Somewhere North of Tahoe, Explained

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By “Somewhere North of Tahoe, Explained”, I mean the painting, not the location. Having received permission to show you the photos supplied by the customer, I thought you might like seeing what I had to work with and the final outcome, all together in one post.

The first photo is too dark but has a dramatic sky, snow on the distant peaks, and the meadow portion is green. The second shows better detail so that I can understand the landscape.

Both appear to have been taken using a wide-angle lens. This means that distant mountains seem farther and smaller than they probably look in person. 

Neither photo is the same proportions as the final painting needed to be.

Since both photos seem to have been taken from the same spot, I figured the log must be an important element. I can tell that the close shrubs are sagebrush, and the distant shrubs across the meadow are probably willows.

Most of my guesses are based on having painted similar scenes of Mineral King, but because they are guesses, I did this sketch for the customers to approve, or improve so it suited their vision.

I got lucky on two counts: 1. they liked everything; 2. they weren’t scared off by the scribbly sketch.

You saw all the steps; here is the gussied up photo when it was dry enough (and sunny enough) to take one for my records. (For some reason, the meadow appears fluorescent here, but fear not, it looks fine on the painting).The painting was picked up by the customer on Saturday. She sent me this photo of it in place.What a terrific solution for a window that looks out onto someone else’s cobwebby wall!From this:

To this:

Somewhere North of Tahoe, Completed!

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My drawing students and I have all experienced an odd phenomenon: we can look at a piece of our art and think “DONE”, and then look at a photo of it either on a camera or on a screen, and see everything that isn’t quite right. 

While studying the painting in the photo above, I made a list.

  • fix dark halos around sage
  • sage needs shadows on the ground
  • more splinters and cracks on log
  • better shadow on ground by log
  • shadow by log clump of sage
  • add light stems to sage
  • more gravel by log
  • bump up the ridge so not so straight
  • smooth out clouds on the right (some strong edges need to be softened)
  • tree on right looks unnatural – needs a bit more darks, and make the light parts more consistent
  • Fix 2nd tree on the left. The darks aren’t right – connect them? Add some light on the left side?
  • Finish sage on the bottom left of painting and the bottom right – missing details
  • slightly greener grass in meadow
  • dark patches added to meadow

That’s a long list, but each item is a small maneuver.

While I was engaged in this exercise, the customer emailed to say they are coming to town on the weekend, and no rush, but will it be ready? 

YES, IT WILL!

Have a look as it progressed to completion. These are tiny corrections, so you may not be able to discern the difference between before and after that list of details was finished.

 

This last photo is signed. When it is dry, I will spray varnish it and take the best photo I can. 

I have been communicating with the wife; this place, somewhere north of Tahoe, is special to the husband, who took the reference photos. I wonder if she has been showing him the emailed progression photos.

 

 

Odd Job, One Layer After Another

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This painting felt too big and too hard, so I broke the process down into steps. First, I decided that the sky couldn’t be beyond my abilities, and I mixed up the blues.

It didn’t seem beyond my grasp to shape the tops of the distant peaks.

How hard could the rest of the sky be?

Not wanting to waste the blue paint, I used it up on the 12×36″ commissioned oil painting without a deadline (THANK YOU, DM!)

I’ve painted plenty of clouds before, and they are very forgiving. That seemed like a good next step. Just mix some gray, and put it where the clouds might be darker, then put white on the bright places and smooth the two together. 

By this time, I was cold and wanted to go in the house. Instead, I turned on the stereo and put in a couple of CDs that I used to love but haven’t thought about in years. With Selah singing to me, I tackled the mountain with all its detail.

The music was going, and I forgot about being cold, forgot about wanting to go inside, forgot about thinking it was too hard, and I painted as if inspired, because maybe I was.

Time flew, I was having fun, and when it was time to quit for the day, I didn’t want to. However, the two CDs were done, and my knees hurt from standing so long.

Selah helped so much that I ordered a new CD from them. (2020 was the release date of “Step Into My Story”; sounds new to me). Yes, I put actual Compact Disks on an actual stereo and listen to it through actual speakers, actually. Why wouldn’t I? I have these items and they work beautifully. I can crank the volume without injuring my ears, and sing along without injuring anyone else’s.

Two Large (Not Too Large)

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Large One

Remember this mess?

It’s getting incrementally better.

It seems as if the paint dries more slowly on Masonite board than on canvas. Of course, that could be the result of ongoing winterlike weather.

Large Two

What is this elongated canvas for??

It is for the sketch on the bottom!

Mr. Customer has a memory of seeing snow covered Sierra from Highway 198 on a brilliant day in January of 1969, a year similar to this year in precipitation amounts. We have been exchanging photographs and discussing ideas for several months, and he has decided on a 12×36″ painting. It is a pleasure to be painting more of my favorite scenery, the quintessential* Tulare County scene, for someone who appreciates it as much as I do!

*purest, most characteristic, ultimate

Odd Job Begun

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My current odd job is simply a painting of a mountain landscape. The odd part is that I am painting it 16-3/8″ x 29-7/8″ on a piece of Masonite.

After Trail Guy cut it, I covered it with 5 or 6 coats of flat white housepaint, sanding between each layer for a smooth surface.

Meanwhile, I studied the two photos, provided by the customers.

Neither one is the right proportions. Each has its own good points, so I combined them into a rough sketch, the proportions of the window opening and board. This is what I sent to the customers for approval.

The customers were very happy, so I sketched it onto the board.

Then, I put a very thin first layer over the white primer.

When that is dry, I will continue layering, building up color, tightening up detail, until eventually I won’t be able to think of any way to make it better.

Then I’ll do the usual finishing steps: sign, photograph, varnish.

Because I know you want to know, all I know is that this is somewhere north of Lake Tahoe. 

Enjoying Life Before the Storms

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A day before the big storm, there was a brief time of sunshine. It lit up this germander, a drought tolerant shrub that looks great in spring and horrid in summer.

That evening, Jackson did not want to be put away. He decided to walk the other way and then attempt to catch his own dinner. I walked around the yard calling for him, and of course, he ignored me. However, I found him. Can you see his tail?

He was very intensely focused on some quail which feed around dusk, which is when we feed our cats.

Dude, I am watching you, and you are not going to catch a quail. 

He showed up at the front door looking for entry to the workshop where his dinner was waiting. Michael walked him over, and put him away for the night.

The next day was so intensely green and my leaning tree was in full bloom. (It’s a flowering pear, one of the earliest trees to bloom and one of the last to hold its color in the fall.)

Eventually I made it into the workshop (the cats’ safe place at night) to get a little painting done.

The first one is called Below Terminus Dam. I love this view in spite of it not having snow-covered peaks in the distance. Some years there are poppies on the distant hills; it is too soon to know this year because we are having a real winter.

This is the commissioned piece, now finished. (The right side looks darker because I am casting a shadow on it.)

This is the painting that was giving me trouble. I’ve decided that it is finished now.

This concludes today’s post about your Central California artist enjoying spring, her recalcitrant cat, her yard, and painting her favorite Tulare County scenes. 

Thank you for visiting my blog today.

 

Slowly Painting While Loving Early Spring

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. These photos are from March 2, a brilliant and cold day.

A friend and I went for a walk. (This was before the big rains.) I realized that while this first photo is normal to us, it is probably peculiar to other folks. These boulders get moved to block parking spaces when Edison closes its beaches on busy weekends. This method of closing a parking area is probably unusual; I think it is innovative.

The river is flowing steadily but isn’t high because nothing above was melting yet.

The snow was sooooo low.

But the daffodils were bright, in spite of being slightly splattered with mud.

Enough. Get to work, Central California Artist!

This oil painting, an 11×14″ commission is coming together. No matter how difficult these seem at the beginning, if I don’t give up, eventually they get done in a believable manner.

“Nevuh, nevuh, nevuh give up” —good advice from Winston Churchill.

Whooping it up on the Canvases

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The customer told me which mountains she wishes to see in her 11×14″ painting. So I started.

Sky, mountains, foothills, indication of distant groves, indication of closer groves. Then, it was too wet to continue. This might be an excuse; sometimes when painting these scenes, I hit a place of thinking it is too hard and that I can’t do it. (pathetic, no?)

So, time to move to the 18×36″ painting.

Working on a new sky layer gives me an opportunity to think about what I want to do here.

I think I want some overhanging branches, loaded with oranges. This means I have to make up some stuff, move some trees, bringing in some closer ones. And why not? I made up the snow-covered mountains in the distance. If I am painting this to please me, then yippee skippee, I can just go hog wild and really whoop it up.

I sure do know how to live, eh?

Happy Birthday, Little Sister!

Aaaaand. . . More Orange Groves

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(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?

Decisions to Get Ready for a Show

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Locals“, is hung now at Exeter’s Courthouse Gallery, now called CACHE. I hadn’t planned to enter, because I have never lived in Exeter. But then I learned that having my studio in Exeter for 9 years was qualification enough.

Because I had a solo show at the end of 2021 and then participated in a group show in 2022, I chose pieces that the likely audience won’t have seen yet.

Two of the five pieces are pencil, only shown to you and to my drawing students. I dug around through existing unsold pencil pieces to find mats and frames that might work and found two, so I unframed the old drawings. One of the new drawings needed to have its boundaries extended to better fit in the mat. Then, I put the newer drawings in those mats and frames, a tedious task.

In thinking about three oil paintings to enter, I decided to use one of the new orange grove paintings, one of Sawtooth (the view that was so very popular in my 2021 solo show), and a new painting of a new subject (shown to you in an earlier post). 

This photo (2 taped together) was taken through my windshield on one of those fabulous clear days. It is shown here at an angle because otherwise it is too shiny to see here.

This got painted on a 6×18″ in spite of being proportioned differently from the photo, because I just cropped off the bulk of the sky. It was easy to paint, because the mountains are the same as on most of those orange grove scenes.

I considered the title “Heading East on 198”.

Then I reconsidered.

Locals is at 125 So. B Street in Exeter, Saturdays and Sundays, 11-4, until April 23, 2023. OPENING RECEPTION—MARCH 26, 2-4 PM (Yes, I know it opens prior to the reception.)