowly improving it. It is now one of my paintings that I am most proud of.
The Art World in general looks down on studio artists who work from photos. I mention this from time to time, because the notion that working from photos is wrong bothers me.
In order to work from my photographs, I have to find the scenes, find the best angles, light, and cropping. The photos go on the computer for editing. It takes time and thought to decide which might be worth painting and howmany different photos to combine to have all the angles and details needed.
It is a rare instance when a single photo tells the whole story. This is why I loved painting “Rose” —a single photo, easy to understand textures, forgiving colors, specific shapes. Sometimes I need an easy project to rebuild confidence.
A friend took a photo while hiking. She recognized the subject and textures and light as something I might like to paint. She was right, and generously sent the picture to me.
That leaning tree had to go. Easy enough, but without it (and even with it), the photo felt unbalanced, with all the redwood trees on the left. As beautiful as the yellow ferns are on the bottom, they just didn’t quite seem balanced to me. I cropped in various ways, and chose this:
As much as I wanted to just copy the photo, I cannot. This is not “cannot” as in “I cannot tell a lie” —it is “cannot” as in I lack the ability. The background greenery is too mushy and vague while the ferns are far too many and far too detailed. I think painters are supposed to interpret the photos, using their own abilities and opinions to show something that will ALWAYS be better in person (both the actual scene and the painting).
This painting is about three main elements: the sequoia trees, the golden ferns, and of course, the light. It is 12×16″, titled “Below Panther Gap”. Or maybe “On the Way to Panther Gap”, or “Somewhere Below Panther Gap”.
So many decisions to be made. At least I have settled the decision whether or not to feel guilty about painting from photos.
