Odd Job #10, Part Two

Our Bride-To-Be of the rustic wedding selected the typestyle and chose the solid version, so I began burning numbers on wooden discs.

At first I tried to trace and transfer the numbers. That didn’t work on the wood. After thinking it over, I realized that every table will be separate, so no table numbers will be displayed together. This freed me up from having to perfectly match every bump and bite and wobble of Papyrus. It also freed me to make each number whatever size looked best on its own individual disc.

After burning the #1 solid, I realized that this job just might delay the wedding, due to the slowness of the artist and the process.

I went rummaging around in the workshop and found some wood stain. At the risk of upsetting The Bride To Be, I stained #2. It looked so good that I proceeded to numbers 3-7. Then I got a little nervous, so I photographed and emailed them to her.

She loved them! (This is an Angel Bride, not a Bride-zilla.)

Because the wood burner is borrowed, I felt an obligation to complete this task as soon as possible. I liked drawing the numbers, fitting them around the center of the branch. I liked painting them with the stain. However, burning with fancy expensive tools is a tedious task. Next time I may ask to scratch it in with a nail and then fill it in with a Sharpie!

Oh, and the location of the rustic wedding? Malibu!!!

Here are links to some more previous odd jobs:

Ornament

Chair slat

Cabin sign (gotta scroll down to see this one)

Tiles

RV Decal

Odd Job #10

When you need an artist in a rural place such as Tulare County, chances are you don’t know too many. When you need an artist for a specific job, chances are you will simply ask the only artist you know.

The question usually sounds like this: “Do you know anyone who can do this obscure, one-time, peculiar semi-art-related task?”

Often, I say, “ME! I CAN DO THAT! I WANT TO DO THAT! THAT SOUNDS CHALLENGING AND FUN”!

It gets me all excited so I might raise my voice a bit. Sometimes I might even jump up and down, although that is rare.

A friend has a friend who has a sister who has a daughter who is getting married and wants things rustic and woodsy. They found someone to cut and sand 1″ thick wooden discs, about 5-8″ in diameter. (Thank goodness they didn’t ask me about that part!)

Then came the question about who could put table numbers on the discs.

ME! I CAN DO THAT!

It’s all who you know, and I know Rosemary who owns a stable of wood-burning tools. She lent me a fancy one that just might be worth more than my car.

I sent The Bride To Be several type styles. She chose Papyrus, which happens to be my favorite in spite of great contempt from all young graphic designers (Cory, I know you are listening). I practiced numbers on a board, and gave her a price.

Have a look at the practice board. If you are a real wood burning artist, kindly avert your eyes.

Here are some discs next to the numbers:

In tomorrow’s post, I’ll tell you (and show you) the rest of the story of this Odd Job. (Funny – I have the strange urge to spell “job” with 2 b’s when writing it next to “odd”.)

Here are some links to previous odd jobs:

Painting on a quilt square

Houseboat sign

Pet clinic sign

Painting on an antique window

Happy Customer

Customer? Client? How about a long time friend who commissioned me to paint for her? Commissioner?

Never mind.

I delivered “Spring In Three Rivers” to my friend and hung it on the wall where she had planned for it to go. We looked at the pictures around it and knew it wasn’t the best combination.

Being slightly self-focused, I suggested that we place one of my pencil drawings on either side of the painting. Now, lest you think I am more than slightly self-serving, she already owned these two drawings, and they truly looked right together. Lighter, a touch of pink in one, and all places around here. Please forgive me for not taking my camera and documenting the wall.

You know how it is if you move a thing or two. . . it means you have to move another and yet another. We had a great time placing pictures around the room, and the results made us both very satisfied.

Spring in Three Rivers
“Spring in Three Rivers”, commissioned oil painting, 24×18″ on wrapped canvas

Spring in Three Rivers is a Beautiful Memory

Is that a funny title for a post during the hot time of year? I love spring. It isn’t hot. This painting in progress reminds me of the beautiful season.

oil painting commission of spring in Three Rivers

I’m juicing up (exaggerating) the colors a bit and it is fun. I love dabbing on little specks of different shades of pink. These redbud are so fabulous up the North Fork of the Kaweah River in Three Rivers. I’m so glad that my customer chose this subject for her commissioned oil painting.

Spring in Three Rivers Oil Painting Commission

Spring in Three Rivers just might be an appropriate title, although there is little evidence of any river, much less three of them in this picture. But, we are in a canyon that follows the North Fork of the Kaweah, and the presence of sycamore trees indicates a source of water near by. (Can you tell which trees are becoming sycamores?)

oil painting of a road in spring in progress
Spring in Three Rivers, 24×18″ oil painting commission

Getting that fence the right size and in the right place really was difficult. I kept painting out the rails and repainting them, all in a very rough and messy fashion. Oil painting can stay rough and messy for a long time, with each successive layer  showing signs of improvement. Of course, in art “improvement” can mean different things to different viewers. Many painters in recent history have a huge following and reputation while making a ton of money with paintings that I’d call rough and messy!

Meanwhile, I choose to refine my own work with each successive layer. When the background of the photo just seemed too rough and messy for me to sort out and then enlarge, I just detailed the closer parts. Normally I work back to front, top to bottom, left to right and dark to light. For this painting, I just do what I am able to do, when I am able to do it.

With those messy types of sections where the detail in the photo isn’t helpful, I paint what I can see and hope it trains me to fake (i.e. make up) the parts that I can’t.

spring in Three Rivers oil painting in progress
Spring in Three Rivers now has a few redbud blooms

I think the fence placement is almost correct, but with all that painting in and painting out and painting over, it is too wet to continue.

This means I get to use a new color! It is some sort of magenta, and I’ve veered from my primary colors only palette because I know from experience that I cannot get to the color of those redbud blooms from those primaries.

Another Oil Painting Commission

If you’ve known me for awhile, you may have heard me say that it is all my friends and relatives who buy my work because they feel sorry for me.

Another friend used to tell me this: “If your friends and family won’t do business with you, who will?”

A long time friend asked me to paint something for her home. She lost her husband about 2 years ago, and now she is slowly changing things to fit her tastes rather than their joint tastes.

She borrowed a book of my photos called “Spring in Three Rivers” (sometimes I just amaze myself with cleverness), and found a photo that rang her bell.

I took paintings to her house so we could determine the most appropriate size and orientation (that means vertical or horizontal).

She decided, and I began:

Now that just gets you all excited, doesn’t it?

How about this view? Painting upside down usually means I have the photo also turned upside down, but I reversed it so you could see what the goal is.

I think this is going to be beautiful! “Spring in Three Rivers” might even become the title, because of that cleverness I mentioned earlier.

The Cabin Painting Grows

On Wednesday, I left you with this cliff hanger of a picture:

This is the next view:

And this is how it looked when it was getting a little too dark to see out in the painting workshop.

Now it is time to show the customer before I do any more detail work. That large tree on the right needs more work, and I’m a little fuzzy about the foreground. The photos don’t offer much help. I also want to add lines to indicate shingles on the roof.

More will be revealed in the fullness of time. . .

Earning the Big Bucks Painting a Cabin

This is how it looked the last time we discussed the back country cabin in Kings Canyon National Park.

“We discussed”? Who is this we? Um, well, me. I thought it looked sort of fakey with just 2 thunderheads.

No worries. The sky dried enough that I could add more. And notice the added detail to the face of the cabin. This is so fun to paint!

See the corner detail? Log cabins have very busy and intricate corners. This little part took a long time to figure out what I was seeing, and how to make the light be correct. In the photos, there are people in the way and they cast shadows. I have to figure out which shadows are from them, and then eliminate those shadows, along with figuring out what should be showing behind the people.

That’s why I get paid the big bucks.

Hahaha, heheheh. . . hooey, that was a good one! 😎

Why is this Oil Painting Commission So Hard??

As a studio painter, I work from photos. There is a ton of pressure out there in ArtWorld to paint plein air, which might be French for “on location”. There is a ton of embarrassment out there in ArtWorld about painting from photos, because it usually garners a lot of derision and sneering and condescension.

One of my painting mentors (virtual – we have corresponded but never met) Jack White has said, “All realistic painters either work from photos or they lie about it.”

I try to NEVER lie. You can count on finding the truth here, although I do minimize the ugliness as much as possible. This blog is supposed to be fun, informative and entertaining, not edgy, rude or shocking.

Now, let’s move on to the point of this post, which is to discuss the difficulties of a commissioned oil painting of a place I love here in Three Rivers.

I did a commissioned oil painting for my amazing friend Barbara. It was a composite of several photos – her house, all the lavender in bloom, and hills behind. There is no place to stand to see this actual view, so I worked from several photos.

 Being the generous and thoughtful person that she is, Barbara gave away this painting. Then she asked me for another just like it.

Instead of looking at my computer screen and attempting to copy this painting, I pulled out my photos again. This is because I don’t think the computer reproduction is very accurate, and because I like to work from the original source. And, I hope I paint better now so will be able to do an improved version of this. (Ever hopeful, always wanting to improve, ever optimistic, this California artist!)

Either I’ve lost some of my photos, or I’ve lost my ability to paint from them or I’m losing my mind.

This is one of the hardest things I’ve attempted in awhile! I’ve been messing around with the proportions, studying the photos, staring at the painting, looking at the version on the computer, and not making any progress.

Why is this so hard?? What is my problem??

Finally, after wasting an inordinate amount of time just staring and thinking, I decided to go outside and look at the actual hills.

I took my camera for a walk so I could fully see the end of the house that we want in this painting. I need to see the proportions of the windows to the shutters to the wall space on either end and in the middle. 

Nothing is solved, but now I have even more pictures to study.