The Creepies are coming...

Squash - 5X7 watercolor

 The laptop is not talking to the scanner right now, so this was done through the digital camera. There is more, but I haven't taken pictures of them yet. Bummer.
Have a Happy Halloween!

Filet Crochet  rose wreath - 5X6 cotton

I know, off-topic. But I've been trying to keep my hands in with the needlearts part of my activities. This was my first filet crochet in a very long time, and I hadn't ever done much. It was sort of a warm-up to try something more adventurous.

That lead to this:

Filet crochet, cotton size #20, about 15X12

This one took a while. As you can see at the bottom point, I started it according to the directions, but it DOESN'T work. So I modified the vertical stitch and continued. The changed stitch worked! This is supposed to be part of a table cover, there are more identical sections. Will  do the others?  Hmmm.

The Gatsby Summer Aftenoon Picnic

A Summer Afternoon ala Gatsby

About 2 weeks ago was the gala "Gatsby Summer Afternoon" at Dunsmuir House in Oakland! It's an annual event beautifully put on by the Art Deco Society of California at one of the most beautiful Italianate mansions in the Bay Area. No, I didn't paint the house, I have painted the house in the past and, as it is a huge white house of a thousand geometric angles and elements. . . I am not sufficiently recovered from the experience to attempt it again. It's more drafting than drawing. But it is truely magnificent.

This is one of the paintings I did there, a watercolor done plein air in the morning part of the picnic. It was a gorgeous day, not too hot, not too cool, a delicate breeze and a clear sky. This annual event is always special, but this year seemed very special.

The attendance of many people with beautifully restored and maintained cars of the period (1920-1940) really makes it very special. Not to mention the clothes! This year I got an early entrance pass because the house is at the top of a hill, and you have to schlep your picnic gear up and in otherwise. I've done that many times, not going to do it again. Since I have a modern car it is not allowed off the paved path, nor left in view during the picnic. You drive in, drop your bundles, and drive on through to a hidden parking lot that must be nearly a mile further on. It's also up a hill, but it's no problem when you aren't carrying all your gear.

The ADSC has definite rules for the picnic, which ensure that it is a fabulous experience, and some of the picnics are amazing! You cannot leave anything later than the correct period in sight. There is a costume tent at the gate so you can get help with anything from a finishing touch to a dress for the occasion.

There is an excellent live orchestra playing the grand old tunes on which my parents grew up. There is a nice size wooden dance floor so you can dance to the music, then there are talented singers that specialize in Swing etc, and of course the famous Deco Belles. This is a group of 15 or 20 young lovelies in antique bathing costumes doing "Busby Berkeley" numbers on the dance floor for the show. And they are good, well rehearsed.

It's irresistible to watch the 1972 version of "The Great Gatsby" just before or after this event.
My vignette was "society matron who thinks she is a great painter." This allowed me to take my plein air set up, all the wood things, and the picnic stuff and set my scene. A nice thing is I didn't have to buy anything except a new ground cloth tarp. It was green and shiny and the one thing that wasn't period. Note to self: throw rugs.

It's funny, because I knew people who were there, but I ended up meeting many new people but I didn't see any of my old friends. We touched bases with each other later.

Sigh. It was a lovely day. Soon I hope to have more pictures to post.

And yet again...

 So:

Nicasio - 8X10 Oil

It looks like I'm going to just keep trying to get it right!  Trees are one of my current challenges. So, I got on the internet and studied at artists who know how do it, masters of the art. Most  recently I looked at Brian Blood because he is a northern California painter and does lots of eucalyptus trees beautifully. Well, you should have seen me with my mouth skewed to the side and even my tongue sticking out as I concentrated. I couldn't quite get it. Then I was looking at Ron Guthrie's latest paintings. He also is a California painter and does lots of wonderful landscapes, which include eucalyptus trees, as well as a variety of other subjects. In trying to see what I could learn about painting these trees from both artists, something clicked a little bit.The background has been simplified some, the sky has been worked a bit too.  This is definitely a learning experience, and I'm glad I've been able to spend the time on it. Now I'll leave the eucalyptus alone and try something "painterly" with the background.
   When it comes to composition, the clump of bushes in the very center of the painting don't seem like a good idea. They might just go away, or get converted to something more straggly and a shallower slope. I just got a tube of "Naples Yellow," and I sort of got carried away playing with it on the hills and grasses.
  This was a plein air I started last year at a horse ranch in the Lucas Valley at Nicasio.

Darn it, that sky sure looked better in person. Now when I look at the photo, most of what I did looks faded. Another lesson.

Good Grief, look at the date! What happened to July!!!

Nicasio - oil 8X10

Starting with the oldest: This is a plein air I'm still trying to get right. The enormous group of incredibly tall eucalyptus on the right are still defeating me. "Only God can make a tree." It's sooo true. I've been studying the work of very accomplished California artists, and some trees are starting to look better, but I still don't have it right. Hmm, and then there is that sky. Van Gogh-ish?

The Plaza, Sonoma - oil 6X8

Another plein air, a little "less-old" than the one above. I'm not sure anyone would recognize the building, I used my artistic license to try to simplify it. Bummer, the photo is less than focused. Skip it.

Still Life, Watercolor, 10X14

I did this a while ago, and just fixed a little bobble then photographed it. It's too big for the scanner. The mat is one I found in a thrift store, but the items are mine. The wiggley bit in the center is a reticulated helmet I picked up on a beach, I especially like the square bottle, the crock with the blue band was my grandmothers and dates back to the 'teens. I don't remember where or when I collected the smaller jar on the left, it's crockery too.

Garin Park - oil, 5X6

 This was originally an attempt (plein air) to use a limited palette suggested in a workshop. It has reinforced my general objection to Veridian. This version has the addition of Sap, Hookers and generous amounts of yellow ochre. OK, I confess, a touch of black. Some artists seem to think it is some how cheating to use black and not mix your own. However, you can find just as many who swear by it, so I pick my battles. I'll use it when I need it. Why do I feel the need to apologize? Whatever works. Unless I claimed my self the strict student of a particular school, I can feel free to use what I need. Er, Uh, right? Wow, have you seen the subtle variety available in Charvin paints!?

Hopi Adobe - Acrylic, 12X15

Sorry this is leaning away from the camera. This is from a black and white photo from the 1930's. They back onto a cliff, so they must have an incredible view. They might not have much in the way of windows at the back, but a lot of time is spent on the roofs.

Carquinez - oil,  6X8

It was a gorgeous day, but difficult to settle on what to include in the picture. The road way on the left that includes a "bridge" has gone through a major change. I think I'll stop (or give up on) this one.

Coyote Hills - oil, 9X18

A studio work based on photos taken during a plein air paint out. Not very accurate, the hills are smaller, the rocks are way smaller and the foreground field is way bigger. It may be best to strip it and start over, to bring it back into proportion. A challenge in composition. Ick, veridian is an awful green.

Coyote Hills 2012 - oil, 8X10

Hmm, too recent, I need some perspective provided by time. It was dawn at the park and the reflections and shadows kept changing.

Niles Canyon - 9X18

Not a plein air, I have driven by near here, and I was imagining it before the urban sprawl. The oak on the right has been really re-worked, and some things about the gate and cattle guard.

Tulip - oil, 8X10

This was to be a palette knife painting. I don't have the knack for it yet, had to repaint the blossom completely, and the leaves and stems a bit. I probably couldn't leave the background alone either, you know me. I normally would have done this in watercolor, but it seems important to try a variety of subjects in each medium.

Canyon, AZ - oil 8X10

The rocks on the left look too soft, like pillows. They need flatter tops. There is a village on the valley floor, but it looks amateurish. Time to study the work of some experts. The depth seems pretty good.

Beach, Cape Cod - watercolor 6X8

This is using the American Journey watercolor sticks. I can't find half of them, so that meant a really limited palette! It sure is easier when you can find your browns instead of mixing them.

Toy Boats, Paris - watercolor 4X6

Again, the A.J. watercolor sticks. Boy am I out of practice on water ripples! Ick.

Provence - watercolor 6X8

At last. Same session, only half of my colors in A.J. watercolor sticks, no mixing surface, and no pencil. I tried to lightly sketch shapes with the only thing I could find, a ball point pen. I should have just gotten up and scrounged a pencil! Oops, the balcony shadows are way too light. Obviously this is not finished. Especially now that I see an out of focus photo of it. Sorry to inflict it on you! thanks for your patience.

OK, now I'm hungry. I can't believe July is almost over!

Plein air fallout!

Shinn/Niles preliminary painting, oil

If you're old enough, you remember the saying from the 70's: "As soon as I've figured out where it's at, they MOVE it!" (sigh)  It still holds for me. As soon as I get the hang of this blog business, they "improve it." Honestly, they ARE improvements, it's just that they catch me off guard.

OK, enough whining. (for today) The above is a new oil that I started in the bathroom. Sounds funny? Well, I have one bathroom that is really large and incredibly well lit, so once I removed the useless tub-thing, I had room to paint in there and could be comfortable no matter the weather.

OK, back to the topic. I've now switched the oils to the porch studio due to fumes, so I've been finishing this one out there.  This is a fairly inaccurate picture of the Niles Canyon entry, with the Shinn house in the midground as it was around 1910. I fully took advantage of my artistic license in moving things and turning them around. I wanted to explore depth in painting hills, too. You can see sketch lines where I was trying to decide about the foreground. Eeek, what do I do with all that yellow? Make flat land interesting.

Niles Canyon/Shinn House - The old gate, oil

Ultimately, I think this is it, done, finito, fin. When it dries a bit, I'll sign it. Then start saving for a frame. Funny, I like the barn a lot more than the house! Too small to see here, but the barn did come out well.
As a child we went to grandma's ranch most summers, mostly so daddy could help her with the heavy annual stuff. In painting this picture I started thinking about those days and those old cattleguard gates everywhere. So it went into the picture! She was a homesteader who raised Black Angus and my Dad, all by herself. Grandaddy died when Dad was three months old, as a result of conditions in WWI. Yes, WWI.
Those summers are great memories. The scents were especially nostalgic, hot sun on hay, young calves when you feed them from a nursing bucket, barns and old wood, lots of things.
Can you tell I've been checking in on Ree Drummond's "Pioneer Woman" blog? Just type "Ree Drummond" in your browser and it will take you there. That's how I found it. It's fun to lurk, without having to do the WORK.
Hmm, I think the trees on the left may need something, some variety. The red is not flowers, they are red weeds that grow around here.

Learning curve,

Kayaks on the Charles River, Summer

This is an "oops" post. A friend did a comment and let me know it didn't show up. There have been some changes to Blogspot, and I encountered them yesterday when I thought I was doing a new post. Well, it's gone where ever good posts go when they pass over.
I was actually trying to figure out how to add to the other page of this blog, the Period Needlework page. All I could do was edit what was there. I added some "WIP" pictures at the bottom of a lace Pelerine I made this winter.
Well, It's Summer now. Technically. We had TWO hot days for the last days of Spring, then it dropped to the 60's the 1st day of Summer. It felt like this:

Paine Massif, Patagonia

Of course, I just made the change over to the A/C. There is no going back. I have a new thermostat I am about to install which will remedy that , and other problems. Thanks Bob and Sheila!

It's time to paint the top photo. I took it from the dining room in the Marriot in Newton, MA. A lovely place to stay.

San Mateo Coast, Fog Bank and Fishing boats.

Maybe it's time to paint this one. It was an amazing day on the northern California Coast!

"Blue Sax" is IN!

I got the word yesterday, "Blue Sax" has been accepted for the show! Yippee. Now, I've got to get ready for a couple of other local shows coming up. What to choose, what to choose? Or what's framed, What's framed?

Art of the Blues II, Jazz and Blues Festival

Blue Sax, 8X10 Acrylic

This is from a photo by Lee Brown, he posted it last year for an artist challenge. I have wanted to do it for a long time and I kept picturing it as a study in blue. The announcement of the art show to accompany the Festival here gave me the perfect opportunity to give it a try.

It was tempting to use watercolor, but I kept thinking of oils. So, after some graphite sketching and then studies in Pentel pens in 5 shades of gray, I finally got up the nerve to put brush to canvas. Of course I waited so long that oils would never dry, so it ended up in acrylics.
I've submitted it for jurying, so wish me luck that it will be accepted.

My nephew likes to hang off the side of mountains: The Edge Craigieburn

I would write something here, but I'm still a bit breathless from the ride!
Whew.

While the oils are drying...

Silly me, I have three oils going right now. When I get exasperated at one, I move to another.  There are any number that I thought were finished. I take a look at them in on the computer and OOOPs. Why didn't I see that? It's the same as stepping away for a few days. You suddenly see what it needs. At least some of what it needs. That can be exasperating, but revealing.

Taking a break while pictures dry, I picked up the pen and ink. I need practice in portraiture, and there's so much to learn. (To cheap broke to pay for classes) Or something. Not wanting to offend anyone, or make them sit still, I thought of trying photographs of long gone composers. These tend to be old and grainy, to simplify values and shapes. They also tend to have lots of character in their faces.  So far I've done about eight, but these two are the only ones that anyone will see:

Toscanini 5X7

Tchaikovsky

You should see Rimsky-
Korsakov. Well, no you
shouldn't. He looks like
a walrus in my version.
"Do over!"

I feel especially embarrassed about Bernstein, he's a handsome man and I grew up on his wonderful music. OK, that's another do-over.





Last weekend was really cool. On Saturday there was an Artists Flea Market in Pleasanton. I also did some painting, it's a very picturesque town.
After church on Sunday a ran back to finish up and take a picture with the light "just right" (I forgot on Saturday). On the drive back I passed through Sunol, another painters dream, and decided to paint some more. There was a group of painters on the street! I parked nearby and painted a different scene.
For lunch I waddled across the street to pick up a sandwich and soda, passing near the group of painters. I thought I recognized one. Yep, I stopped and said a brief hello to Mark Monserrat! He was working with this group! They all had great pictures going too! He's an upper level instructor at San Francisco's Academy of Art University. I've been there(she bragged...as a model).