Forrest’s Dream Cabin Again

The title of this commissioned oil painting is Forrest’s Dream Cabin, so it is imperative that I move it from nightmare to dream status. Here is the next painting session of step by step improvement.

  1. Sky first, painted upside-down for easier reach.

2. The colors on my palette look so dull.

3. Water next. I could reach this part right-side up.

4. Mountain and foreground branches

5. I want to start drawing with my paintbrush on the cabin detail, but I think the water and background mountain will need more layers first.

The colors are so much duller on screen than in real life. Forrest said, “it’s like a ghostly cabin is emerging out of the scene, nice!”

P.S.This is not a houseboat; it is a cabin on stilts in a lake in Northern Italy.

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.)

Finished?

Until a customer is happy, I don’t consider commissioned art work to be finished. However, I took a chance on this painting and signed it before the customer replied. 

A lifelong friend helped me work out the finishing touches of this painting. We sat together with the latest photo of the painting, using her suggestions and my Photoshop (Junior version) skills to try some things. We were both very pleased. Look at this “map” we created; every place we made a change, I put in an arrow so I could follow it later. (Be ye not dismayed – this is a photo with blue arrows, not blue arrows on the actual painting.)

I set up my laptop by the easel and began. It is very incremental, and you may not be able to discern the changes. Just be polite, ‘K?

Basically, I added shadows to some lemons, added darker ones hidden in the leaves, and then took some of the hard clean edges off the furrows (that is the dirt/moss area between the rows, not the eleven between my eyebrows – thank you for your concern).

Sequoias for Sarah

A young woman named Sarah works at the Silver City Store. She told me that she loves my painting on display there titled “Big & Tall”.

Sequoia Trees, Big & Tall, 18×36″, oil on wrapped canvas, $1200

(In case you are wondering why anyone could “love” this painting, remember that it looks way better in person!)

I told her that I could paint one for her in a size that would fit her budget (and suitcase – I believe she lives a fairly peripatetic lifestyle – and “peripatetic” is a great word that you might want to look up and adopt).

She was excited, and chose 6×18″. We discussed the cropping that would be necessary since this is narrower proportionately compared to the 18×36″. Sarah said she trusted my judgement, so I began.

First I found the reference photo. Then I folded paper around it and experimented with the cropping until it looked right.

Then, I mixed the colors and began.

I am getting used to the mess of a beginning painting; it doesn’t make me feel visually assaulted any more. Does this mean I am finally accepting myself as an oil painter instead of just a pencil artist who paints?

Maybe so!

 

Two Job Conclusions

Thing One: the A-frame is now in place. I stopped driving by the pump like some weird stalker, and just waited. Eventually, a neighbor left a nice message on the phone saying how good the sign looked, and was it my work?

So, I walked that direction the next morning.

Hey! What’s that??

The dry season is to the front.

Spring is to the rear. I wonder, will it get rotated next year?The A-frame is in place.

Thing Two: I mailed the Coat of Arms on a Monday and was told the expected arrival was Thursday. It was received on Tuesday!

Now what’s next??

New Odd Job

“Odd” means “unusual”, as in I’ve never done this before.

I’ll give you a break from Mineral King wildflower oil paintings and show you my new project. This is a commission, which is a fancy word for custom art work.

A customer/friend sent me this and asked if I could do an oil painting of her family’s coat of arms.

I said something like, “Sure, but first we’ll have to decide on some color.” She then sent me this.

So I looked up meanings to the parts of Coats of Arms. We learned even the colors have meanings.

Next she sent me this.

Time for some Photoshopping (I use Photoshop Elements, which is really just Photoshop Junior).

Come back tomorrow to see how this developed.

Decision on the Morphing Commission

While I was working on the backpacks in the commissioned oil painting of Lost Canyon, wondering if I’d be able to move the stream and trail, the answer came back as a definite “no”. They wanted the trail to remain across the bottom of the canvas.

When someone hires me to paint something specific, that someone is my boss.

I kept working my way down the scenery toward the backpacks, figuring out what to put in those large areas where I didn’t have any photos to guide me, figuring out how to make the stream flow in a believable manner, adding rocks, shrubs, trees, and textures.

The color isn’t accurate here because it was photographed in low light at the end of a painting day. But I wanted you to see how this is coming along, particularly the backpacks! This is my favorite way of painting – drawing with my paintbrush.

What remains to be painted: the hiking poles, the lower grasses, and of course wildflowers in the grasses.

Morphing Commission Continued

Last week I showed you a commissioned oil painting with a changing plan, and I was waiting for customer approval to move the stream and the trail into a new position, to match the cobbled together photo below.

While I was waiting for the answer, I continued to detail the rocks on the mountain in the distance.

There is no way to copy each rock, green patch and tree especially when combining multiple photos. The idea is to make it believable.

Working upside down helps me see what is really there, not what I think or hope is there. It forces me to see the shapes correctly.

As I studied it and worked on it, I began seeing ways to make the scene have more distance. This was by pulling the green patches up into the rocks in smaller and smaller pieces.Then, I moved to the backpacks, because regardless of the customers’ decision, they would remain in the same position.

More will be revealed. . .

Commissioned Mineral King Oil Painting

You saw this photo of the beginnings of a commissioned Mineral King oil painting.

Here is the reference photo for the little cabin.

The customer wanted it to be in a vertical format, and I suggested making Farewell Gap more dominant. She approved of that first sketch on the canvas, so I began painting.

This was a combination of the familiar and the fake with the goal of believability.

When this dries, I’ll start “drawing” with my paintbrush. Adding details to the cabin will be particularly enjoyable, because you may recall that I love to draw.