After painting Empire and Vandever with the Crowley Cabin in Mineral King, plein air (on location), my confidence built. But, I didn’t like schlepping the easel around or setting it up, so I tried it sitting down by the Honeymoon Cabin (at the beginning of the Eagle/Mosquito trail). This was most pleasant, right by the stream. But in the afternoon, it was not in the shade, and there was no convenient place to put my palette. If it ain’t one thing, it’s anuthuh.
Remember that I went down to Georgia (no, I’m not the devil) to take a plein air painting workshop from Laurel Daniel? The goal was to be able to do plein air painting in Mineral King.
I was a little nervous, having waited 3 months to attempt the techniques again. Mineral King feels so public, probably because it is, and I was glad there weren’t many people around yet. Still, I set up my easel in an obscure place, and remained invisible in the shade despite my trusty red backpack.
The plan was to paint Empire (the rock outcropping, not the highest part of the ridge) with a few cabins below.
Here is the finished piece, dry and scanned after I got back home. (It was tricky business finding a place to put the painting to dry in our 400 square foot cabin, but we are always innovative with the limited space.
The whole time I wondered what Laurel would say, and tried to remember some of the things she worked on with me. There is probably too much detail in this for her, but I am the boss of my painting now.
English is confusing. “A little painting” could mean I painted a little bit or that I painted a small painting. What if in this case it means I painted a little bit on 3 small paintings? And I painted a little bit on a (for me) huge painting?
Then you’d have today’s title and today’s post, that’s what.
I also took some photos of the kittens, three of which remain at our address. KitCarson is settled very happily in his new home, where he will be loved beyond his wildest expectations, and Tigger, formerly known as Gilligan, is very happily settled in his new home, where he plans on becoming the boss of his people.
Alas, my PHD camera wasn’t up to the task of close up photos of these active little creatures.
*PHD = Press Here, Dummy
After our road trip, I had a large family responsibility that kept me from painting. This had the effect of causing intense focus on the day that I was able to return to the easel. Have a look.
The list was just a compilation of obvious tasks, but by having it in increments, I was able to be systematic and keep going, section by section. It was just a way of keeping my feet planted in front of the easel, because this was the only day I knew that would be available for painting in the foreseeable future.
The Oak Grove Bridge painting number eleventy billion is in progress, in spite of all the distractions.
The painting had a few days to dry, because Trail Guy and I went on a road trip. I’ll show photos from the windshield tomorrow.
Normally when I paint, I don’t draw it out first. This time, the bridge needs to be perfect for the show at the County Building, and time is limited. So, I drew it in pencil on the canvas before beginning to paint. Oak Grove Bridge number eleventy billion, here we go.
I began the way that Laurel Daniel taught in her workshop but didn’t mix the grays very carefully. I may be a rebellious student. On the other hand, I am what Gretchen Rubin calls a “Questioner”, and if I don’t see the value in a particular activity, I don’t bother. Because this is too big to do all in one session, it seemed fine to not mix a perfect gray. But, part of the trouble was a bad brush. (I spiked it into the trash after awhile.)
I also didn’t do it from front to back. I’ve painted this bridge more than I can remember and just fell back into my familiar pattern.
It is much easier to put in all the architectural details when they are a size that can be actually seen.
Sometimes it might be nice to have a boss or maybe a crystal ball or even a mentor or a board of directors. When deciding what to paint next, there are days when I think how good it is to just do whatever I want; other times I wish someone else would tell me what to paint.
When I don’t know what to paint, I go with my first idea or first impression. All of the ideas are good, all are Mineral King, of course. The juniper tree along the White Chief trail has been calling to me in spite of having painted it twice already this spring, and OF COURSE I want to paint wildflowers. The others might be good to paint later. But, I’ll have to place yet another order with the art supply company, and Prudence tells me to wait until some paintings have sold. (Prudence often tells me wise things.)
This Mineral King painting will require lots of reference photos to remember the leafing patterns and to get the flowers to be believable. (The peak is Vandever, which is on the right side of Farewell Gap.)
“Out there” is a strange turn of phrase. Does it mean on the edge, in outer space, and weird? Or does it mean away from one’s comfort zone, out in the world? Either, but today it means having my work out in the world away from the comfort of Three Rivers, my known and beloved drawing students, and my own private studio.
I entered two pieces in “Seascapes” at the Exeter Courthouse Gallery. It is a juried show, but I have doubts that any entries will be turned away. The part that feels “out there” (vulnerable) to me is this: WILL ANYONE CARE ENOUGH TO SPEND $ ON MY WORK?? (or more accurately, $$$)
Excuse me for shouting. This sort of show makes me shudder, but at least it isn’t an auction. The shows are interesting to see, but it is nerve-wracking to interact with the public and wonder if they care or if they are just making conversation to be polite.
But wait, there’s more. I also will enter these 2 pieces in a juried show at the Tulare County Government Plaza Building. And, I’m in the process of producing a third piece to enter.
What if they aren’t accepted? What if no one wants them? What if someone does, but can’t get them for an entire year?
Stop it. Just stop it.
Okay. I’m fine now. Thank you for listening.
June 1-28, Exeter’s Courthouse Gallery, 125 South B Street, Exeter, California.
There will be 4×6″ original oil paintings at the Redbud Festival, priced for $40 each instead of $50 as a SHOW SPECIAL! Here are 2 samples of the 8 available paintings:
In spite of the common practice of completing a plein air painting alla prima I think that many of my paintings in that style definitely need touching up. It takes awhile for me to see what I can fix, and it takes wisdom to know if it would be an improvement.
Today’s post shows the before, contrasted with the “New & Improved” versions of several of my plein air attempts.
New and improved? or just new? The verdict isn’t in yet. You will be able to see these at the 45th annual Redbud Festival.
