Oh, what an awful week. Current events horrify me, and I grew up during the Vietnam War with nightly body counts on the 6 o’clock news, and I was a mile up the road from the World Trade Center on the morning of September 11, 2001. So I’ve had a long acquaintance with every day human brutality, but the world has worn me down and this new brand of evil makes me weary and soul-sick.
I just wrote, and deleted, a few hundred words on Orlando, Magnanville, and Leeds. A couple hundred words on these atrocities is too feeble — a million words wouldn’t be enough. So I’m just going to quote the poet Christopher Soto:
Who smiles when the sky swallows its stars?
When I am wrecked and racked, I paint stones.
My favorite part illustrating Le Road Trip was painting the wonderful stones of Brittany and Normandy.
When I paint stones I feel calm, and quiet.
Stone work requires a lot of concentration, but not a lot of attention. I think that’s the definition of meditation.
(This is the Winter view of (above) — from When Wanderers Cease to Roam):
And, sometimes, I find a view that is just an excuse for me to paint a lot of stones:
Oh, how I needed to paint stones this past week, and I searched all my photos to find some stones that “spoke” to me. I didn’t find any. So I turned to the inter webs and I found this photo, by the renowned garden designer Caroline Garland:
This happens to be a very stony picture, of a garden that I know rather well: The Chelsea Physic Garden in London. So these were the stones I set out to meditate upon. First thing, I gathered my mindfulness gear:
I am mixing chalky Grumbacher paints with Winsor Newton watercolors. I use Davy’s Gray here and there, but it is not as good as the gray I make myself, by mixing Peach with Blue, Brown, Black, and Sienna:
Sometimes I mix the colors right on my brush, sometimes I swab them directly onto the paper, and sometimes I smear them together like this:
I am painting a Squint,by the way. I always start with the trickiest bit first:
I’m using black to paint negative space, which is a risky move — I’m using a size 00 brush here:
For each face of an individual stone, I mix ochre, gray, and a tiny bit of brown to get that “stoney” effect:
I let each face, or cell, dry before I paint the bit next to it (this prevents unwanted bleeding):
I re-wetted this little cell here and dabbed n the tiniest among of black, and let it bleed a very very teeny bit:
Yeah, my preferred method is to work in colors while the cell is wet, and to see what kinds of bleeds I can get:
Each of these cells in this pillar was painted individually — yes, they look wonky and horrible now, but just wait:
Calm, slow, careful, and with an empty mind, I painted in these dark, dark shadow lines. It was tight-wire painting, and terribly satisfying:
I put a green-blue wash over the background stones:
You might have noticed that I painted the stone pillar incorrectly — take a look at it here (above and below): Do you see how I forgot to make the top two stones (on the right side of the pillar) 3-dimensional?
So I fixed it, by “picking up” the pigment (that’s why Grumbacher is so good: it lets you “erase”) and painting in the optical illusion of 3-dimensions:
You might also notice those dabs of color in the margins. That’s how I test watercolor shades before I apply it to the pic — no damn color charts for me!
I put in some white acrylic dots in the fore- and background, over which I dabbed watercolor, so the “flowers” would pop:
Comparing the photo to my painting, you can see that I’ve edited the original to suit my limitations as a painter:
Well, also, since the Squint is very small (it’s 5.75 inches x 1.33 inches. . . 14.6 cm x 3.38 cm, I think), the background must be simplified. I also wanted to make this a cheery scene, and so I made it very green — and I used the greenery in the background to define the stone wall and pillar back there, so I wouldn’t have to outline them. I don’t mind outlines, but I wasn’t in the mood for them this day.
I call this Squint, Stonewall.
The other thing I do when I feel so bad is hang with these guys:
Now, about Steve: the other day, a woman rang our doorbell. Which is always weird, because who does that? The woman introduced herself and said she stopped by because she saw our cat food bowls set out on our front porch stone wall and she’s a TNR (Trap/Neuter/Realease) rescuer…OH! I said: I wondered who Steve’s angel was!
Susan doesn’t live near us; she’d been called in by a neighbor on a road behind us about several feral cats and had trapped 5 males — including our own dear Steve (and kept him under observation in her home for a week in a huge dog pen). She’s on the hunt for a female, and seeing our cat food bowls, she rightly took us for Cat People, and wanted to give us her card in case we spot Mama Cat. She and I had a discussion about trapping methods and I learned that HavAHeart is so last century. There’s a whole lot of new trapping technology that has passed me by! I don’t know why I’m exclaiming this! So you know who I’m going to call when It’s time to TNR our dear Dennis:
And saving the best ’til last,
I am pleased to announce the Winner of the Super Duper Quartet Triscuit Give Away is:
Maryanne from SC!
Thank you, all you magnificent 5-star reviewers own Amazon. I confess, I read your reviews to give me courage for when I will sit in a dark room for another three years and try to make something useful and wanted in this world.
Maryanne, we all hope you enjoy your Tea Time Triscuits with a lapful of cats, a heartful of love, and a fluteful of champagne!
Have a good weekend, Wonder Ones; let’s try to hold the planet together for one peace full day.
**Next Friday, if we can get through the week unscathed, I will present the previously schedules post, dedicated to Nancy S., on How To Find Blue Jay Feathers. Spoiler: it involves cat food.