OK, so once again I’m thinking this one is finished. Just looking at it without comparison to the last version would lead one to think that not much had changed. So I’m putting them side by side just to prove that I really did do some work!
The leaves still on the trees are more defined, and there is definitely a thicker layer of leaves on the ground. Harder to see in the photos, but evident in person, are the shadows on the cottage. The highlights on the side facing the sun are brighter in contrast to the shadows.
Now all I have to do is get my wonderful client to agree with my persuasive argument that it’s perfect, and then wait for some snow so I can get started on the final version of these four paintings.
Third painting of four for the Carroll Cottage commission
Not there yet, but so very, very close. More variation in the trees, more leaves piled up in the yard. Maybe by tomorrow…
This one is not quite like the others…
I’ve been working on several layers of this painting but at first glance it doesn’t look like it. There are already three layers on the green foreground–orange, yellow and green. The tree trunks have four–yellow, brown, and two coats of “almost” black. The roof and trim of the cottage are yellow, green, brown, and blue. The sky is the only element that is one single transparent layer. At least so far.
The green foreground will need at least a couple more layers to get it to a nice rich darker grassy green. This will form the base for the layers of fall leaves on top of it. I’m aiming for an effect of depth with the leaves piled on top, but in some spots it will be nice to see the grass poking through to give that illusion of depth. The lighting is coming more or less directly at the viewer, so the leaves will be brighter where the yellow areas of grass are.
As for the leaves still on the trees, there will be significant patches of sky showing through the leaf clusters. But the sun coming from the direction behind the house and trees has the effect of bleaching out the sky, which is why it’s a pale transparent layer.
All that sounds really cool, right? Just gotta find a good way to execute it!
Ribbons & “stuff”!
OK, enough about painting for a couple of minutes. I belong to two dressage GMO’s (group member organizations) and at the end of each year they give out awards for that year’s show season. So—
Champion high point for Quadrille
Champion high percentage for Quadrille
Reserve Champion high point for Adult Amateur First Level Test 3
Reserve Champion high percentage for Adult Amateur First Level Test 3
The quadrille award showered on its four members ribbons and a very nice insulated zippered bag, along with an also very nice stainless coffee travel mug. Both of which I can use, especially at horse shows!
The First Level award gave me some more really colorful ribbons for my very expensive ribbon collection LOL! Many thanks to GLASS-ED (Great Lakes Area Show Series–Educational Dressage) for providing the show opportunities and the chance to learn ever more with each of those opportunities!
Yes, I know “start gate” is a silly metaphor for a house, but I stand by my contention that “house” is only one letter away from “horse” and therefore I should be able to use it with equine abandon.
Drawing for the third version of Carroll Cottage
I had to take a brief “vacation” (NOT) when I had shoulder repair surgery on October 25, so I’m now getting pretty good use of the affected limb back and got this drawing done in a couple of sessions. Trying to do shorter sessions so as not to overwork the bum shoulder. Anyhow, this will be an autumn rendition, and you don’t see much indication of leaves here because they will be splotched throughout the trees and piled high on the lawn areas.
The angles of this series of paintings keep moving inexorably to the left, which has nothing to do with politics but a lot to do with the position of the sun in the fall. In the original photo the sun was shining brightly through these trees directly towards the camera. I had positioned myself so the sun fireball itself was behind the biggest tree in the foreground and I could get nice highlights on the ground. The down side was that the trees were still quite green. So I returned several weeks later on a cloudy day (we had a long stretch of those and I knew with the shoulder rehab I would not get back anytime soon assuming the sun did eventually decide to reappear) and got some color, with a lot of the tree branches making nice patterns and a shallow layer of leaves on the ground.
Although I tried my best to match the angles, they did turn out slightly different. A main consideration was to be able to include a slice of the lake (lower right hand area) in this painting too. So in the drawing I moved a couple of trees slightly to give myself more room for the water and the structures along the far shore. I am going to assume that none of my client’s family has memorized every angle and position of those trees…
This is the title of the mural in my town of Dowagiac, Michigan which I have been occasionally posting about all summer. It is now complete, and was officially dedicated to the city and accepted by the Mayor last Saturday. Here’s a wide shot of it to give you an idea of the size–it covers a wall below the parking lot of the post office.
I put together a little movie I shot as I walked along the length of it, with some subtitles to explain the illustrations. Feel free to pause the movie at any time, as it’s a little hectic trying to read and look at the images at the same time.
Here’s the story as detailed in the brochures distributed at the dedication:
In the mid-1800’s, homeless, orphaned children roamed the streets of New York City. In 1853, Charles Loring Brace founded the Children’s Aid Society to care for the children. Brace came up with an idea to send the children west on trains to new families (Michigan, at that time, was part of the western U.S.). The Children’s Aid Society sent the first train of 46 children west in September 1854 with one destination–Dowagiac, Michigan.
After an arduous journey of two train and two boat rides (including one across Lake Erie), the children arrived safely in Dowagiac. Over the course of several days, 37 of the children were taken in by local families. This experiment led to 75 years of Orphan Trains placing out 250,000 children across the continental United States. Not all children had positive experiences, but many children got a new start on life.
“Starting a New Life” honors the first trip to Dowagiac and the subsequent 75 years of Orphan Train journeys.
“Starting a New Life” is made possible in part by a grant from the Michigan Humanities Council, an affiliate of the National Endowment for the Humanities.
Yes, me super excited. That almost never happens. But I’m 99.9% sure this painting is complete, and I won’t even go into all the second thoughts I had about it as I was working on it which led me to be ecstatic that it turned out so well.
Just so nobody loses confidence in me, it’s a regular occurrence for me to think I don’t know what I’m doing right in the middle of a painting. That they turn out fine in the end doesn’t mitigate future anxiety in the least. Every painting is an adventure for me, even if (or maybe especially if) it’s similar to one I’ve done before. I always forget how I got some neat effect and then have to reinvent the wheel. In this case I forgot which brushes I used to get those nice overhanging trees. I did figure it out before I got past the point of no return, though.
So, here you go! Carroll Cottage #2: