The ArtSpeak word for slowly building paintings with layers is “glazing”. You’re welcome.
This might be finished. The photo on the left was taken in the afternoon; the one on the right was taken the next morning. I’m hard-pressed to tell you which is more accurate.
Why, yes, indeed it is.
Wait, nope, I spent yet another hour on the phone with someone whose main phrase was, “Yes Ma’am”, as she tried to figure out AGAIN why my new phone won’t work. Or wait, is it the new SIM card? Perhaps it is the new provider?
See a pattern here? It is the word “new”.
STOP WITH THE CHANGES AND UPGRADES AND UPDATES ALREADY!!
Okay, where were we. . . oh yes, in the day’s accomplishments and forward progress at the easels.
Neither of these paintings are finished, but they are both much closer than the last time you saw them.
That Sequoia is called the Sentinel Tree and it is in front of the building formerly known as the Giant Forest Market. Now it is the Giant Forest Museum.
The difficult thing about this commission wildflower piece is keeping the edges of the poppies slightly blurry so that the brodiaea AKA Blue Dick really jumps out.
I love this kind of detailed realism, even if it does take (almost) all day. And both of these subjects are exactly what one would expect from a Central California artist. All that is missing is some oranges.
Hmmm, I am sort of like country music with my three subjects: redwood trees, poppies, and citrus. (Country music’s three subjects are cheatin’, drinkin’, and storytellin’.)
Wait, I also paint Mineral King, cabins, single oranges, entire groves, the foothills with mountains in the background, various views of the Sierra Nevada, Three Rivers, and whatever else people are interested in hiring me to paint.
Phew. Thought for a moment I was gittin’ real simple-like.
See? I did more than just be on hold and paint. . . I did me some thinkin’. Real high-quality thought.
These new oil paintings may look familiar to you from seeing them in progress.
Inventory was low; with the Holiday Bazaar in the near future (November 18 at the Three Rivers Veterans Memorial Building) and seeking a new vendor, it was time to start producing.
P.S. They all look better in person, but I think you might know that by now.
The painted designs on the wall for a new exhibit called Native Voices at the Three Rivers Historical Museum are finished!
The last day began with little green men, called “The Gathering”. The lighter green was ready for a second coat, and the rest of the shadows had to be drawn in. That should have been very simple, but I struggled a bit on some of the placement. (There was plenty of touch-up base coat paint for erasures.)
This is how the whole wall looked.
Next, I had to figure out how to put the shadows on the far right diamonds, called “Rattlesnake”. Instead of transferring the pattern a bit to the right of the existing diamonds or drawing it in pencil, I used masking tape to “draw” it. This took a lot of thought and measurement. I would think that it was ready to paint, stand back, and see yet another missing strip. Sometimes I was protecting the diamond edge, and sometimes I was shaping the shadows.
Everything took two coats of paint. I wasn’t sure the tape would peel cleanly, but it did fine. While looking here on my computer screen, it appears that some of my spacing is off. Some of those lines got eyeballed, so the entire thing is bound to look hand-painted rather than like applied vinyl. My customer, the Mineral King Preservation Society, looked into vinyl but chose paint instead, a choice which suits me very well.
While the paint was drying, I started touching up the drips and wobbles, along with covering the visible pencil lines and smudges from the graphite transfer paper. The smaller red diamonds called “Quail” had no shadows. Thank goodness, because these were small and detailed. Maybe I should have taped them, but every job is a completely new challenge, and I just bumble through, wishing that sometimes I could have a couple of jobs the same so that the new knowlege wouldn’t be wasted.
Finally, I decided to peel off the tape, risking disaster. (That’s an exaggeration, because as long as there was paint remaining in the necessary colors, anything could be fixed.)
I peeled and only saw a few parts that needed retouching. Acrylic paint (or latex or whatever non-oil paint is) dries so fast, which is a real bonus on a job like this.
Finally, here is a look at the whole wall.
The display will have cabinets in matching colors placed strategically beneath the colorful wall designs.
A few more facts:
This is going to be a great display, and I encourage you to visit the museum!
The exhibit is on the north interior wall of the Mineral King Room in the Three Rivers Historical Museum. (Really, shouldn’t this be called a “history” museum rather than a “historical” museum? This bothers me. The museum isn’t historical; however, I didn’t name it and can read their sign and website and then call them what they call themselves.)
This last picture shows the design with its “shadows”, along with three of gray people-ish shapes to give an idea of how the finished wall will look. On the left is The Gathering, in the middle is Quail (but the lighter versions won’t be included), and on the right is Rattlesnake.
The quail design had to be repeated, this time higher and to the right. I was on a roll, had this thing figured out!
Trail Guy stopped by to see how things were going. His timing was excellent, and he helped me place this design higher on the wall, measuring and leveling.
It was too big for the kraft paper, so I only drew half of the design, thinking I’d just flip it over and finish it. However, I had to “scab” another piece of paper and finish the drawing, then trim it when we flipped it over. I was thankful that he was still outside, reading through the exhibit on the New England Tunnel and Smelter Company (a Mineral King exhibit).
After tracing that pattern, called “rattlesnake”, I went home for lunch. Tony’s Taverna has a food truck outside the museum, and I know the food is terrific, but I am too frugal to spend $20 for lunch when my kitchen is less than 2 miles away.
After lunch, I returned to finish the final design, which I called “little men” but learned is called “The Gathering”. This one had only one little man traced, and the plan was to keep moving the pattern over until all three were in place.
Oops. There was a mistake. I fixed it, repaired it on the wall and on the pattern, and then worked the little man across the wall. I didn’t tape the bottom of the pattern, because I had to keep lifting it up and crawling beneath it to place the graphite paper, three positions for each little man.
When I thought I was finished, I could see some problems with the little men’s feet not lining up. This is something I could fudge into place (what a weird use of the word “fudge”, but I bet you know what I mean).
Finally, here is a weird thought. As I was figuring out how to do this, I realized that I learned these skills from my mom. When?? Where?? When?? I don’t know, but I feel certain that I must have watched her create a pattern and transfer it somewhere, sometime.
Thanks, Mom!
Nope. Some are designs, created for museum displays, by exhibit designers. The Three Rivers History Museum hired a museum designer, an exhibit designer, whatever the title is, to create a Native American exhibit, and they (or is it the Tulare County Historical Society? Or the Mineral King Preservation Society? I should pay more attention!) to execute these designs.
Every new job I take on has an entirely new set of challenges. How does one take this little PDF and turn it into a wall design? These exhibit designers may not have completely thought through the execution phase of the display. However, maybe they do know how to do such a job and just didn’t tell the museum. Maybe it involves equipment and technology that I don’t own.
No problem. I figured it out.
The designer sent it with a ?”=1′-0″ grid over the top.
I turned it to black and white, isolated each group, and printed it. (These samples don’t show the whole designs—just wanted to give you an idea.)
Next, I got some giant kraft paper (looks like brown butcher paper on a great big roll, and if you have ever received a wrapped gift from me, you know what I’m talking about) and laid it out on my drafting table. This was quite a big jump from my normal 11×14″ pencil drawings.
And then, I started measuring and drawing.
It took an entire day.
What next? I had to figure out how to get the patterns on the wall. I’ll show you next week, after our monthly Learned List.
Obviously, I could use a little help with titles here.
“Oranges in a Blue Bowl” is too obvious; maybe I can think of a title that has to do with the fact that orange and blue are complementary colors. This means they are opposite one another on the color wheel—”complementary”, not “complimentary” such as “Oh my goodness, you are looking gorgeous today!”
Normally we think of ducks being in a row (WHY??), but I could call this “Citrus in a Row”. Nope, too obvious. “Citrus Variety” is boring.
Any ideas for me??
These have more detail and are larger than the 4 small orange paintings I showed you last Friday.
That one is almost finished. It could be considered finished, but I don’t think it is as good as it could be. I’ll need to contemplate it for awhile.
This one will require quite a bit of drawing with my paintbrushes. I like to draw with pencils, and I like to draw with my paintbrushes when they cooperate.
It helps to see the shapes more accurately when things are upside down. This is not an option when painting from real life. Thank goodness I am a studio painter.
The blue bowl and its reflection will be a good challenge. I am really liking this one so far.
There are a lot of orange paintings to get done, dried, scanned, and distributed to two different places. Let’s go!
Four down, two to go.
Altogether now, “These will look better after they are dry and always look better in person”.