The Greatest Masterpiece

This past few weeks I have given a great deal of consideration to the new pressure I'm now feeling to change my mindset from a life of running a business office that serviced 100+ employees, 700+ students and a congregation of 1200+ attendees to a retired person who wants to see their art appreciated by an ever increasing group of viewers.  The creative pressure to always stay inspired and excited is certainly different from the pressure I had on payroll days or at the end of the year tax document preparation.

For the past month, I have been on the hunt for things that inspire me and yesterday it was a song.  The lyrics from "Mighty to Save" sung by the the group Hillsong just struck a cord in my heart.  When the words of the song came to the phrase,"Author of Salvation"  I couldn't help but meditate all day on the meaning of those 3 words.  It was as if they just jumped out at me.   Jesus not only made the plan for my salvation, He authored it in His blood.  When it came time for me to open my sketchbook, I was moved to attempt to capture my feelings on paper.  Usually it's a landscape that will catch my eye, and while God created more beauty in this world than any of us can fathom, His greatest masterpiece was completed upon two ugly, rough and blood soaked timbers. 

Look at the Birdies in the Window

Yesterday, it was my extreme JOY to pick up my painting from the correctly named "JOY" art show at City of the World Gallery located at 1229 S. Casino Center in Las Vegas.  When I arrived I found my painting prominently displayed in the front window.  I was reminded of the feeling I had some 35 years ago when I was chosen from among the students of Mr. Easton's art class at Eldon High School to have my art displayed in the front window of the library located on Main Street of my hometown of Eldon, Missouri.  I wish I had captured the moment with a photograph, but none was taken. To make my showcase week even more special, I was given the exciting news that a local doctor had fallen in love with one of my watercolors and wanted to buy it for $20.00.  That was a large sum of money to me.  At that moment, I felt like a REAL artist.  Back then, to create something that someone else actually was willing to pay money for was what I viewed as the criteria of a genuine artist.

Now fast forward through a lifetime of raising six kids, college classes, along with years of reconciling bank statements, preparing taxes and financial reports to December 29, 2012.  It was as if I was 16 again and my dream of being a REAL artist was rekindled.  You can rest assured that yesterday a photo was taken to capture my excitement.  When entering the gallery, I was greeted by the owner, Roz Knight and after a few comments about how wonderful my work is, the question was asked of me, "Are you showing in a gallery somewhere?"  A little more conversation, then me signing a contract and one of my 2013 goals was realized- My art hanging in a gallery!

So this week will be a scramble to get my work all ready to hang on my wall space in preparation for January's First Friday event on January 4, 2013 .  If you are in the Las Vegas area this week and have some time on your hands come down to The City of the World Gallery for the Thursday Preview or if you are brave the First Friday event and you will find me at the gallery, making my dream come true.

Merry Christmas

There is something about children and Christmas that brings joy to ones heart.  This makes sense because we are celebrating the birth of a baby, Gods son, born in a manger over 2000 years.  He is the perfect Christmas gift and I pray that His blessing and peace live in your heart and if you don't know Him, that 2013 will be the year that you get aquatinted!  Merry Christmas!

Christmas Memories- this is a Christmas painting I did last year.

If your interested in learning more about my art, please visit my website at julietownsendstudio.com

Hectic Days

Everyone on the planet has experienced days that are sometimes pretty hectic and of course artists are no exception.  We may spend a little too much time inhaling paint fumes and turpenoid but life requires an occasional venture out of the studio and into the wilds of REAL LIFE!  This pretty much describes my entire last week.  Between recovering from my own recent carpal tunnel surgery and doctor appointments for both my mother and mother-in-law, the whole week seemed to be spent running just to wait.

It is times like these that make me so thankful for my little studio and my ability to lose myself in a painting.  In no time, I am returning to the pleasant experiences of a recent family hike on Mt. Rose near Reno.  That hike maybe 2 months past and 500 miles away, but painting brings the memory acutely back as I try capture the emotion of the day on a 16 x 20 canvas.  This piece is still a WIP (work in progress) but it has brought a release from the stress of the week.  I find myself traveling back to that beautiful October afternoon.  This piece also has that normal effect of predominately consuming my attention as most of my WIP paintings do.  Washing dishes, folding laundry or sitting in a crowded waiting room will often find me looking at the last photo taken of the piece and mediating on my next correction or addition to the composition.  I know if you even have a spark of creativity in your life you know what I'm talking about.  Here is my current consuming obsession....

Passion, Purpose, Persistance and all those other "P" Words

“Passion" hasn't been a word that I would think many of my friends would use when describing me.  When I look up the definition of the word in the Merriam-Webster Online Dictionary I find one of the definitions listed as “intense, driving, or overmastering feeling or conviction”.  Obsession would also be a synonym of the word I think.  Remember, if you have read my bio you know that I’m not an art major but rather have a business degree.  I have also spent the last 27 years working as an accountant for a church and Christian School.  You can’t get more conservative than that.  So I have always used adjectives when describing myself with words like detailed, accurate, organized and honest.  While I hold deep convictions about my faith and principles, outward displays of passion have not been very visible. 

I picked up a paintbrush again just a little over two years ago after a 30 year break.  From that point I have felt a change in the way I viewed things around me.  I call it “Looking through my artist eyes.”  I began to view my surroundings in heightened detail and appreciation because I was always thinking about how I would paint that or what colors would I mix together to get that shade.  It is as if my thought processes have been transformed.  I look at this amazing world that God has created with a new wonderment and for that I am so happy to have opened the doors once again to my creative self.

Today, I was looking around some artist blogs for inspiration and ideas to improve my own blog and I came across this quote by an artist named Cheryl Anderson.  I felt her words accurately described what painting has become for me in my life and I wanted to share it.  “Painting is truly an obsession for me. Almost every thought I have is never more than two steps removed from painting.” (http://cherylandersonart.blogspot.com/)

I am on the very edge of my retirement and so here I am within a month of starting a new journey and I have no idea if my art will ever be more than a hobby.  I dream that it will,  but the important thing is that I give it my best effort.  I believe that Purpose in your life comes when you follow Persistently the Passion that God has put in your heart.  

Enjoying a beautiful Nevada morning

Light and Contrast

Taking private painting lessons would be a complete waste of money if I didn't apply the things I learn in each following painting.  In seven lessons, I have really only accomplished one painting to completion, but I have taken several pieces that I have completed independently to have them evaluated.  As I have blogged on previous occasions, my instructor, Lily Adamzcyk gives a brutally honest critique of each work.  Techniques have been analyzed such as how to paint specific elements like grass, water and never use white to brighten.  Probably the most important lesson I have tried to implement is that of light and contrast.  For a painting to have depth and interest you must have both. 

Keeping that in mind I began working on this large piece that was inspired by a fall hike that I took with my son and daughter-in-law near Reno.  The colors were just beginning to change and the birch trees nearly glowed in contrast to all of the darker pines.  The bright morning sunlight filtered across the trail whenever the foliage gave opportunity. 

Because of their prominence in the composition, you would first think that my main focus here is the grouping of the three birch trees near the trail but in actuality, it is the sunlight that is really the star here. I have attempted to show the trail and grass highlighted by the sunlight in a number of locations.  It is almost as if you have walked out of the darkness and into the light as the trail absorbs the energy and warmth of the morning rays.  This energy continues as the trail briefly disappears only to return brighter as you are prompted to continue up the mountain.

At my next lesson, I am sure that there are refining details that Lily will use to help me improve this piece but I think that she will immediately know that I have been listening.

24 x 36 Oil- "Morning Sunlight"

Hummingbirds 6 inches long

I know that I'm not the only one that finds great joy in watching the hummingbirds dart around the feeder.  These tiny creatures pack a super attitude as they dive bomb each other, chattering and scolding as they fly past.  I'm fortunate because in Las Vegas these little guys hang out all year round.

Hummingbirds have been a recent favorite painting subject of mine.  Most paintings I have observed that contain this aerial acrobats usually have a canvas full of colorful flowers and showcase these tiny winged jewels.  My idea was to compose the piece by having the flowers dwarfed by the bird himself.  Hence comes my 6 inch hummingbirds.  My friend Doug Beck from Seattle Washington has taken some fantastic photos of hummingbirds and with his permission I have used these photos as my inspiration.  Check out his work at http://desertbighorn.smugmug.com/.  You will be very impressed with his photos.

Hummingbird I- 24 x 36

Hummingbird II- 24 x 36

Both of these paintings are for sale on my website at JTownsendStudios.com if you want to check them out.  I know that I have several more paintings coming in the future that feature lots of bright flowers, feisty little winged creatures and an abundance of green.

Network your artwork

Last night, I was sitting at a board meeting of my local art guild that I serve as treasurer for and I was considering the value of networking.  After all, that is the main reason I joined the guild in the first place. One individual present who just so happens to teach classes on the social media site Facebook stated, "You should never post pictures of your entire artwork because the risk that you creation will be stolen and used without your permission.  Also the public won't want to come see your exhibitions because they have seen everything you have to offer on the internet."  As I glanced around the table at all my fellow artists, I knew that I was probably the only individual sitting there that happily shares each piece of art as I complete it on a regular basis.  

I have taken the approach to chronicle my creative journey that I am embarked on.  Partly as a method of journaling my progression and also hopefully by inspiring others to pick up a brush, a canvas and just go PAINT! Grab your camera and shoot pictures of the first thing that grabs your eye.  Pick up that sketch pad and a pencil and just start drawing.  The important thing is to get creative.  Your life and those around you will be greatly enriched.

There is freedom in letting that creative person emerge after years of ignoring him or her.  If my posting one piece of art, blog about something I have learned or sharing a problem that I am currently struggling with results in someone letting their buried passion be stirred, then I happily post my work, the ENTIRE painting.  After all, we have all heard that "Imitation is the highest form of flattery" and while I'm not hanging in galleries or supporting myself by the sales of my artwork just yet, both are on my goals list. Maybe my thoughts will change as I get closer to my goals but right now, I just want to share the things I learn and be transparent because I hope that others will learn along with me.

This is also my motivation with this blog.  I watch as people from all points of this planet, open my pages.  I would love to hear more from my readers if there is something that is helpful or if I made you chuckle because you can identify with what I am feeling.

I end this blog post with a photo taken of me enjoying a beautiful Utah afternoon trying to look as if I know how to be an artist plein air style

Back to the basics-WAY BACK!

This blog is somewhat of an embarrassing blog to write because it requires that I make a very personal confession, "I have dirty brushes."  Okay, there I have said it for the world to read and so now I can move forward towards my recovery.

You would think that somehow along this journey to becoming an artist, I would have learned how to properly maintain my brushes, but I guess not. I only remember in high school art class washing my brushes in the sink under running water and doing that only until the water ran clear.  I thought that was all there was when it came to brush care....(I will continue this blog as soon as you have stopped laughing.)

I became suspiciously aware of the fact that there just be a bit more to paint brush care when I started taking formal painting lessons.  Each week, I would arrive to Lily's house to have sitting before me my unfinished painting, a clean palette with little colorful blobs of oil paint and 5 or 6 paint brushes that all had bristles that were well rounded, a sharp point or had a nice sharp edges.   The bristles were stiff and a frankly a joy to paint with. I know that a number of my brushes are very old but I have found that when I buy brand new brushes, that before you know it, the edges of the bristles are spread apart and I no longer am able to paint a nice straight detailed line.  Even after trying to shape the edges, while the bristles were wet and allowing them to dry on a flat surface I would still have brushes that were far from what Lily had.  So a couple of weeks ago I decided to swallow my pride and ask Lily for help.
 
The paint brush exorcism took place yesterday at the end of my painting lesson when I painfully submitted my brushes to Lily's scrutiny.  During my 2 hour lesson, my brushes soaked in cleaning solution suspended by a wire hanger.  Just before I was to leave, Lily and I went to her kitchen sink where she pulled out a tub of brush cleaning soap and began to squeezing the bristles and rubbing the brushes vigorously in the palm of her hand.

To my horror, old paint that had worked its way into the ferrule of my brush began to turn the white soap lather into a nasty green-gray color.  I think I heard Lily mutter something under her breath about never having seen such dirty brushes. 

Yes...that is suppose to be a 3/8 Angle Shader on the right that I apparently have ruined in comparison to a #6 angle brush that with my new gained knowledge won't ruin.

So here is what I learned about brush care:
     1.  If the brushes are really dirty you will need to soak them in a brush cleaner solution perhaps as long as overnight.  I definitely think that describes my current situation.  You want to us a brush washer that allows you to suspend your brushes in the solution without covering the ferrule of your brush.

2.  Use a brush soap and get the bristles well lathered.  Rub the bristles vigorously in the palm of your hand then squeeze the bristles between your finger and thumb nail to work the old paint out from deep within the base of the bristles and the ferrule.  Repeat until your soap lather is white.  Leave some lather on your bristles to work as a sizing to allow you to form the desired shape with your fingers.

3.  Lay the brush flat on a paper towel to allow to dry.  Don't stand them up on the end of the handles as the water will stay in the ferrule and will eventually cause damage to your paint brush handle.

 Now is when the fun really begins.  I am off to the store to purchase the necessary items and then I will begin the long process of trying to save my brushes by soaking and soaping them back to life.  As you can see, I have my work cut out for me.

No Pain-No Gain

Yesterday, was my scheduled 4th painting lesson.  I was anxious to progress on the current oil painting that I am working on of a fallen tree up on Mt. Charleston.  The difficult thing for me when it comes to taking these lessons is that I feel insecure because (1.)  I'm painting in oils and (2.) my natural approach to the subject is very different from that of my instructor.  Each step of the way she gives me instructions on the next process in the piece and often I don't produce the result that she is wanting.  Either I am trying to be too detailed, over doing it or not doing enough.  This can be frustrating, but as I have stated many times, I am self-taught and obviously in many aspects, self-taught incorrectly.  Bad habits can be hard to rid oneself of if they are deeply ingrained and apparently my bad habits have very "deep tap roots".

I was excited to take along my most recent painting that I call, "Memories of the Road Home" and one of which I have been very happy with. As I painted this one, I had tried to remember the points I have learned in the book I am reading by Margaret Kessler entitled, "Painting Better Landscapes" and the things I have learned so far in my 3 previous painting lessons that I have taken with Lily Adamczyk and all in all I thought I had done a pretty good job.  Boy was I mistaken!

This is my original painting that I had completed that I am calling, "A Memory of the Road Home".

I was sure that Lily would discuss a few things that I could improve on to make it a better landscape painting.  After all, there could only be a few minor changes that I could do to improve it because the overall piece was done well, or at least that was what I thought.  It was the last few minutes of my lesson when Lily suggested that we take a look at what I had brought along.  She picked the canvas up and in a matter of 30 seconds or so she said..."Do you mind if I...." and she grabbed a roll of masking tape in her other other and began placing pieces of tape in different directions on the surface of my canvas.

Lily said that when you are painting buildings it is very important that you emphasize angles and lines and the best way to insure that they are straight is by using masking tape.  As you can see, I was blind to the extent that my lines and angles were off.  Only the tape showed me just how crooked they were.

Lily then proceeded to pull out her brushes and paint palette and go to work on the roof of my old homestead.  She explained that the detail of painting each shingle wasn't necessary but what was more important was getting the base colors correct and giving just the impressions of the tiles.  That was also her advise when it came to old wooden slates that the house is comprised of.

Lily giving me a lesson on how to improve my painting

I was amazed by her ability to add a few colors together and come up with the perfect matching color to use for those old green shingles.  She mixed Alizarin Crimson, Phthalo Green,  Black, and White to make the shingles.  We also added a blue tint to the path way to give it interest.  My other notes include- STAY AWAY FROM WHITE...and throw away your fan brush.  An angle brush works great because you don't have to paint every blade grass, rather give the impression of the grass.

My piece in it's current stage of transformation.  We have brought the one tree down into the foreground, added a stone wall, radically changed the grass and my path.  I am still working on lightening the grass and detailing some of the foreground. 

It was a painful couple of hours, but my resolve is to turn the PAIN into GAIN and remember that critique, no matter how painful, will make me a better artist.  After I finish this piece a second time, maybe I will start a second painting of this same house so that I can reproduce this effect on my own from start to finish.  Perhaps this view with some overgrown rosebushes and an old tire swing would make and interesting composition.  Practice makes Perfect...and I need a LOT of practice.

Week 3-Be Patient and Paint the Plan

My oil painting is progressing along nicely and I'm pleased at the progress.  I knew that I would learn a lot by taking one on one lessons but I find myself struggling at my home easel now.  I'm trying to incorporate the things I have leaned these past 3 lessons into my own works at home and I feel a bit lost.  I think this is normal and I just have to keep working at it until I break free of old habits and take my time staying with the plan.  Painting TOP to BOTTOM, BACK to FRONT.  No cheating even if I can't wait to see how that bright yellow foliage of the Aspen trees are going to pop against those dark green pines.

For the past two years that I have returned to my childhood passion,  I have been committed to practicing and have painted nearly 100 pieces.  Some of course better than others.  I have sold about 8 pieces in that time but have many stacked around the house.  I believe I have shown my dedication and have reached that point of taking my art to the next level.  Private lessons are what I feel is needed for me to advance to the next level. 

I think there are plenty of other new, struggling artists that must feel the same way that I do.  At 51 years old, do I have enough time to progress my talent to where I want it to be?  Only God knows that answer,but in the mean time I want to either be painting, teaching or sharing what I am learning with others by blogging about my experiences.

Original Photo that I chose to use as the inspiration for my first oil painting

WK 1- Laying out the composition by sketching the main details using a neutral colored paint

WK 1- blocking in the main base colors that will eventually be the mountains, sky and foreground

WK 1- Stopping the first lessons with my canvas covered in a layer of acrylic paints.

WK 2- Here I am painting my canvas top to bottom and back to front.  Most of this background area will be covered up with my foreground details but you have to give the viewer that distance to create interest

WK 3-  Here I have changed the mountain color from purple to more blue.  Blue gives a better feeling of distance because of the haze created in the atmosphere that gives a blue tint to objects in the distance.  I have focused on my areas of light and shadow and developed the path way.  The view's eye is drawn to both areas in the distance that reflect the sunlight.  It makes you feel that the path continue down over the hill and there must be something interesting there.

Making a Plan

I've started reading a book called "Painting Better Landscapes" by Margaret Kessler and right off I knew I was in trouble.  The book begins as soon as page 14 talking about a plan...You are supposed to have a VALUE PLAN.  Ms. Kessler states," Planning the values in your sketchbook is probably the most neglected aspect of the painting process.  I cannot overemphasize its importance."  I guess that says it pretty clearly.


Sketching out my plan with pencil or charcoal is something I have never done up to this point.  I just start a new piece by covering the canvas with paint and then painting, excuse me for using the old saying, "by the seat of my pants".  I was keenly aware that on my first painting lesson, that while we didn't grab a pencil, my teacher, Lily Adamczyk had me block out all the main areas of my painting using a neutral colored paint.  She quickly planned which trees we wanted to emphasize and which ones were in the wrong place in my photo. When I actually started painting, I had a plan.  Of course it was Lily's plan because at this point, I'm still very much lost in the transition between using acrylic to oil and trying to understand Lily's approach and techniques.  Let me show you what I mean...

Here is what my masterpiece looked like at the end of my first two hour lesson.

The Initial Plan

Blocking out the colors of the background and the foreground

Working from Top to Bottom, Back to front

  Ms. Kessler lists on page 8 of her book the five progressive steps to construct a painting:

1. Visualize the idea
2. Composing the idea (blueprint)
3. Establishing the values (foundation)
4. Blocking the color harmony (framework)
5. Refind the details (finishing)

On the same page, Ms. Kessler also addresses the importance of developing your own style by stating a very simple but powerful truth.  "As long as you are following someone else's lead, you will always be behind."

So today, I'm digging out those very neglected sketching pencils, overused kneadable eraser and grabbing one of the many empty sketchbooks that are in my studio so that I can begin to discipline myself to MAKE A PLAN first, before I ever grab a canvas or pick up a brush.

Naples Yellow-SUNSHINE in a Tube

Since I am a self-taught artist, with little or no formal training to speak of, my knowledge of mixing colors is very basic and is mostly what Mr. Easton taught me in high school art class in Eldon, Missouri.  I have spent the past 2 years, going through bottles of white acrylic paint because logic told me that to lighten a color, add white.  I would add white to my colors if I wanted to gradually lighten the base color or to add a refection.  If you add white to green or brown it results in a color that is lighter but often I noticed that the color seemed to loose the vibrancy and actually become duller and even gray.  I couldn't figure out why other artists have the ability to paint beautiful landscapes that reflect bright blue skies, striking sunsets or sparkling water.  Heck, even their dirt is brighter than mine it seems.

At my first painting lesson two weeks ago, I was introduced to an amazing color that I had never heard of before...NAPLES YELLOW.  It is a mixture of white and yellow ochre and maybe something else.  You can find all the specific chemistry used to create this color online, but to me, it is like having SUNSHINE in a tube!  I went right out and bought myself some and couldn't wait to compare the colors that I could mix. 

I also found that I am not alone in my praise of this pigment.  I found a very well written explanation on an artist forum called "Wet Canvas" that I thought I would include.

Larry says...."As a plein air painter of subjects outdoors...I generally observe that light and color appear warmer. It is difficult imitating color we see outdoors in natural light, and our tendency is to add white to "brighten" as well as lighten a color. What I have observed quite some time ago is that white is a cool color (generally speaking)...and yes, it tints...but it also cools the color down and flattens its potential for three dimensional punch. Cooling down or neutralizing works against the notion of "brightening"...and is thus counter productive for me.

What I use as a substitute for tinting closer color to maintain warmth and yet lighten is Naples Yellow. It makes lovely tints that feel warmer. As a color goes back I'll use some Naples Yellow plus white since that color would begin to lose its sense of nearness to the eye anyway, and if I want the color to appear even further back I'll use just the white to tint.

I try to be sparing with my use of white so that particular highlights I want will pop with greater depth illusion. Of course it is not always possible to avoid white...so I'll often add a bit of Naples to the mix after using white to restore some of the warmth lost.

Some will argue against this, as is their right...but such thinking has worked for me for umteen years, and I think where painting is concerned the ends does justify the means. Proof is in the pudding as they say..." 

Larry (09-12-2005, 03:35 PM  http://www.wetcanvas.com/forums/archive/index.php/t-294388.html)

First I took Hooker Green and mixed a small amount of white.  I also took the same amount of Hooker Green and mixed it with an equal portion of Naples Yellow.  You can see my second mixture has a warmer glow than does the first.  I have experienced Hooker Green turning a gray tone very easily when I'm trying to paint a variety of foliage.  Trees don't look that gray to me so this isn't something I want to find happening on my palette.

The second color I mixed was using my bottle of Apple Barrel Chocolate Bar Brown as the base color.  This really showed the remarkable difference in tone and vibrancy as you can see by the photo below.  Naples Yellow has definitely won a big place on my palette. 

Check out my website to see all my available artwork.  julietownsendstudio.com.  I would love to hear from you.

Wild Horses of Nevada

I realize that Nevada is not the only state to have wild horses.  According to Wild Horse Facts at http://www.tide-mark.com/horses_facts.html  "Wild horses in North America live on islands off the Atlantic coast, as well as on the mainland. Small populations of horses live on Sable Island (Canada), Assateague Island (coast of Maryland and Virginia), Shackleford Island (off the coast of North Carolina) and Cumberland Islands (off the coast of Georgia). As well as the following western states including Nevada, Wyoming, Utah, Oregon, California, Colorado, Idaho, Arizona, Montana, North Dakota and New Mexico."

Nevada is however the state with the largest population of wild horses and burros and so it isn't uncommon to be treated to a sighting of these magnificent creatures when driving anywhere in the state.  Several months ago, Brad and I took the opportunity to take a drive to Goldfield and while out exploring the area just North we came upon a small herd of wild horses.  We took some great pictures of them and I knew that I would be painting wild horses very soon.  

Today was the day and so I pulled out a 24 x 36 inch canvas and started working on my composition.  As you can see by my painting in progress shot, the work has only just begun.  This particular mare in the photograph that I am working from appeared to be an Appaloosa I believe at the time of our visit she had a young colt following her.  I love the angle of the photo and the two lone Joshua Trees in the background.

I have only roughed in the background and sketched my mare in with pencil.  I am struggling with the vast openness of this canvas and just how to make the composition interesting.  I believe that I am going to make the mare larger and add that colt so that the idea of how that generations of wild horses have been roaming the desert of Nevada for over 100 year.

Here are a few more pictures that we took of this herd.

Painting lessons

I think there comes a time in the evolution of artistic growth that you have to receive actual lessons from other successful artists. Today is that day for me. I feel that to accelerate my skill to a higher level, it is necessary to take some lessons and so I have schedule a session with a wonderful local artist, Lily Adamczyk. To check out her work, just follow this link to her gallery album.  https://plus.google.com/photos/114822472710447410577/albums?banner=pwa

Her skill in painting landscapes far exceeds my own and so I am looking forward to my 2 hour painting session with her today. She asked me last night what I wanted to work on during my lesson today and my reply was that I needed to improve specific landscape elements such as water, rocks and clouds. I really feel that I am going to learn a great deal from Lily and so I am going to blog each week about my lessons and share my accomplishments. Right now I'm looking at a blank canvas, white and empty but full of potential. My Saturday stretches before me and I can only dream of that completed piece that will soon emerge. I think that is the magic of painting...the possibility of transforming that blank canvas into a work of art.

Joshua Trees are not Trees

You can't consider capturing the rugged beauty of the Mojave Desert without at some point making a study of the Joshua Tree...I always considered that the Joshua tree to be part of the cactus family. I mean the desert is full of cactus and succulents and you would assume that this spiny tree must fit in there some where. This morning I am waking up in Yucca Valley, California after a night of heavy rain, inspired by the raw beauty of the Joshua Tree that is standing outside my room. I hadn't noticed that the spines actually have a blue green tint with just a hint of silver, rather than what my memory sees as a much darker shade of green, almost an olive green.

After consulting the Joshua Tree National Forest website, which I would consider to be a very reliable source, I learned that for many years the Joshua Tree was considered to be part of the lily family. Who would have guessed that one? As I read on I find that recently, some really smart people, working from some government grant obviously, decided to test that assumption and after some DNA testing we are now educated and informed because the Joshua Tree is really part of the Agave family. This information confirms what I have always known in my heart....The Joshua Tree can't be a lily!

Regardless of the genealogy, surname or classification, the Joshua Tree is a main feature in the landscape in the desert that I call home. You won't paint many desert landscapes without having to consider the irregular and spiny shape of this desert plant along with it's very close relative, the Yucca. Both plants have beautiful spears covered with greenish white flowers in the spring. I found this website to be very informative and covered the very interesting details about where it got it's name and the important relationship it has with the yucca moth.

Early in my return to painting I tried to capture a scene at beautiful Red Rock State park. I'm inspired today to reprint this scene because in the past two years of constant painting, I have improved my techniques.

 

Here is a more recent painting that I have completed that contains a yucca plant in it. 

Frustration to Fruition

How long is it in an artists evolution before painting becomes so natural that you no longer hesitate to achieve the perfect grass, trees or rocks? I mean these are the staple to any good landscape.  Here is an example of my question-I started a 24 x 36 inch painting of a series of grass covered hills and find myself painting over my grass twice now and I'm still not happy with the results. This bothers me is that I went to bed frustrated and woke up this morning feeling even more frustrated about this painting. Even if I don't go back into the studio today, I know the half finished painting is there and so are those grassy hills that just don't seem right.

 I find myself still painting at times out of order and thinking to myself, "How long before this process of creating a painting becomes natural and EASY?" I know that I try to paint too quickly and don't spend enough time really thinking about where I am going with my composition, otherwise I wouldn't still be painting a tree before I've finished my background. I think better planning out the steps of my painting will help me with this. I always know the basic subject matter that I am going to paint but I don't spend enough time focused on the steps needed to achieve that painting. The one I am working on now started out well enough.  You can see the progression of the painting as I follow these steps:

STEP 1-Sky is painted w/clouds.

STEP 2-Lay base layer for the distant rolling hills.

STEP 3- Paint the distant grass details on those hills.

 (It is in Step 3 and find that painting this much grass with my fan brush is time consuming, painful to my back and makes me very tired.  This is the step that I rushed through because a 24 x 36 canvas covered with grassy hills gets tiring and then I thought I would like the way the grass looks better if I paint the foreground trees. MISTAKE.

STEP 4- Paint details of grass, dead tree and shrubs in the foreground and maybe add a deer as an additional focal point. 

 Not yet finished because I still need to add much of the foreground details which include the tall grass, the road and the dead tree. I added the deer last night and I think he looks great if I can say so myself.  This one probably will be several more weeks before I feel it is completed and ready to be added to my gallery page, but at least I find myself today warming up to it.

The road is steep here because of the hilly terrain and the overgrown shrubbery hides your view as it descends down the other side.  You can only see a hint of it as it continues around the grassy slopes covered in summer wildflowers.  Suddenly, you stop dead in your tracks as you notice that you have just startled a young buck feeding on the tall grass and you know that at anytime he will bolt but for this moment you both are frozen as you stare in awe and try to memorize the ripples of his muscle, the shade of his fur and the number of points on his rack.  If this painting makes you feel this way, then I have succeeded in transforming my Frustration into Fruition.

Old Characters and Wild Horses

Because of the recent long weekend that we had in celebration of Memorial Day, Brad and I decided that we would pack up the truck and take a trip up towards Goldfield, Nevada to check out some of that area and I hoped to get some good inspiration. I have for years seen the road sign that points off to a distant mountain as you travel from Las Vegas to Reno and have yearned to take that road. The sign clearly reads "Silver Peak". That name evokes images in my mind of forest clad mountains, ghost town ruins and the possibility of a real adventure. Accompanying us was our friend Wally and our little red-head, Laura.

The drive to Goldfield is about three hours so it was a long day of driving. Goldfield is an amazing little town that everyone drives through on the way to Reno but never stops. On this day, we did stop and were entertained by Bill Vanderford, the owner of the Gold Strike Jewelry Store and according to his business card, consulting geologist.  Believe me when I say, "You can't miss it in Goldfield."  He was the kind of guy that I would classify a "REAL CHARACTER" with the bluest eyes I have ever seen. Transplanted from California, he and his wife were content to etch out a living by selling jewelry and rocks to the few travelers that are brave enough to stop.

Goldfield has amazing standing buildings in every degree of decay scattered throughout the small town, standing as monuments to the sturdy stock of miners and pioneers that they served. Hotels, saloons, banks and even the old high school is amazing to look at. It is about as close as you can get to being transported back in time to the REAL wild west. If you are ever driving Nevada State Highway 95 from Las Vegas to Reno, take the time to stop and really consider this little bend in the road that requires you to slow down. Bill would love the chance to pull your leg for a while and try to sell you a treasure.

Silver Peak turned out to be rather disappointing.  There is an active Lithium and salt mine so the area was surrounded by pools of what appeared to be acidic water.  We decided to turn around and not travel up that road any further on this day.  Just a few miles back on the highway, we did turn down the road to Gem Field and we were able to pick up some beautiful Agate and Opalite rocks.  While we were there, we were treated to a spectacular show by the native wildlife.  As we were photography the herd, the stallion came trotting over the hill in protector fashion.  Here are just a few of the amazing animals that we managed to capture with our camera from our trip.  I can see painting burros and wild horses in my near future.