Saw on a Saw, Done

Stick a fork in it, it’s done. (Better not – the tines will bend.)

I gave this another good look. A few more branches on the left, another tree straightening, and my signature were all that it needed.

Tucker, please don’t drink the paintbrush water.
Wow, I have missed the kitties.
This was tricky to photograph. I tried several versions and decided it will be the most impressive when it is installed in its home.

 

Trail Guy and I wrapped it in 2 pieces of cardboard using duct tape around the edges and loaded it in the Botmobile for the next trip up the hill.

Sawtooth on a saw blade is finished! It is a relief to have accomplished an odd job and be pleased with the results.

One last photo; this is where it was and how it looked before it came my way:

Saw/Saw 3

Saw/Saw, a mini mural of Sawtooth Peak on a round saw blade, was almost finished.

I fixed the camera setting, stood on the ladder to photograph it, and then realized that the trees on the bottom were crooked. Of course I only noticed this after putting the photo in an email to the customers, but immediately after sending it, I straightened them up. This is tricky business on a circle – how do I know vertical is vertical without straight edges of the canvas or wall to guide me?

That’s why I get paid the Big Bucks. (Fall down laughing.)

Saw/Saw 2

Welcome back! I knew you would be interested to know how Saw/Saw turned out. Not sure if this qualifies as a real mural or not; I think it might just be an Odd Job.

Time to start on the ridges in front of Sawtooth, and meanwhile I am still wondering why things look darker on the camera screen. I also realized that if I would put a circular mask over the rectangular photo that I’d get things more proportionally correct.
Sawtooth didn’t have quite the right angle, so here I corrected my shapes.
Better, as each step and layer ought to be.
First coating on the rest of the blade.
Correcting the colors and shapes on the lower parts.

Finally, I figured out what was wonky with my camera. I had been experimenting with the settings, still not quite understanding what they all meant. When I changed “Poster Effect” to “Program” (who chooses these words??), It photographed more accurately.

But now the computer is not behaving properly, and when I export the photo of the finished Saw/Saw, it says it goes somewhere, and then it isn’t there.

My Mac is lying to me and cheating you out of seeing the finished saw blade!

Boy am I mad.

Maybe it will fix itself and work tomorrow. Besides, a job is never finished until these 2 things happen: A. The customer is happy and B. I have signed it.

Saw/Saw

What is “Saw/Saw”?

Glad you asked!

I have been commissioned to paint Sawtooth on a saw blade. Hence, saw/saw.

The blade is about 4′ in diameter and is heavy metal. I lifted it onto my round table and then couldn’t figure out whether or not I should lean on the teeth to get the balance off myself and onto the table. The weight made the decision for me – it was too heavy to hold while I decided whether or not the teeth would hurt me.

Round blade on a round table.
This photo was the customer’s preferred view and seems to be the most popular version of Sawtooth I’ve ever painted. I got lucky with my timing on that photo, which is how most of my good reference photos happen. Wait. It isn’t luck; it is Divine Intervention.
Most of the colors were already mixed in my mural paints.
Starting from back to front means sky first, clouds next.
That went fast. Here are the colors I might need for Sawtooth.
Sawtooth’s colors look different all the time, so I don’t have to match the photo, just make it look good.
Oops. The camera was on a weird setting (Poster effect? What means that??) I wondered why things were looking darker on my camera than in real life!

And that’s all you get to see today. Tomorrow is Friday, and Fridays are for Mineral King.

See you on Monday? I’ll show you . . . the rest of the story! (Anyone else around here grow up listening to Paul Harvey?)

Pushing Through For Good Customers

Recently, I’ve focused on my weaknesses in drawing and painting. If I can’t see it, it might not be possible for me to draw or paint the thing. But, if I push through and have help and take lots of time, sometimes I can succeed.

If these weren’t commissioned pieces with a paycheck at the end, I would have given up. Much of what I choose to do is speculative work – will it sell? Will anyone care?

But, both of the recent ultra difficult pieces are not speculation art. There were real customers with an idea of what they wanted, and they counted on me to figure out how to do the job. They each gave me as much time as I required, trusting my ideas and judgement.

These are good friends and good customers; knowing my limitations, I wanted to please them in spite of the difficulties.

If I was more business oriented, there would probably be a contract, a down payment, and the contract would talk about things like “Change Orders” and “Photo Availability”.

I showed you the completed Mineral King Pack Station last week (and since learned that the white horse’s eye is too high, but too late, it is at the framer now).

Today, have a look at the completed Homer’s Nose with the Oak Grove Bridge.

The customer is very happy and so am I!

About the truck on the bridge: the customer’s husband was heading down the hill, while a friend was coming up the hill. When the friend arrived, Mrs. Customer asked the friend if she had seen her husband on the road. The friend said she hadn’t. Later, the friend shared the photo she had taken of the bridge on the way up, and Lo-And-Behold, she had photographed Mrs. Customer’s husband’s pickup-truck on the bridge without knowing it!!

P.S. What is “lo and behold”? I think it means “oh my stars!”. . . My neighbor, who died at age 94, was very fond of that expression, and I think of him every time I hear it.

No Head Banging Necessary

My horsey friend didn’t respond to my request for help on the drawing that is too hard; my horsey drawing student did, and we experienced a serious role reversal!

She offered detailed advice and supplied photos to help me understand the things that weren’t visible in my photo.

I followed her instructions as best as I could, and then decided I didn’t care if the horses were rideable or not, had 3 or 6 legs, or if they needed a veterinarian (or an eraser). When I couldn’t think of anything else to fix or change, I scanned it and sent it to her, saying that I’d listen if she had more suggestions that I’d listen but it would be after banging my head on the wall.

Here is what my horsey helpful drawing student/commission coach said:

“Instead of banging your head I think you should sit back with a cold drink and celebrate…this looks REALLY good. I think the recipient will be thrilled. 

While I might have been able to offer suggestions, I definitely could not have drawn this, so my hat is off to you. Well done.”

Lessons are free for her in September when we resume classes.

Phew!!

P.S. Someone else saw the completed drawing and thought the mule’s ears were still too small. Bummer. The drawing is now at the framer, and I am DONE with it.

A Little Bit Too Hard

A dear friend asked me to do something almost impossible. He wanted me to draw something for which he had no photo: the Mineral King Pack Station as it appeared in the 1980s. This was before everyone and his brother carried a camera around, documenting lives as if getting paid for it. (Or is it that people now document their lives because if it isn’t recorded, they aren’t sure it happened??)

I put out the word for help. It took 6 months, but I finally located a photo that I could almost see to draw from. If I knew horses and mules, this might be adequate. Barely. However, there is a lot of detail buried in shadow and the general mushy deterioration of a photo printed on a rough surface about 30 years ago.  

I soldiered on. Gotta start somewhere, so I started with what I know – the mountains in the background. Printing the photo larger after converting to black and white helped somewhat.

Inching along – good thing there is no hard deadline.

Notice the collection of erasers. This is too hard, and a friend who knows horses offered this most welcome advice: “I think the mule may need a bit longer ears still and the dark horse in the front needs a bit of work. His face seems a bit too long and narrow to me and the front hoof seems a bit too big and clubby (that’s what we call hooves shaped like that in the horse world)”. See why I need all these erasers? Very non-forgiving subjects from a very non-visible photo by a very non-horsey artist.

Mineral King Pack station in the 1980s.

I almost finished it but forgot part of a saddle. Forgot? More likely procrastinated, because it was a blob of dark shapes. Regardless of the missing saddle, I scanned it and sent it to another very horsey friend.

I await her counsel as to whether or not these horses can be ridden or if they need a veterinarian or perhaps a bullet.

Wise artists know better than to draw or paint things they don’t know; someone who does know will know that I don’t know. Wise artists know better than to accept commissions for which there are no or poor reference materials.

Kind artists tell their dear friends they will try.

Wise or kind? This is a little bit too hard for me. And,I may not be charging enough. . .

My Favorite Bridge in Oil Paint, Chapter 7

After doing the 10×10″ oil painting Oak Grove Bridge XXIV, I felt ready to return to the commissioned oil painting that combines the Oak Grove Bridge with Homer’s Nose (AKA Snozz Rock).

It was engrossing work. There were more design changes to be made, and I was eager to see if they made it more appealing, both in the execution and in the viewing. 

At 11:45 a.m. I added some leaves in the upper sky region and began repainting Homer’s Nose in more carefully mixed colors. I also changed the line of the foliage in the center section because it was too straight across the top and needed to blend more gradually in the the distant rocky area. (Wow, this is so hard to put into words – you’d understand it better if you could see me waving my hands around and pointing.)
At 1:13 I remembered to stop for another photo. Homer’s Nose is looking more detailed and more correct in its colorations.
In the 2:11 photo you can see tighter detail in the rocky places to the right of Snozz Rock.
At 2:48, I grabbed my camera again. Why?
At 4:46 I took the final photo of the day because the background greenery was looking good, the bridge got new detail, the beginning of a truck, more colors and tighter shapes, and now the water is taking shape.

There is still much work ahead, but now I feel capable, thanks to my little guide buddy, Oak Grove Bridge XXIV.

P.S. Tonight is a public information meeting about the bridge’s future at the Three Rivers Veterans Memorial Building at 6 p.m. The plan is to “rehabilitate the bridge” to “correct seismic and structural deficiencies”. Maybe They will explain how, or more importantly, when and how long.

My Favorite Bridge in Oil Paint, Chapter 6

I thought about calling this “Final Chapter”, but I hope I live on to keep painting the bridge and improving with each one.

We made it through about 23 oil paintings of the Oak Grove Bridge. There were repeated views, color adjustments and exaggerations, brighter versions, muted versions, paintings with sharp clean edges, paintings that looked sort of blurry, and the last one from a completely different angle.

Then, I began working on the commissioned oil painting that combines the bridge with Homer’s Nose, a prominent landmark granite rock outcropping. The bridge felt too hard in this one, so I decided to do a smaller version of the exact same view in order to work out some difficulties.

“Difficulties”? I might be a slow learner, or perhaps a bit simple. I’ve painted the thing 23 times and still have difficulties?

Just try to be polite here, ‘kay?

Here is Oak Grove Bridge XXIV in a few steps (although it took many more than a few steps to do this).

As you last saw it. . .
Beginning to tighten things up, like the tree/shrub on the far left that overlaps the bridge, ditto on the right, and adding light and detail to the bridge posts.
A few minor adjustments remain, but it is SOLD!

There were some shenanigans by some hooligans while I was trying to concentrate.

This photo tells me that perhaps when I have finished all the commissioned paintings and drawings, I might do a bit of shelf straightening.

Sort of Working

In July and August, I don’t teach regular drawing lessons. My students often say “enjoy your vacation” or “have a nice summer” as they are leaving (and several cannot resist the urge to sing “See You In September”).

Although I do spend much more time in Mineral King in those 2 months, I am still working. Sort of. There was the show Art: Inspired by Mineral King  on June 30. I deliver paintings to the Silver City Resort (AKA “The Store”), work on commissions (both pencil and oil), blog, keep track of what is selling, work on my new website design, work on the upcoming calendar, plan for any upcoming shows. That’s sort of working, isn’t it?

Sometimes the kittens become a tad bit distracting.
This subject matter is getting easier in its architectural parts, but I still struggle with the rocks beneath the bridge. This is because they are hidden.
This commissioned oil painting got a few licks on the canvas, but those rocks beneath the bridge really hang me up.
The smaller bridge is drying and awaits more layers. Sawtooth and the river are also both drying, and are now for sale.

Sawtooth #33, 6×6″, oil on wrapped canvas, $65 includes sales tax (welcome to California)