NOTE: Yes, I did it again, I forgot to turn on the Comments button. But it’s on now, and I would love to hear from you! And now, back to the regularly scheduled blog:
The times call for a bold blue sky:
“The times” being my upcoming birthday weekend in which I say farewell to my 50s without ever having been totally convinced that I ever left my 30s, and “the times” being the time I walked from the small town of Vernon to the much smaller town of Giverny (in May 2013, which I have not painted until now):
I’m glad that I waited, and painted nine other gardens (for the DGB) before I tackled Monet’s garden (and environs) at Giverny. For one thing, I’ve gotten good at not painting clouds — once you get used to picking up watercolor with a bit of rolled-up paper towel, you never have to PAINT clouds … you non-paint them:
For another thing about why I am glad I waited until now to “do” Monet/Giverny, since I did not use many Squints in my DGB it is a lot of fun to be playing with this format again. I’m happy to see that at my advanced age (I am now the very oldest I’ve ever been), I still have control of the fine motor skills I need to paint these very teeny-tiny poplars:
Last week Dear Reader Kirra left a Comment about it being time to call the poor DGB by its real name — Gardens of Awe and Folly. I should explain that the reason I use the shortcut DGB (stands for Damn Garden Book) is because while a book is a work-in-progress I get extremely cranky — the damn thing refuses to write itself!!! — so I call it the Damn [fill in blank] to let it know who’s boss. Also, using an acronym is a great way to store Word files. Even tho I type on a Mac, I use the Microsoft word processing program, and I head each chapter file with DGB because it’s easy to type and is easy to spot in the clutter that is my Documents folder. So I mean no disrespect when I call this new work-in-progress book the NDB (stand for New Damn Book). It’s just a part of my process.
BTW, I should also tell you that I used my trusty liquid masking fluid on the pic below, on the trunks of those trees that take up the center of this landscape — over which I paint the background foliage:
I also used my white acrylic paint to dab in some leaves on that tree in the foreground, over which I am putting on a layer of bright green paint to make it pop:
Another part of my process is the work I do on a work-in-progress while I sleep. Usually, while I am composing a book, I dream incessantly about running through mazes, searching and or fleeing through endless rooms in an abandoned house, climbing hills, and dashing though airports on the verge of missing a flight — in other words, the whole repertoire of anxiety dreams about not being up to the task at hand.
But ever since I outlined this new book about Giverny, I dream of opening bureau drawers and finding a treasure chest of old Christmas decorations, of going into my closet and discovering ball gowns that I did not know I had, and of being on a train that glides through a library full of books that open themselves (and that look like board games, or holograms). So I feel pretty good about this New Damn Book.
Last week Dear Reader Ann made this Comment (about how I changed the scale of several buildings to make them more prominent in y painting than they were in the real life reference photo): I never thought about taking artistic license to make the picture more appealing by making the buildings larger.
I loved this Comment because it observed something important about the difference between what I do as an illustrator and what another painter would do as a fine artist. As an illustrator, I insist that my paintings contain information — in fact, I contrive to put as much information in my paintings as possible, even if that means exaggerating certain elements of the view or editing out other non-essential bits. Fine artists do not seem to be terribly interested in making art that contains any worthwhile information — have you seen the oeuvre of Mark Rothko?
For this little Squint, I wanted the information to be all about the poplars, which is why I put them in the very center of the picture (and saved them for last — I knew that I was going to love painting this group of trees!!):
I was lucky that the photo that I took of these trees was pretty perfect, so I did not have to fudge any details. It was such a pleasure to do this scene…and I think that in the end it turned out to be a very happy picture:
And then there’s this photo…
…which contains this Squint…
…which I will have to warp just a bit in order for it to be as informative as I need it to be, and which I will paint for you next week during my first blog post as a — gasp — 60 year old.