Odd Job, Part 2

Last week I left you hanging on the cliff of Why Is The Central California Artist Doing Such an Odd Job?

More will be revealed in the fullness of time. Besides, this was a fun challenge.

I began tracing the design on the oval, which was a little different shape than the design. This required a bit more adjusting.

It is the first time I’ve used graphite paper to transfer and trace onto canvas so I wasn’t sure it would work.It did, so I finished with the lettering.

Then I saw that the farmer needed to be larger on the canvas than on the actual label so there wouldn’t be so much blank space.

Yep, hard to see. Let’s add some oil paint, a first layer, and think about what colors should be used in the painting. The customer and I agreed that the colors in the actual labels weren’t going to look good on a painting.

Let’s continue this tomorrow. 

Odd Job

I was asked to paint something highly unusual in an oval canvas. It had some built-in difficulties: the subject matter took some research, it was particularly challenging to get onto the canvas, and an oval is a little difficult to secure on an easel. 

All the customer had to show me was these 2 blurry little labels.

How are you supposed to paint from those?

Glad you asked – I knew people who could help. Those good folks sent me this:

How is that helpful?

It is less blurry and Photoshop Elements will help me get it ready to use.

How is this going to turn into an oil painting? 

Great question – thanks for asking. I converted it to black and white, enlarged it to fit the canvas, borrowed some graphite paper, and traced it onto the oval canvas. 

Why does someone want this, who do you know, and why did you say yes to such a weird challenge?

More will be revealed next week. Stay tuned!

Continuing at the Easels

These little Mineral King paintings got some skies. It was cold and rainy, which meant it was dark in the painting workshop. Trail Guy kept offering to light the heater; that meant I’d have to shut the door, but I needed all the light there was, so brrr.

I worked more on the commissioned painting of the little Mineral King cabin, working from several photos to make up the scene. The customer requested that I put a horizontal subject into a vertical format; in order to make that work, I added mountains that weren’t visible to that degree in real life. This meant we had to do a lot of communicating and adjusting until the painting fit both her memory and the space she wants to hang it.

I scanned it, thinking it was finished. Then she asked about the doorknobs. It needed more trees behind and above the cabin. Bearskin, the patch of snow on the right slope of Vandever (peak on the right side of Farewell Gap) didn’t look the way she remembered it. 

The purpose of a commission is to create just what the customer wants.

(The color is different between photographs and scans.) I made the requested adjustments, and then reworked Bearskin yet again, with the customer’s help. (We might have stood closer than 6 feet to accomplish this, but so far, so good, health-wise.)

The most difficult commissioned drawings and paintings are the ones when the customer wants me to do something that I cannot see. This is possible only when the customer can articulate what she wants. My approach is that a commission isn’t finished until the customer is happy.

What is this??? 

The customer was so happy that she asked me to paint it again, smaller, to give away. (Just in case the intended recipient is reading, I’ll keep this information to myself).

Upside down is not an April Fool’s Joke. It helps me see the shapes more accurately. That might be a little unsettling to you, so we’ll continue more conventionally.

Not done, but moving quickly since all the difficult decisions were conquered in the original version.

Wild Goose Chase

Canada geese were everywhere in Mooney Grove Park while painting the murals on the Tulare County Museum. E V E R Y W H E R E.

Nope, not chasing the same wild goose and photographing him over and over. The man who knows the most about the park estimates there are about 300 Canada geese there, and there will be more since this is the season for nesting and mating.

Canada geese EVERYWHERE.

If you can’t beat ’em. . .

Tomorrow we will begin our tour of this wonderful park.

Mooney Museum Mural, Day 7B

Really it is Day 6B, but there was that careless numbering incident. Let’s not dwell on that. Instead, have a look at the finishing touches for Day 6, my final day on the mural on the Tulare County Museum in Mooney Grove Park, Visalia, California, the county seat of Tulare County, where I was born.

Shut up, Central California Artist, and just show us some pictures.

I painted the inner rim to match the wall color so it would be lighter in there. This scrub jay landed atop the circle. Obnoxious birds, but such a pretty color.

That’s not a real bird!

Okay, it didn’t land. It got painted on.

I signed it in two places. Never had to figure out how to do this before, because this is the first 4 part mural I’ve painted.

Here is the final look. I finished earlier than usual, so the light wasn’t that great for photography.

I’ll miss working here. The people are great, the museum is interesting, and the grounds are beautiful.

Tomorrow I will show you one more interesting thing about these murals. 

Thanks for following my mural project!

Mooney Museum Mural, Day 7A

Not really. It wasn’t Day 7; it was Day 6, but I seem to have trouble counting accurately on occasion. (You may have noticed that the mural saga jumped from Day #3 to Day #5.)

My goal on Day 7 (6) was to finish basket #2, along with some finishing touches to all the other murals.

This is the basket design I chose for the second circle.

This time I painted the inside rim in addition to the circle itself. I learned from the other one that there was no point to making it look as if it was in shadow, because it truly is in shadow, due to the rim.Next, I drew on some guidelines. This was easier than the first time. That’s how practice is supposed to work.

Here is a photo to help you see where basket #2 will go.
The paint colors were already mixed, so I was able to dive in.But wait, what is this??Sometimes I like to just have a little fun.

Allll-righty-then! Tomorrow I’ll show you the finishing touches. Stay tuned. 

Mooney Museum Mural, Day 6B

The first thing I did on Day #6 (after admiring the view, thinking, peeling the old paint off my palette) was to realize that in order to move ahead on the first basket in the circle, it needed a base coat of paint so it could dry so I could draw on it so I could paint the design.

That was an action packed sentence. It was an action-packed day.

Yokuts were known for their baskets, and this museum is known for them too.

I went inside to mix an appropriate and believable main basket color.

Got it – let’s go!

Oh boy. That is one rough surface.

Next, I drew on the guidelines with blue chalk. (They don’t show much in this photo.)

After the base coat of basket color was on, and the lines were drawn, I did all the things I showed you on Day 6A.

Then, it was time to stop for lunch. It is hard to stop, but I’ve found that if I don’t stop for at least 15 minutes, I get confused, indecisive, and a little bit stupid after about 6 hours of painting.Okay, that’s a long enough break, Central California Artist. Get back to work.

I mixed up a very dark brown and a lighter reddish brown to duplicate the other colors in the basket. Then I just dove in.

On mural painting Day #7, I’ll tighten up the triangles and try to put in a hint of basket coils. A paintbrush is NOT a pencil and acrylic paints are NOT oils. Instead of looking like a basket as I had hoped, it is simply a depiction of a Yokuts basket design.

AND, I hope to mix up a color like the original wall color to paint the inner part of the circle.

The end of Day 6. Stay tuned.

(And if you know my Sandy Eggo sister, wish her a happy birthday today. She doesn’t read my blog, so no need for me to say anything to her here.)

Mooney Museum Mural, Day 6A

This is how Mooney Grove looked on the morning of Day #6. There was a lot of work ahead, so I have divided that day into 2 blog posts – one today, one for Monday.

First I spent some time studying the Sequoia mural to find all the things that weren’t quite good enough. While I was thinking, I peeled the old paint off my palette.

There are many things that are bothering me about these areas, including the close oranges not being bright enough on the first mural.

Below are some of the fixes.

Several folks have said, “I hope that shrub in front of the Sequoias gets removed”. I think it is pretty, especially when the light hits the new reddish growth, which matches the Sequoia trees.

Look – Flat Stanley paid a visit to the mural! (It’s a thing that school kids do that I don’t really understand.) I appreciated the laugh, and they appreciated the tape. The orange grove now has a hidden item.The Big Trees now have a hidden item.

To be continued on Monday. . .

 

Mooney Museum Mural, Day 5

Day 5 of painting the mural on the Tulare County Museum in Mooney Grove was actually Day #2 on the Giant Sequoia trees.I thought I might be able to finish it that day.Then I thought I couldn’t.Then I thought maybe I could.Then I didn’t think it would be possible.Got it covered, but it needs better detail, some corrections, the usual adjustments.Nice new awnings over the entry door on the left and the office door on the right.

Mooney Museum Mural, Day 3B

After I finished the mural on the left side panel, I moved over to the right side panel to begin painting redwood trees, AKA sequoia gigantea, AKA Big Trees.

After looking through a small stack of pretty good photos of redwoods in sunlight, I chose one. Then I looked down at my scattering of business cards and got a laugh.Clearly, I like this particular view.

For once in my muralizing life, I wasn’t paralyzed by indecision. This felt easy to begin.There is no pattern to how I move around this wall – just a little here, a little there, maybe I can do this, if I do that it might help me see the proportions more correctly, up the ladder, down the ladder, step back, try this color. No matter what part I work on, the wall is getting covered.

I decided to put in sky colored background to define the edges of the trees, (including some smaller trees).Then I decided to get a bit more systematic, and work left to right.Then I didn’t want to work from the ladder any more, so I hunkered down in the mud to work on the bases of the trees.Not bad for a day’s work, eh? What makes this so pleasant and makes all this roaming around the wall in a random method possible is the fact that the wall is north-facing, and I never have to worry about protecting my palette or brush from the direct sun.