Seven More Photos of Progression

If you receive these posts in email and the pictures in the post don’t show for you, tap here janabotkin.net. It will take you to the blog on the internet.

The session began with the commissioned oil painting in an odd size on Masonite board looking like this. 

I planted a tree on the left and indicated where 2 small trees would go next to the larger one.

The distant shrubs got a bit more details. Maybe. Maybe I was just licking the painting with the brush at this point.

The pair of smaller trees has some form now. Trees are growing in the distance on the right side.

Now there are definitely trees with definition on the right side, definitively.

Now I have started cleaning the various greens from my paintbrush by spreading them on the lower shrubs, which I am sure are sagebrush. This place might be similar to Mineral King in elevation, because it shares many characteristics.

Now the meadow has more paint, and the log has more details.

I am starting to really like this painting, which I have decided to call “Somewhere North of Tahoe”. Too bad I didn’t get my donkey in gear earlier this morning or I could have this painting finished now.

 

 

Locals, at CACHE, Part 3

If you receive these posts in email and the pictures in the post don’t show for you, tap here janabotkin.net. It will take you to the blog on the internet.

“Locals” is the name of the current exhibit (i.e. show and sale of art) at CACHE, the new name for Exeter’s Courthouse Gallery and Museum. It stands for Center for Art, Culture, and History in Exeter. THE RECEPTION IS SUNDAY, 2-4 PM.

I began my recorded talk about this oil painting, “Groves, Hills, and Mountains” like this:

“A few years ago I became obsessed with the way that orange groves look against foothills and distant mountains. I took many photos and borrowed from friends, and began painting those scenes.”

Aaaaand. . . More Orange Groves

If you receive these posts in email and the pictures in the post don’t show for you, tap here janabotkin.net. It will take you to the blog on the internet.

(More storms predicted for today and tomorrow, and if anything exciting happens, I’ll return to my post as photojournalist for you then.)

About Painting

Back in January I started eight new oil paintings of orange groves. I added a similar painting of oak trees with distant mountains (for the show Locals), and then someone wanted a painting of the groves with hills and mountains in a different size. That brought the total to ten paintings, all similar. Five are now completed (one sold), and other than the commissioned painting, there is no urgency or deadlines.

The urgency is self-imposed on the commissioned painting. As I prepped the canvas, I realized that I didn’t know which view of the mountains my customer was interested in. So I sent her these two photos (she is the photographer but I am the painter) and then put a thin layer of paint on the canvas (too boring to photograph).

Since my palette was loaded with the right colors and I had the biggish brush in hand, it seemed like a good time to begin layering paint on the 18×36″ that I was hoping to keep for awhile.

While slopping it on, I realized that maybe I want a different scene than the one I painted for myself last time. No rush; the space in my dining room is currently occupied by a painting of redwood trees.

Next, I moved to this 6×18″ with the blocks of groves that are confusing.  I repainted the sky, distant mountains, and foothills.

The groves are confusing because I have not been following the photograph or the advice I give to my drawing students: “Draw the dog before you draw the fleas.”

This means figure out the larger parts before putting in the details. So, I covered over most of the lines of the groves, got out the photo, and started to pay attention. It isn’t that I have to follow photos because they are the only right way to paint; I have to follow them in order to understand how to make those blocks of trees look believable.

This feels like slow going, perhaps because it is. When I draw, a day flies by. When I paint, it crawls. Maybe someday with enough experience this will change. Meanwhile, tick, tock, tick, tock. . .is it lunchtime yet?

A Little Work, A Little Walk, A Little More Work

While I am waiting to begin the murals at the giant church in Visalia, I have time to paint. However, I don’t have any deadlines, no upcoming shows, no commissions (there are a couple, but they are still in the conversation stage), and it has been BEE-YOO-TEE-FULL outside.

So, I work a little, walk a little, and work a little more.

When I am thinking about walking, it is a little bit hard to focus on detail. So, the detail on this 6×18″ oil painting of Tulare County’s best will have to wait. 

Let’s make like a tree and leaf.

Nothing in particular to photograph, just the same beautiful scenes of February in my Three Rivers neighborhood.

The elephant on Alta Peak is very clear, with a shadow making an ear and a rocky place making an eye. His back leg is significantly larger than his front. And there is Moro Rock.

A neighbor’s narcissus are in bloom. Mine are too, but I don’t want you to get too bored with the repetition here.

Back to work, Central California Artist!

This is 10×20″. Sawtooth is the peak on the left, and Homer’s Nose is visible on the right. 

I photographed this at an angle so you could see a bit of the reference photo minus the glare.

Nothing is finished after today’s disjointed painting attempts, but there was progress made, and February was enjoyed. Such a short month. Sigh.

Unspiced Pumpkins for Falling Into Winter

Falling Into Winter is the name of an upcoming juried show at Exeter’s Courthouse Gallery and Museum. I have many pieces that fit the theme, but most are colored pencil and need framing. This would probably be a poor monetary decision, knowing that oil paintings sell better than pencil or colored pencil drawings. 

Pumpkins are a fun subject, and people like them. They also like to make fun of pumpkin spice, but secretly love it. 

These are plain pumpkins, not spiced up. I painted them on a 6×12″ canvas in order to keep the price low enough to tempt an impulse buyer. 

They went on the canvas quickly, but this isn’t good enough yet.

Better.

A little more detailing.

Finally, I wrapped the pumpkins and background color around the edges and signed the painting.

HEY! I think I will call the painting “Unspiced”.

Now, if I only had a pumpkin spice latte, all would feel complete in my little world.

NEWS FLASH: Cold brew pumpkin spice from the big S coffee store is muy fabuloso. (Nope, not gonna advertise for them here. . . you can probably figure out who I am talking about.)

Back to the Easels, the Sawhorses, and the Big Chair

Oil paintings generally happen on an easel; acrylic mural paint goes onto panels of scrap wood resting on some sawhorses. What’s “the Big Chair”? Glad you asked. Keep reading.

Sawhorse Project

Kaweah Arts requested a panel with a single redwood where the entire tree is visible. I have 2 different sizes of these panels, and instead of waiting to hear which size the customer wants, I will paint them both. These sell steadily to people passing through while visiting Sequoia. Eventually, The Park will be reopened, and those customers will resume stopping by Kaweah Arts while on their way to The Park.

I don’t think this is quite finished but I was running out of daylight.

On the Easels

These were on the easels. The top one is a bit of a do-over and the others are just the first pass over the canvas. They will help resupply Kaweah Arts after I rob them of the large paintings to take to the Courthouse Gallery for the show Images of Home.

These are ready to be varnished.

The Big Chair

A friend makes these giant redwood Adirondack chairs; I painted an indoor mural to earn a few of these. This one was in the perfect position to hold 5 paintings while they dried in the sunshine after I varnished them. Can’t even see the chair, can you?

Okay, here comes the announcement. I hope it doesn’t become invisible to you from too much repetition.

Images of Home

Exeter Courthouse Gallery

November 14 – December 30, 2021

Opening Reception – Sunday, November 14, 1-4 p.m.

On A Clear Day

First, something has gone wonky with my blog so the blog post title either doesn’t show at all or it is a little bit messed up.

“On a clear day” what? It certainly isn’t “you can see forever”. Last Wednesday, this is how things looked.

No, really, look! You can see the hills across the canyon, and the helicopters resumed flying to the fires.

This doesn’t qualify as a clear day in the olden days before wildfires ruled our corner of the world, but it qualifies as light enough to paint, and not smoky either, so I could paint with the doors opened up.

Remember this painting? I can’t even remember what I titled it anymore, but I do remember it is my favorite type of scene to paint, and that it was lacking wind machines, oranges, and a signature. We last saw it here on September 13.

Now it is completed.

Even with the doors open and a clear(ish) day, it doesn’t photograph all that well. How about if I prop it up on the ladder so you can further appreciate the completion?

Okay, standard disclaimer: it looks much better in person.

Next!Remember this? Of course not. Why would you? You last saw it on August 19.

Here I have begun adding sky, a color blue that I had almost forgotten to associate with looking up.

It now needs another coat, and then the detailing, my favorite part of drawing with my paintbrushes.

I wonder how Alta Peak and Moro Rock–wait! Moro Rock doesn’t really show in this painting because it doesn’t really show in the photograph I’m using, so I might have to revisit this.

Where was I? 

Oh. I was wondering how this view will look after (when? if?) this horrible fire ever ceases. It will have to run out of fuel eventually. Will this affect how sunsets look in the winter? Will we have winter?

Never mind. Let’s all just sing a happy little version of “It’s a Small World After All”, because the colors on my painting bring that song to mind.

You’re welcome.

P.S. 35 years ago today my life changed forever, for which I am very thankful.

Large Important Commission, Chapter 7

This large important oil painting commission is getting to be fun. With some custom art, the customer directs many parts of the process. With others, they cut me loose to just do my best and make it look good. This project is the latter. (so far)

The color on the top photo is early morning light in the painting workshop. I started with the close orange tree on the left, worked across the front row of the orchard, moved into the shadows beneath the orchard, and then began laying stones on the wall. The final photo shows the beginnings of rose bushes in the foreground.

I will continue correcting the colors, tightening the details, fixing wonky stone walls, and studying this until I know it by heart. It is large (for me), important, and deserves as much attention and care as I can possibly give, because there is no deadline!

P.S. Yes, that is a little stack of books. It will be improved on as the project progresses. Remember, this is for the Tulare County Library, to be displayed in their Woodlake branch.

Large Important Commission, Chapter 6

It was time to get back to the Large Important Commission. I repainted the sky, mountains and foothills, this time adding detail. I wanted to copy the rocks EXACTLY, which is ridiculous, because the hills are sort of made up. So I made up the rocks, and when I stepped back, they looked believable. That is the goal, rather than becoming a human Xerox machine.

I stopped for a minute to sit down and mix some colors, and immediately Tucker jumped onto my lap. He was lucky to not get any paint on his tail, which was sticking straight up toward my palette.

The last time, the barn roof got a little bit pink. You know how I love to draw with my paintbrushes – this was a very satisfying fix. Because the paint is wet, it is shiny. And isn’t this the strangest roof?  

Next session I will keep adding detail to the orange trees, maybe add fruit, put the dirt and shadows in, start the wall, maybe even indicate where the roses will go. 

In other painterly news, since Kelly’s Mineral King Sunset sold, I am painting another one to sell at Silver City, continuing to strike while the iron is hot. And since I am on a roll with Farewell Gap on very horizontal canvases, might as well start a second one, this time 8×16″ instead of 6×12″. This is the base coat on each one, just covering the canvas, getting the pieces in place, using colors that are close enough. Some people start with just browns or grays, but I think color is more fun.