Tag: oil paintings

White Chief Finished

The White Chief oil painting might have been a teensy bit too hard for me, but I got-‘er-dun. Here is how it looked last time I showed you.

Now there is more detail on the bank above the pond and more detail on the lower left corner. The pond has some new color too.

New day, new work on the painting: first thing in the morning is intense sunlight (and shadow from the window pane divider).I’ll work on the middle left. Here’s a close-up of the before:And here’s a close up of the after. The lighting has changed so it isn’t a completely fair comparison.

Now I am sort of going all over the lower half of the canvas, improving anything that I can see how to improve. The pond, lower right, and middle right all got some new layers of detail.

Just the lower right corner needed attention.

One more session, and the Fat Lady got to sing.

White Chief, oil on wrapped canvas, 18×24″, $650 (includes tax)

So, which task is harder: hiking to White Chief, or painting it?

Painting it, for sure!!

Mineral King oil paintings oil paintings

Sawtooth, Continued

The oil painting of Sawtooth was looking a bit rough when we last saw it.

It is only slightly less rough, because I chose to work on Farewell Gap more. It is tricky to fit in painting time around holidays, visitors from out of town, short daylight hours, colder temperatures, and year-end business to wrap up. But, I’ll keep layering, tightening up the detail, improving the color and accuracy.

More Large Painting Situation

Having “successfully” begun a second largish painting, I grabbed another largish canvas (18×24″) to begin a third. This is also a Mineral King scene. Mineral King is what people expect from me.

I drew it on, stepped back, and said, “Nope. Too much sky”.With another color, I drew it again, stepped back, and said, “Yeppers, get the first layer on.” I did not actually vocalize these words, but the attitude was “HUBBA HUBBA! CHOP CHOP!! ANDALE ANDALE!!”My plan is to use the colors and light and water from the photo on the right but the trees from the photo on the left. This plan isn’t evident just yet, particularly in light of the fact that those photos are too reflective for you to see.

So, I threw down my brushes and went outside for a cigarette.

JUST KIDDING!! I’ve never smoked anything in my entire 58 years.

I actually went back to the White Chief painting. Don’t want to get fired and have to go job hunting. . .!

Mineral King oil paintings oil paintings

Large Painting Situation Continued

After working on the White Chief painting for awhile, the brushes and paint weren’t cooperating with me. I actually tossed a brush in the trash! It is so annoying to load a brush with paint and then have none come out when I place it on the canvas. I don’t have time for this baloney, so bye-bye bad brush.

Meanwhile, the amount of detail was making me feel as if I was walking on a treadmill, so I got another largish canvas out and began a second largish painting. This is of Sawtooth, a landmark peak in Mineral King.

After this, I took a break and checked my email. A dear thoughtful friend had written to tell me how much she loves the poinsettia painting, and she asked the question, meant to be rhetorical, “Is there anything you can’t paint?” My response was, “Yeppers, 2 things, both sitting on my easels right now”.

My confidence in my painting ability is always a bit thin when there are no finished paintings around to reassure me that I can paint.

Mineral King oil paintings oil paintings

Large Painting Situation

What is a “large painting situation”?

In the life of your Central California artist, this means that all my large paintings are gone. They are now gracing my dentist’s office in Three Rivers.

It was time to dive into the largish painting of White Chief that I began back in October, working to git-‘er-dun so I will be ready for more largish paintings. “Largish”, because the largest canvases I have on hand right now are 18×24″, which is HUGE after 8×10″, but not very large on someone’s wall.

Lots of nondescript detail in rock formations, rock piles, rocks, stones, pebbles, dirt, and shrubs, trees, grasses, groups of trees, shrubs, grasses, all interspersed with rocks, et cetera, will I ever finish this. . .

The coloring varies on these photos of the same painting because it looks different in the morning light than the afternoon light.

Mineral King oil paintings oil paintings

Oil Painting Workshop Day 2

On Day 2 of the oil painting workshop, we didn’t spend too much time mixing colors. Everyone took her palette home, covered in plastic wrap, and stored it in the freezer until the 2nd class. We dove right into painting, beginning with recoating the green, but this time we added details to resemble grasses and foliage.

Ahem. Is that the Royal “We”? Well, I did help. . . that’s why they pay me the Big Bucks.

At lunch time, no one wanted to stop. I took a photo of each painting in progress. Some had progressed to the poppy, recoating the oranges and tightening and adding detail. This first one looks finished to me, but the edges need paint and the painting needs a signature.

At the end of our session, no one was completely finished, but I only teach 2 sessions, not 3. (I’m supposed to be “off” in December, so there.) Anyone can work at home on her own; will they or won’t they?

All these lovely California poppies in oil paint by four of my advanced students from drawing lessons – YEA, ~~drawing~~ painting students!!

California poppies drawing lessons oil paintings

Oil Painting Workshop

In the 24 years I’ve been teaching drawing lessons, I’ve never given lessons in December. But, some of my advanced students beg, plead and cajole until I cave in and give oil painting workshops during my “time off”.

We start off with a little lesson in color, using the double primary palette. This means 2 yellows, 2 reds, 2 blues and white. The color at the far end is a mixture of the bluish red and the reddish blue, which becomes the color used for darkening. I used colored pencils to demonstrate this (I love to draw, you know!)Then it was time for everyone to squeeze out the paints. We spent about 1-1/2 hour just discussing and mixing colors. My method is to mix 3 levels of orange and green, dark, medium and light. Orange and green were needed because the subject matter was a California poppy.

First, I had them draw the general shape of the poppy on the canvas. Second, they painted the background. I didn’t take photos until the orange started going on.

A weird thing happened: I handed each participant 3 different photos, and each person chose the very same one, all without talking to each other or seeing the others’ choices! At the end of our session, this is where everyone was on their painting.

On day #2 we will do the second layer and the detailing.

drawing lessons oil paintings poppies

Growing a Poinsettia

Someone bought some cards of a poinsettia painting that I did about 8 or 9 years ago. (It looked fine as a 4×6″ image, back when I was first learning to paint. Be polite, okay?)

She liked it so much that she asked me to paint the same picture for her as an 8×10″ oil painting.

Oh boy, another do-over!! This time I get to do a better job because I paint better and because the canvas is larger to accommodate more detail.

There wasn’t one photo that was my guide when I first painted this. I used several, simplifying the image as much as possible. This time I am using several photos again, but not simplifying the flower so much. This looks a little bit weak in color because the paint is wet and shiny. This is at the end of day #1.

In the next painting session it looks almost finished, but there is more layering, the center detail, edges, and finally. signing. (Then drying, scanning, varnishing, drying yet again). This was painting day #2.

You can see in the next photo that most of the painting looks weird and reflective, because it is wet and shiny. There are 4 petals that haven’t been re-layered. This was painting day #3.

At the end of the painting session, I hung it out in the workshop to begin drying. This one wasn’t in a huge rush to be delivered, so I didn’t want its messy wet self in the house.

Funny how it doesn’t look reflective here. That is because it has indirect light from the window rather than a lamp shining on it. That lamp helps me mix the colors right, but makes for poor photography.

And finally, this is the finished and scanned commissioned oil painting of a poinsettia. Color looks duller than in real life. I hate that. But, the real one is brilliant. Guess you’ll have to take my word for it.

commission oil painting oil paintings

December Oranges

Did you know that navel oranges are harvested in December? If you are from Tulare County where the world’s best (and most) navel oranges are grown, you probably knew that.

My grandfather and dad were both orange growers. I am an orange painter.

A friend/neighbor called to say that her sister-in-law wanted an oil painting of oranges just like the one in her dad’s house. I asked for a photo of the painting so I would know how to make another one. Obviously, these people have impeccable taste in artwork. After receiving this photo, I looked through my 963 photos of oil paintings, arranged by subject, and although I recently finished Orange #134, this old painting didn’t show up in my inventory.

That’s okay. I have plenty of photos to work from. And if I am going to paint an 8×10 oil of oranges, I might as well do a second painting to have ready for the next orange art emergency.

This is how the orange paintings looked on day one of painting in December. (The 8×10 will probably be mailed while it is still a bit wet.)

At the end of the painting day, I put them in boxes to carry into the house and prop up over the wood stove so they will be ready for the second layer.