New Mineral King Paintings

Take a deep calming breath. There are no new ones yet, but “Starting New Mineral King Oil Paintings” is too long a title. However, I have fired up the Mineral King Painting Machine (that is a particular part of my brain that gets a little time off in winter).

First, I read through my lists of what sold, what remains, what subjects and sizes are missing. (That step isn’t one that I can photograph for you.)

Then I decide on canvas sizes, look through my photos, and make decisions. Last year more medium sized paintings sold than small ones. I have plenty of small ones remaining, so the sizes I’ll be painting now are 8×8″, 10×10″, and 6×18″. “Medium”? In my world, yes, these are medium sizes. (This step was tricky in that I had to figure out what to do with my large oil paintings that are still wet in order to use the table.)

There are many ways to start oil paintings. I chose a haphazard semi-lazy just-draw-it-on-the-canvas method. I don’t have a lot of hustle right now – just plodding forward is getting the job done. (More coffee? Start eating sugar again? Nah.)

Scribble scribble, dab, pick any color, just do something.

That’s a decent start. 

Can I take a break now? A little recess, perhaps? Maybe I’ll go weed my baby poppies, because I love February.

Recess for Oil Paintings

Those large oil paintings were looking so good that I carried them out into the sunshine for a little recess. 

After recess, I made a few additions and changes in spite of having signed them. They will need another recess for yet another photography session. 

This one was too wet to carry outside. It is also unfinished and unsigned.

Now it is a little better. This one requires copious amounts of studying and thinking.

(Sorry, no hopscotch or tetherball at recess, although Tucker may have considered playing tag at one point.)

 

Dithering Over Decisions

Still Here, my upcoming exhibition for the month of April has me dithering about how much is enough, how to prioritize the work ahead, and wishing for the umpteenth time that I had a functional and accurate crystal ball.

When Arts Visalia asked me if I’d move from January 2022 to April 2021, I decided that I would finish 4 of the 5 paintings in progress and not try to add anything else. The fifth could just wait for another opportunity.

This might be finished now.

Because I am painting larger than normal for me, I am not able to guess how long a painting will take to finish. The ones on the easels seemed almost impossibly far from completion. Then suddenly 3 of the 4 looked ready to sign. So, I pulled out #5, because it will be a nice addition.

Maybe there is time to finish this one.

 

Incrementally closer to completion with each painting session.

Meanwhile, I went through my framed pencil drawings and decided a bit more variety will be good. So, I delivered 3 more drawings to my framer with the usual instructions of “Make them look good and call me when they are ready.” I believe in hiring the best people for the job and then just getting out of their way.

I wonder if Arts Visalia will rethink the decision to hang my work in Gallery 2 and move me into the Main Gallery. I could fill it up. My work could fill both galleries. HEY, ARTS VISALIA, DO YOU READ MY BLOG?

Probably not. Guess I’ll head back to the easels.

Show Prep

The weather was stunning last week, which made it difficult to focus on work. Trail Guy invited me to go enjoy the great outdoors with him, so I spent 2 hours doing non-work. Then I dove back into my show prep.

First, I chose photos for Arts Visalia to use for publicity. They requested 4; I chose 12. Oops. 

Then I worked on the artist statement, which I streamlined a bit more (thank you, Blog Reader Sharon!)

Next, I filled out the contract. Seems a little bit out of order, but maybe they know that I am a woman of my word.

Finally, I painted.

These big boys are a little cumbersome to move around and store while wet. 

Finally, I decided this smaller one is finished, no more messing around.

Sunny Sequoias #33, oil on wrapped canvas, 12×16″, $325 (including tax)

You may breathe easier, seeing that I didn’t put this Sequoia oil painting in the dumpster.

Pippin is certainly feeling better about life now that he is allowed access to this chair in the living room.

 

Looks Better in Person

All my paintings look better in person. Maybe I should I stop showing you my paintings in progress so that you will be inclined to attend my show at Arts Visalia in April.

Nah.  These posts could cause you to either really become interested in the show or run away screaming.

Now that I see the before and after together, I am wondering if the upper painting (before) looks better than the lower painting (after). 

I added more sky on the upper right, more detail in the corn lily on the bottom left (weird colors in the photo aren’t true), more detail to the corn lily on the bottom right and put in more distant forest.

Now that I see the photos here, I can see some botanical problems with the trees.

I’ll keep working on it.

Cabin Painting in Stages

You’ve seen most of these photos before. I am showing them again so you can see them all on the same page in order of progression on this painting. Besides, it will help me to see them all together because then I will know I have actually accomplished something.

A few more details (including the flag and porch railing), painting the edges, signing, and then maybe this will be finished. 

Making art people can understand of places and things they love for prices that won’t scare them.

More Dabbling with Sequoias

I’ve gotten some helpful suggestions for dealing with the Sequoia oil painting that doesn’t please me.

First, I added the upper branches. (You’ve seen this.)

Next, I changed the green in the background forest to make it look more distant, and also strengthened the color and contrast in the main tree.

Finally, I added branches of a tree that was in the foreground.

Sometimes I think this painting might be headed for a dumpster.

Dabbling with Sequoias

The big sequoia painting is coming along. I had to rotate it on the easel in order to see the edge of my brush in order to accurately paint an edge. This might qualify as “drawing with my paintbrush”. Yeppers, that’s the way I paint.

These big paintings are S L O W. That’s okay – the show I am preparing for is a year away. 

Oh no! The gallery just asked if I could switch from January 2022 to April of this year! I don’t know. I DON’T KNOW!

Slow-poke Cabin

“Slow-poke” is a weird old word that probably has a good story behind it. This cabin isn’t a slow cabin; the painting of it is slow. Wait, no, the painter is slow. No, not slow–the painter is painting slowly.

Good Grief Charlie Brown.

I added shutters to the windows and door, changed the color of the cabin, began the dreaded lattice, added some dirt, tightened up the steps, began detailing the windows, changed the skyline and the forest in the background, and then needed to go have a smoke.

JUST KIDDING! I’ve never smoked anything in my entire life.

Isn’t it peculiar how the colors differ so greatly in different times of the day? When the painting is finished and dry (at this rate in another several months, GGCB), the scan should show the truest colors.

Using pencil, oil paint and murals, I make art you can understand of places and things you love, for prices that won’t scare you.

(But sometimes the process might scare you.)

Big and Slow

After painting the snowy sequoia scene, 24×48″, these current 18×36″ pieces shouldn’t feel large to me. 

Alas, they do.

I often tell my drawing students, “You can be fast or you can be good – you get to decide”. Then I say that in pencil, I get to be both fast and good. (If it is true, it isn’t bragging.)

In oil painting, it is necessary for me to be slow in order to be good, at least the way I define good (and my customers too, or they wouldn’t be customers).

These two oil paintings on the easels are going v e r y  s l o w l y.

I am jumping all over the canvas (not literally, don’t worry), chasing around different sections, based on the colors I mix and what catches my interest. Eventually it will all get covered.

The only difference between these two photos of the sunny sequoias is that I cleaned yellow off my brush on the second one. It was left from finishing the edges on the cowboy painting. The entire canvas needs to be covered multiple times, and wasting oil paint hurts my frugal heart, so now there is a strangely colored first layer near the bottom.

Your Central California artist continues to make art you understand, of places and things you love, at prices that won’t scare you.

(But sometimes her early color choices might.)