Two Starts, One Finish, One Start-to-Finish

Translation of the title: I started two new paintings, finished one painting, and completed one in a single painting session (called alla prima in ArtSpeak, which means you layer wet upon wet).

With a sequoia painting in the queue but not wanting to waste paint in non-sequoia colors on the palette, I chose to begin another little beach painting. Why not? I have the boards, and the colors were just waiting to be used. (Fret not—this will look good eventually. I made it really small here so you wouldn’t get scared. I’m thoughtful that way.)

A sequoia gigantea painting sold and needed to be replaced quickly at Kaweah Arts, because this is Sequoia Selling Season here in Three Rivers.

Another painting hasn’t garnered proper appreciation, so rather than just wait indefinitely for the right customer, I will turn it into something else. What else might that be? The Honeymoon Cabin in Mineral King, the little museum of the Mineral King Preservation Society.

Finally, here is our alla prima painting, another speedy piece of work because one sold and needs to be replaced quickly at the Silver City Store.

The paintings were all painted during a not-too-hot day when the swamp cooler was adequate, while knowing very hot weather was coming, perfect for quick drying. Paintings need to be dry before getting scanned (duh), and they need to be scanned (or photographed at the very least) before delivered to stores and galleries. This is particularly important when one paints the same scenes over and over and over. . .

A Little Painting Session

Recently, I had to leave Three Rivers at 10 a.m. This presented two choices: A. waste time until 10, or B. paint for an hour or two before leaving. Being the responsible mature adult that I am (oh hush, you!), I wisely chose B. Creating Tulare County-based paintings is what I do; wasting time is normally not what I do (or want to admit to doing here on the world wide web.)

After viewing this on my screen while it was still wet, I decided it needed some leaves.

It looks better in this photo because the previous photo was taken at the end of the day. Morning light makes better photography conditions in the painting workshop.

That’s better. When it is dry, I’ll scan it and maybe remember to show you.

There was paint left on my palette and time left on the clock. It is prudent to always have a 6×18” sequoia painting ready for Kaweah Arts to sell to the thousands of visitors who pass through our town on their way to see Sequoia National Park’s sequoia trees AKA redwoods AKA the Big Trees. (These are sequoia gigantea, not to be confused with sequoia sempervirens, which are coastal redwoods.)

Yeppers, I worked from a black and white photo and began the painting upside down. I can fake these trees, so I can certainly guess how this snowy scene might look in summertime.

I started this one differently than usual. I “drew” it on the canvas rather than completely covering the canvas with thin sloppy paint.

It’s a little sloppy, but this was as far as it got when my internal chronometer said to make like a tree and leaf. Or was that to make like a cowpie and hit the trail. . . such colorful images and language from that internal chronometer.

Spoken-for Sequoia

The spoken-for, in-progress Sequoia painting jumped to the top of the queue. Here you can see it in steps to completion.

The light was wrong in the afternoon so I moved the easel to the opposite side of the table. When the painting was finished, I had to flip it upside down to paint the bottom edge.

Because it will be leaving before it is dry enough to scan, I photographed it carefully while upside down in the painting workshop in various lighting. Then I went to work on making the color correct on the computer screen while studying the wet painting in front of me.

I have 2 versions, neither of which really do the painting justice. However, remember that everything looks better in real life (except celebrities).

Sequoia Gigantea IXX, 6×18”, sold

Now it is time to start another one, because my local representatives need me to keep them supplied. This is classic Tulare County art; it is a privilege to be able to see these trees in person and paint them for the visitors (and former residents) of Three Rivers, the true gateway to Sequoia National Park.

Before the Solo Show “Simply Home”

Today’s post is a bit behind reality, a peek into what happened before the show was hung or opened.

When I got home from Monterey, I had to dive into getting all my work together to deliver to CACHE, the gallery hosting my solo show, “Simply Home”.

Photo by Liesel Lund, my roomie

More than anything, I wanted to detail and finish those 10 plein air beachy paintings. Alas, even when one is a certified grown-up, one does not get to do just what one wants to do. Part of being a real grown-up is being trustworthy, responsible, and following through.

Phooey. So, I boxed up everything, and with Trail Guy’s master’s degree in packanology, we loaded the good pick-em-up truck, and delivered it all to Exeter.

When we got home, I faced some unfinished canvases.

First, there is the fact that Kaweah Arts has sold out of the tall paintings of sequoias and has been waiting for at least one for several weeks. This still is not quite finished here because it needs a signature, the edges painted, to dry, and then it needs to be scanned.

Another painting has been on hold for awhile. Initially I was going to push to get it done for Simply Home, until I realized that if a customer insists on taking home a purchase, I’d better have something ready to plug into that hole.

I started this painting in June.

It seemed daunting until I mixed up the colors and realized that I can DRAW with my paintbrush, using PHOTOS instead of standing outside wishing that the water would just hold still for a pair of minutes.

Yes indeedy, I am a studio painter and probably always will be.

Simply Home

CACHE Gallery hours are Fridays 1:30-4:00, Saturdays 10:00-4:00, Sundays noon-4:00.

Groves, Hills and Mountains, oil on wrapped canvas, 10×20″, $450

Quickety Fix

What’s wrong with this picture?

The downhill lane isn’t convincing, the leafy bush/tree over Guardsman #2 is too yellow and looks like a cultivated roundie-moundie, and the growies in that center lane are too mushy.

All better now.

The decision is made: this painting is called “Four Guardsmen”.

Inching Forward in the Heat

When it is hot (i.e. “summer”), I prefer to paint in little stages rather than in long sessions. The swamp cooler helps, but it isn’t A/C for sure and for certain.

This might be how it looked last time you saw it. “It” has the working title of “Keep Right”, and I am open to suggestions, because I don’t want to paint the sign that says “Keep Right”, which belongs on the lower left.

I didn’t show the steps between the photo above and the one below. Sometime after I thought it was moving in the right direction, I put another layer of sky over everything in the background. It was a little alarming, and I didn’t take a photo. After it dried, I redid the distant tree trunks, and rebuilt the greens back there. Then I moved to the foreground on the right side.

I was working from a terrible photo that I took through the windshield and then cropped vertically. When I started the painting, I changed my mind and started it as a horizontal painting. This meant that I set aside the printed photo and switched to the terrible one on my laptop. Aha! I see the downhill lane on the left! Now I needed to rearrange things to make sense instead of just slapping lots of greenery on the unknown spaces.

Something might be different in this photo but I can’t quite tell.

I took this last photo when I was tired of being hot.

There is more work to do, but it is beginning to look believable.

Continuing to Paint in Summer’s Heat

Summer lasts a little bit too long for my liking. In early July, I was tired of it. That is an unpopular view, and I accept my status as a weirdo in this regard. However, I soldier onward in the heat, thankful for the inadequate swamp cooler in the painting workshop, and the inadequate wall unit in the studio. When I am finished painting for the day, I stagger into the house and cool off in the most totally excellent central air conditioning.

Sometimes I go walking in the mornings with my good friend. Occasionally we see a garbage bear.

Then I come home and paint.

I added wildflowers to the 8×8″ oil painting of Franklin Falls in Mineral King. They are mountain pride, arnica, and Indian paintbrush. Although they were not in either reference photo, I’ve seen them all at Franklin Falls. Being the boss of my painting, I took artistic license. Here it is, drying on the wood pile stack.

Having finished the smaller paintings destined for the Silver City Store, I returned to building up a body of work for the October-December show at CACHE.

Like most of what I have chosen to paint lately, this isn’t easy. Look at my reference photo, taken from inside the car. Traffic stopped briefly so at least it is focused.

The working title is Keep Right. Although that is very good instruction to drivers heading to Giant Forest in Sequoia as they approach the Four Guardsmen, I am doubting my ability to make the sign look good. Besides, we live in times when people tend to be highly sensitive, spring-loaded in the offended position, so out of deference to those folks, I will think of another title.

Or you can think of another title. . . I’m not easily offended, and love to hear good ideas from my tens of readers, most of whom are friends in real life.

I wasn’t kidding when I said it was hot. Look what happened while I was painting.

Wow. What a sensitive little snowflake. It was only 103° that day.

Fast Sequoias

What does “fast sequoias” mean?

It means that my sequoia paintings sell quickly and sometimes I have to paint more speedy-quick-like-lightning, chop-chop, andalé andalé!!

It looked like this:

Skies first, then take them outside to begin drying while I go do a few chores.

I hung one on the studio door to dry, and the other one in a less photogenic location.

While the paintings were outside in the ever-increasing July temperatures, I was in the swamp-cooled workshop, mixing browns and greens.

When I had the basic shapes covered in the base redwood colors, I began detailing one at a time

It was getting too hot to keep stopping for progress photos, so here is how things wound up at the end of the painting session.

One was shipped to Texas; the other might still be available at Kaweah Arts (in the Dome in Three Rivers, river side of 198/Sierra Drive.)

Another Big Tree

Tall narrow canvases with oil paintings of Sequoia trees sell steadily, so I paint them steadily.

Sentinel Tree, 6×18″, $165

This one is modeled after the Sentinel Tree, in front of the Giant Forest Market, now a museum. I say “modeled after”, because I no longer feel the need to duplicate every branch as it appears in the photos. I don’t charge enough to paint that slowly, and frankly, no one cares. This painting is destined for Kaweah Arts, which sells sequoia tree paintings very steadily for me.

Seven New Oil Paintings, Assembly-line Style

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.)