The paintings that don't kill us make us...

Rain Clouds Over Mt. Hood

...frustrated? humble? or just more stubborn?

This painting started out as a formidable adversary, and never let up till the last brush stroke. Which may be partly because I had a really clear vision of how I wanted it to look. I wanted the perfect combination of blue-violet and yellow-orange—tertiary colors, and complements—and I wanted Mt. Hood to look as massive and impressive as it feels when you see it, despite its distance and the more overwhelming drama of the thick, dark rain clouds.

It didn't help that for the more than two months it sat on my easel I was never able to give it more than one or two sessions a week, and some weeks, nothing. It's been so long since I started it that I don't even remember all the problems I ran into, but I do know the two biggest were giving sufficient detail to the bluffs and getting the colors balanced to give me the harmony and mood I wanted.

I really hope it's true that the more you struggle with obstacles, the more you learn in the process. But I guess if this demonstrated again that the key to success of any kind is to not quit till you're happy, then that's lesson enough for me. Never give up! Never surrender!

A wonderful summer evening

I wanted to share this picture I took Saturday evening at the paintout at Villa Catalana Cellars. There was lovely live acoustic guitar music by great musicians, a colorful sunset with drifting clouds and a light breeze, and lots of happy people enjoying the food, wine, art, and wonderful weather.

If you're an artist interested in participating, contact Burl & Cindy Mostel at Villa Catalana Cellars.

PS. I made some progress on my painting but forgot to take any red, so I just worked on the foliage. Next time!

Paintout time again!

It's the annual Art In The Garden party at Villa Catalana Cellars in Oregon City this evening, and I can't believe the weather is this cool! Tickets are still available at their events webpage. Lots of food, wine, artists, and art! I'll be there working on a new painting and bringing along several of my previous paintings of their beautiful gardens and winery.

I'll be trying to turn this value sketch into a real painting:

Maybe I'll remember to bring the right colors this year!

Gettin' corny

I was visiting my friends in the gorge last week, and they hosted a group of plein air painters while I was there. Fortunately I had brought my gouache paints and stuff. The others were mostly hanging out on the bluff over the river, but I picked out a well-shaded spot, out of the strong wind gusts, that just happened to be next to their corn patch. I like gouache; it's easy to paint with, and like acrylics can look very much like watercolor, but can also be opaque. On hot and/or windy days it's way easier than trying to keep acrylics moist.

Wrapping it all up

I spent most of the last week working over the rocks,  a day on the grasses and minimizing the outlines of the columns, then two more on the sky and the tree. I'm happy with the overall dark-light pattern of the loose rocks and how it angles up and to the right, curving slightly around this end of the butte.

The most interesting thing that happened was a disagreement between me and the bottom left corner of the sky. I wanted it to be dark clouds, to match the upper right, but overnight I realized that made the whole left side look as heavy as the right, and dragged down the energy of the whole painting. The next idea I had was to turn those clouds into lighter, more bluish shadows—but as I worked on those, the whole small area turned itself into light sky instead. As soon as that happened, it made the white clouds look even brighter, punched up the green of the grasses, and for some reason made the face of the columns stand out more, both in brighter values and also in a dimensional sense.

I was so taken with that brightening effect that I invoked my artist's license to delete the bare tree growing out of the butte face on the left side (sketched in, in previous versions) so it wouldn't detract from the vertical lines of the butte. My excuse is that 100 years ago, that tree would not have been there, but the butte and the rocks, and probably the grasses too, would have looked the same as they do now.

And I got just the spring color combination I wanted!

Balancing rocks for depth

Working on the foreground rocks has been interesting because they need to attract the eye and lead it  into the painting, but they can't attract the eye back down once it gets to the butte face. They have to be detailed enough to be interesting, but not enough to be more interesting than the butte. They need to be relevant to the design, but not stand out.

They're not finished yet, but I believe their shapes are defined enough now. I started by using dark gray washes to fill in and darken the whole foreground masses. Once they were sufficiently dark overall, I switched to a lighter gray and carefully painted the rock faces I wanted to highlight. After I had those highlights where I wanted—where they would establish direction in the overall design—I went back with the darkest dark yet to reinforce the shapes of the individual chunks of basalt.

At the same time I darkened the background scree slope on the right where it's in shadow.

All this is to try to show depth, and to focus attention on the butte face.

Main cliff done

I've put in a lot of detail on the main cliff face and the fractured columns in the upper right; I think it's time to stop working on this area. The colors and values are pretty much where I want them for now, and from 5' away, it looks like what I remember.

I'm surprised how rough and sloppy the edges of the individual columns look in close-up, when they look so great from a short distance away. Not going to change them now.