If you receive this in your email and want to see the photos, click on the title.
This painting was waiting patiently for some attention. I gave it an entire afternoon, photographing it at 5 stages.
First, I put in some sky patches in the upper left.
Next, I strengthened the trees. They are all sort of skinny in the photo, so I will probably choose a few to fatten up. Later.
I mixed several greens and just danced around all over the canvas without a real plan.
Then I worked on the road, along with a bit more specificity in the greens.
Finally, I paid attention to the details in the closer things off the shoulders of the road.
In conclusion, the photo is mostly a suggestion of shapes and light. The details are murky, so I am just winging it, pantsing it, trying this and that with an occasional peek at the photo. Photos. I have several, and yet have no memory of taking these pictures.
Two titles are under consideration: “Take Me Home. . .” and “Somewhere in Three Rivers”.
If you receive this in your email and want to see the photos, click on the title “Improving One, Fixing Two”.
When a painting doesn’t sell for awhile, I evaluate it, trying to figure out what isn’t resonating with possible customers. Yarn and Dutch iris are two things I love, but something was preventing the sale of these two paintings. Never mind that I kept them in the house instead of putting them out in the public—they started in the public and when they weren’t purchased, I took them home.
The yarn on the left is a favorite color combination of mine. (Doesn’t it remind you of the beach?) Apparently, it isn’t a favorite combination of other knitters. So, I added red and yellow. The teal is still teal, not blue, but the painting doesn’t photograph as well as it scans, and it was wet. I will add some green and some purple next, maybe orange and blue too. People love color. Me too, especially if it is brown with teal.
BeforeAfter
Dutch Iris might be my favorite domestic flower. I’ve sold several of these, but not this particular painting. I studied it awhile and decided it needed a darker background. And as with the yarn, it will scan more accurately than it photographed in low light while wet.
BeforeAfter
Those two paintings were a warm-up session before returning to this painting.
The plan was to detail the ferns, and as I was getting into it, I decided to fill in more in the greenery, improve the distant trees, just dance all over the canvas as I saw things to fix.
It’s better, but not finished yet. For some reason, the paint was misbehaving, making precision more difficult than normal. The paint was either clumping off the brush, or it wouldn’t come off at all. Walnut oil (this is my choice instead of linseed) didn’t seem to make a difference. So, this will need to just dry for awhile before I continue detailing.
Five steps closer to completing a new painting of the classic Mineral King view, but still about 60 steps from actual completion.
Remember this?
It is 30″ high, and I can’t reach the top very well. That’s okay, because it is movable.
The cabin is too wide.
Better.
I’m not trying to be exactly true to the photo. I am trying to make it look believable, and after looking at it for 39 years, drawing it about a dozen times in pencil and painting it at least 64 times*, I can recognize when things aren’t quite right.
However, I am making free with the locations of the rocks in the river.
Now there is a base coat on almost everything. Maybe two more layers will do the trick: one to fill out and finish covering the shapes and another to detail it. But then I’ll have to detail it more. And then it will need more correcting. After I show it to my most discerning critics, I’ll need to correct it even further. (See? 60 more steps ahead)
Changing the sizes, the lighting, the cropping—these things keep me interested when I continue to paint the same scenes over and over.
*Really! I counted my photos of the completed paintings, so I know this is true, and there might even be more that I didn’t photograph. Curious? Here they are up through 2016, when the count was at 32.
Yesterday we saw two brand new paintings on the easels, looking like they’ll never get finished. Eventually most paintings do. Layer after layer, keep studying, figuring out what to do next and how to improve it every time I pick up the brushes.
Today we will see some finished and some unfinished paintings.
This is how the bright fruit painting has settled into its new home.
This is a good showing of the progression of my colored art: First I worked in colored pencil, then I practiced mixing colors by painting many pomegranates. Now I get a real kick out of mixing all colors, combining lots of photos, and just pantsing it on the canvas.
The new fruit painting for my friend/customer is completed, signed, and moved into the house for drying.
This is in the painting workshop just before I moved it into the house. I am very happy with this one and glad I did a new painting for my friend rather than just messing with the older one by changing some of the fruits.
There are three unfinished pieces waiting for attention.
I was hoping to keep this when it is finished, but I will put it in the 2024 show and it WILL be for sale. (I can always paint another one of my favorite type of subject.)
This one has had several do-overs and a very long time-out; I’m still not convinced that I can do the subject justice but I will continue to try.
First, the wire needs to be moved. Then I will commence to draw lots of golden colored ferns.
All of these paintings started out as the same sort of vague mess as the ones we looked at yesterday. Nevuh nevuh nevuh give up.
Here is a look at two new paintings, begun for the solo show in October of 2024. Seems very far away, but it takes awhile to paint enough pieces to fill a gallery on one’s own. I have about 30 available (several unfinished but in progress which I will show you tomorrow) so I need to paint another 10-20 pieces. I’m thinking 20 is better, because I paint small. Even when I think it is HUGE, such as 18×24 which feels ENORMOUS and takes FOREVER, it looks like a postage stamp in a gallery.
This one is 16×20. I can’t find the photo on my computer, don’t remember where or when I took this, and can’t really discern the details on the little photograph.
So why bother? It has wonderful light and the road pulls the viewer in.
It will involve some “artistic license”, and I will focus on the contrast between light and shadow. Slow layer after slow layer, lots of thinking and evaluating—that will be the process on this one.
I decided to do something different with something familiar, using a 10×30″ canvas that I had on hand. The sizes of canvas on hand often dictates what I paint. If it isn’t a tried and true subject, I keep the painting small. This is a tried and true subject, even if you can’t tell what it is at this early stage.
Can you recognize what this mess is?
Lots of painting ahead for your Central California artist as she plans the best way to show off the parts of Tulare County that keep her from moving to the beach. (As if she could afford that; besides, she’d miss Trail Guy.)
Practice Painting? Painting Practice? Paint Practicing?
Never mind. Doctors practice medicine, attorneys practice law, and this artist practices painting. Some days I feel as if I am brand new, with no idea how to tackle a subject. Some days I think I’m figuring it out. Only once in awhile does the process feel easy.
I have a solo show coming up a year from now, and I want to be ready. No last-minute panic painting, just a well-planned body of work that is cohesive, looks good together, represents my best efforts, and most of all, represents the best parts of Central California, specifically Tulare County. Or perhaps is the best representation of Tulare County, a place of superlatives, both great and terrible.
Hey Central California, stop your bloviations and show us some work.
Ahem. Would you like to see what I was practicing on?
About time.
I started with more detailing on the trees.
Then it was time to work on the background. All those vague and messy branches and clumps of needles were a bit confounding, but that’s okay, because I was just practicing. It helped to put in the sunlit strips of ground.
I had to turn the canvas sideways in order to place the tip of my brush WHICH I WAS DRAWING WITH, SO THERE, in the right place to get accuracy. In order to paint those ferns in detail, I DRAW WITH MY PAINTBRUSH.
Finally, I hung it on the wall to dry, and that’s when I realized I had begun the scene upside down but hadn’t actually reversed the canvas. Oh well. A wire is easy to move.
I had a few unexpected hours available to paint and decided to not waste that time doing something useless like weeding or vacuuming or painting the Golden Gate Bridge (just your basic endless repetitive chore).
I worked on the commissioned oil painting, 6×18″ for my friend/customer to fit between 2 other fruit paintings in her kitchen. She saw the painting Citrus Row and requested the addition of pomegranates and persimmons but gave me the freedom to arrange and fill with whatever else I chose. Instead of adding those P fruits, I started a new painting.
She sent me this photo to show me where she wanted to put the painting.
Back wall first
The fruit on the far right is a fuyu persimmon, not a tomato. I don’t know why I started on the right side instead of the left, which is normal when I draw so that my hand doesn’t drag over the completed area.
This picture looks worse than the previous one because the paint was quite wet and the late afternoon light made it very reflective.
Incomplete: the table, stem on the pomelo, and the cap on the fuyu. and the edges and signature.
It is quite a thrill to be able to mix and use all these bright colors. Of course, having painted this at the end of the day’s light, it could look rather wrong when I see it in normal daylight.
Yeppers, the table needs work. The leaf on the tangerine is blending into the table. The shadowed part on the orange on the right isn’t right. The fuyu persimmon might need some color correction. The shade from the lemon on the pomelo looks like an outline. On and on and on it goes.
It’s a wonder that any paintings ever get finished.
Feeling fruity around here lately. A month or 2 ago, I painted this to decorate a banquet for a citrus marketing outfit.
A friend who has bought more of my paintings than anyone else saw this. She said, “If it doesn’t sell at the event, I want it!”
I took the painting to her, and she said, “I’ve been thinking. . . could you change one of these to a pomegranate? And include both kinds of persimmons?”
I said, “Sure, I can do that!”
Then I brought it home, thought it over, and decided to do a new piece for her. I dug through my fruit photos, looking carefully at the lighting and angles. Then, unlike my normal approach, I drew it out.
This is going to be good—colorful and well planned.
The other fruit painting I recently painted as a gift, I did without any real planning. I just pantsed it, trying this and that with paint, having fun with color.
I like it, and so does the recipient. Yeah, yeah, it probably would have been better to plan it. Sometimes I just rebel.
P.S. Good thing I painted a new one because the original, Citrus Row, sold at CACHE’s Holiday Fair!
In 2023, I participated in exactly one art boutique/fair/bazaar. ONE. It was in Exeter on a Saturday at the history museum/art gallery, CACHE. This was the inaugural event, the reviews are mixed, and I am guessing it won’t become an annual event.
However, I had a good day! One painting sold (Citrus Row) and many smaller items too, all adding up to YES IT WAS WORTH IT.
Being sort of accidentally semi-retired this year*, I decided that a good day of work deserved a good day of hanging out with friends. Because I still live in the same area where I was reared (children are reared, vegetables are raised), when long-time friends return to the area, they often request a get-together. This isn’t always practical, but it is usually a real treat.
I left the house at 10:30 AM and got home at 5:30 PM, just to “go have lunch”. This is why I often turn down such requests, unless I have recently had a good day of work and don’t have any looming deadlines.
The drive was interesting (I actually left Tulare County!), the company stellar, and lunch was delicious.
Our post-lunch walk was exactly up my alley.
The dead tree was interesting, but I won’t paint it.
I will probably paint this. If I really squint, I can see the mountains. We were too far north to be looking at Alta Peak.
I will paint this, minus the white spots (whitewash against thrip?) and pokey little twigs. I’ll probably fake in a navel.
My friend had to help me with these: pistachios! She said that the crop was left to fall on the ground this year. What a terrible waste.
Of course I will be painting a version of this. Shall I make the hill green?
Two outings: one work, one semi-work related, both social, one closer but more taxing (talking to people all day makes me tired), the other far but entirely up my alley with 2 close and long-time friends in the country surrounded by foothills and oranges.
“The Best View”, 10×20″, $400, currently my favorite subject matter
*Because I had no work this summer I may have forgotten how to work.
“Margaret’s Poinsettia, package of 4 cards and envelopes, 4.6×7.2”, $20. Inside message: Wishing you Christmas joy and blessings in the new year!
Through the years I have designed, printed and sold hundreds, nay, THOUSANDS of little cards. “Notecards”, as I refer to them, are perfect to say “thank you”, “hi”, “just one more thing”, “I appreciate you”, or even “I’m sorry”. If you write real big, you can get by with just one sentence.
“Sun Kissed”, pencil and colored pencil drawing, package of 4 notecards and envelopes, 4-1/4 x 5-1/2″, blank inside, $10
Designs come and go; sometimes I redraw something and then get rid of the older version. Other times, it seems as if a design has run its course and needs to be retired. Sometimes I have too much inventory, so I let a design run out for awhile. And sometimes a design that really grabs me just doesn’t speak to the buying public.
“Oak Grove Bridge #28″, oil painting, package of 4 notecards and envelopes, 4-1/4 x 5-1/2”, blank inside, $10
I used to sell my cards in many stores around the county. Most of those stores are now closed. Even if the stores were still around, my costs are so high that if I sell them at a wholesale price to a retail store, there is zero profit for me. This means that I am working for free. That’s just dumb business.
Sawtooth and wildflowers, pencil and colored pencil drawing, package of 4 cards and envelopes, blank inside, 4-1/4 x 5-1/2″, $10
Nowadays I sell the cards here on my website, occasionally when I do a bazaar or if I am having an art showing or exhibit (what’s the diff? I dunno), and on consignment at a very few places. “Consignment” means that they pay me after the cards sell, which means a lot of checking in, rewriting lists to keep current on supplies, making bills, sending the bills, paying attention to what has sold and what needs to be restocked.
Farewell Gap in Mineral King, pencil drawing, package of 4 cards and envelopes, blank inside, 4-1/4 x 5-1/2″, $10
It’s all part of the business of art, which involves many decisions. Most of those decisions would be better if I had a crystal ball. Lacking that, I look at the history of sales, look at the current economy, look at the venue and think about the customers. If consignment, I look at the store’s record of payment, if the cards are getting shopworn and need to be repackaged, or if the store hasn’t been displaying the cards in a manner that the customers can see them.
“Sawtooth”, oil painting, package of 4 notecards and envelopes, 4-1/4 x 5-1/2″, blank inside, $10
The business of art is a complex and delicate blend of science, art, and guesswork.
