Back from a blogging and painting break

Because sometimes a break from everything is in order.  I've been caught up in non-art creative ventures that have taken my attention away from painting for a while.  It happens during this time of the year, as I transition from eight months of exhilarating outdoor painting to the doldrums of the studio.

Our area is expecting its first snow of the season tomorrow and Saturday.  So, probably no more plein air work for me this year.

I've been spending a lot of time thinking about what I want to do this winter, and one thing is returning to oils and working on my drawing skills.  I'm also going to spend more time reading and studying the paintings and drawings of the Old Masters; library books on drawings by Picasso and Michelangelo are sitting on my night stand and I look forward to working my way through them.

In the meantime, here are two paintings done in the past two weeks.  The first is a plein air from the 4CPAP paint-out in Simone Canyon, in New Mexico.   I ended up going with the purple sky here because I forgot to bring my box of sky colors along.

Roadside Cottonwoods - 12x12"
pastel on black cardstock

The second is a studio piece, from a photo taken during our Escalante trip.   The afternoon of the quick-draw event, after I'd dropped my painting off, we drove west of Escalante, to the town of Cannonville, and then headed south along the road that leads to Kodachrome Basin State Park.  This is a view of the Kodachrome area further down the Cottonwood Wash road:

Cloud Over Kodachrome Basin - 12x16
pastel on dark gray Mi Tientes

While at the Escalante Canyons Plein Air event, I was delighted to meet a local area pastelist whose work I've enjoyed since I first discovered it in the past couple of years - Scotty Mitchell .  A few of her paintings are featured in the book Painters of Utah's Canyons and Deserts, which is one of my favorite coffee table art books.  Talking shop with another pastelist is always interesting, because we all use such different techniques and materials, so of course, I had to ask her what surface she uses for her paintings.  Turns out, she works exclusively on the dark gray Mi Tientes.  Between the chat I had with her, and the studio painting I did - Wash Wall Shadows - on Canson, I was inspired to try this paper again.

I like it, especially this dark gray.  So much so that I ordered a 10-pack of 19x25" sheets from ASW.

Anyway, that's all I've got for now.

Fall Colors, and studio skies - pastel landscapes

The Green Shed - 12x12"
 pastel on black cardstock

Saturday afternoon's painting, from one of my favorite locations along the river, which of course, isn't visible in this piece.  Each year at this time, I'm reminded of what a fleeting season fall is, or at least as it pertains to fall color and painting.  

The cottonwoods, both narrow leaf, and Fremont, are rapidly fading and dumping their leaves, and I am sort of bummed I wasn't able to make the most of this season.  But, it was peaking in the high country when we were in Escalante, and here in town when we were in Moab, so I can at least bandy that around as an excuse, right?

I had plans to go up to Baker's Bridge and paint there, which I did last year around this time, but I think the window for that is shut; tomorrow, the 4C group has a paint-out in northern NM, and after that, the temperatures are supposed to drop precipitously as the storm hitting CA moves east to our region.  By the time things warm up again, no color will likely remain anywhere in our area.

Here's a small piece I did during the 4CPAP's recent outing the Wildflower Ranch in La Plata Canyon a couple of weeks ago.  This paint-out fell between the Escalante and Moab trips, and was the only painting I got done that week. The larger morning piece, of aspen, I worked on for about two hours before deciding I didn't like the direction it was going, and became bored with it.  I know from experience that it's best to just quit and move on, rather than keep pounding away at it, hoping I can make it work.  This was done after lunch, about 1/2 mile down the road on this property, and the first "keeper" painting I've done of the La Plata river.

Cottonwood Shadows Across the La Plata
8x6", pastel on black paper

And, finally - two studio pieces, small, both done for this week's DailyPaintworks challenge - "The Sky's the Challenge". 

Both reminded me that painting skies/clouds is always a challenge, and that I find it increasingly difficult to work from photographs, probably because it is so easy to overwork the clouds.  You just don't that as an option when painting them in real time.

Burr Trail Sunset - 9x12"
pastel on Strathmore 400-series paper

Monsoon on the Mesa - 6x12"
pastel on black cardstock

Back from PleinAir Moab...and with another ribbon

Back yesterday shortly after noon, as I decided that it was too far out of the way to paint at Dead Horse State Park after almost a solid week of painting.

Anyway, aside from last Friday being pretty much a total wash due to rain throughout the day from the storm passing through the region, it was another productive and fun trip.

Something different happened on this trip, unexpected, which was spending four sessions over four days working on a single painting:

Late Afternoon Glow on the Monocline - 12x24", diptych
pastel on black cardstock

HONORABLE MENTION in Pastel/Dry Media

The finished painting on location, after the sun had
set behind the cliffs and the clouds had moved on

Part of the reason for this was because I ended up reworking the sky twice, the La Sal mountains once, and it wasn't until Wednesday late afternoon that the sky gave me what I wanted, and I was able to take the painting to the  level I had envisioned.  On the previous days, there were no clouds, which made for a bland sky.   Last year, during our early November trip, we had stopped by this location, which is along the road to Ken's Lake a few miles east of town, in the late afternoon.  I was struck by the intense glow of the light on this monocline (it may be an anticline in this salt valley, but I did not have access to the geology book to confirm this), and the mountains were in shadow due to an impending storm system.  So, the seed for this as a painting was planted almost a year ago.

Anyway, it ended up being a labor of love, I guess.  While I think it has far more impact as the two-part painting, I think each half stands on its own, which is always a nice thing.  Honestly, I wasn't sure how the whole diptych thing would go over with the judges, one of whom was Lorenzo Chavez, who is well-known amongst all pastelists.  Had PA Moab not been back-to-back with Escalante, I would have tried to sign up for one of his two workshops given at the event; both sold out quickly.  I've long admired his work, and I have heard that he is a wonderful instructor.  I framed it without a spacer or mat, just as you see above, on black foamboard, in the mahogany plein air frame I have (and non-glare glass).

I'm pleased that it had enough going for it to win a ribbon out of the ~30 dry media entries, especially as it was competing against a handful of pastelists who have won awards at this show in the past and have been painting far longer than I have.

I didn't get as many paintings done on this trip as I did in Escalante, partially because the diptych tied up a couple of hours during the afternoon over those four days.

Here are two, with adjustments and finishing touches done today:

Along Lower Courthouse Wash - 12x12"

This was Sunday's painting, the first day I was in Moab.  Courthouse Wash is located within Arches NP, but this section is accessed from a trail that starts outside the park.  We hiked it during our spring trip, and I knew I wanted to hike up and paint a section.  This is about 1.50 to 1.75 miles up the trail, and I loved the contrast between the Navajo Sandstone cliff with its beautiful desert varnish facade and the sunlit cottonwoods in the wash.  Desert varnish is an interesting thing; I actually find it more difficult to paint than water.

Here's a picture of my new hiking plein air set-up at this location:

- New, larger backpack purchased from Walmart recently ($29 - a great deal!)
- folding table in green plastic, which I just carry
- folding stool from Walmart, round III, so far so good with no tears.  It secures to the outside of the backpack sideways under the two clips of the lid of the pack
- 12x18 piece of foamboard as painting surface; this now allows me to bring papers up to 12x16 on these longer hikes
- a second piece of slightly shorter foamboard with a piece of foil taped to it; the foil side goes on top of the painting, and large clips secure it in place so it is protected from smearing or damage in my backpack
- two of my three pastel boxes; the third is a smaller Rembrandt box that carries all my sky colors.  I bungee cord the three boxes together and they go in my backpack.
- a small viewfinder by Guerilla, sits on the edge of the box.  It was part of the pack we got for the show!  I have larger handmade viewfinders that I keep in my portable bag, but this one will be a permanent part of the backpack gear.

Steelbender Trail Morning - 12x12"

This was Tuesday morning's painting, done in a hidden valley area just north of Ken's Lake.  Wayne was on his way in the RV to camp at Ken's Lake, so I didn't want to go far.  Fellow 4C painter Carolyn Daily, who lives in Moab, had taken me to this area on Sunday afternoon after I finished my Courthouse Wash painting.  This trail is used by mtn. bikers, dirt bikes, and Jeeps (and at least one trail runner who went by while I was painting).

Had I not finished the diptych, or ruined it, this would have been the other painting I'd have put in the show.

I have four other paintings, in various stages of completeness, that I did on the trip.  I'll post some or all as I bring them to completion...along with those from the Escalante Canyons trip.

Smelter Mountain

Afternoon Light - 12x12"
pastel on black cardstock

The second of today's plein air paintings, done from the deck off the master bedroom.  The oak-scrub covered slopes of Smelter Mtn. always look fabulous in the late afternoon light, and they are beginning to get the slightest hint of fall color.

The dog park and a tiny sliver of the Animas River give it a bit of scale and context.

The first painting, done of a section of the La Plata river up the canyon of the same name, was a worthwhile effort, but didn't come together as I'd hoped.  I honestly don't mind it when that happens.  It was a complex scene, and with rapidly changing shadows across water, it would probably be a good studio painting.

I wasn't discouraged, but it did prompt me to set up the easel and paint this piece, which I did in less than an hour.

Animas River Valley - plein air landscape

Morning on the Animas River Valley - 12x12"
pastel on black cardstock

Today's painting, with the Friday plein air group.   A new location - the Lion's Den city park.  It's an easily accessible location that overlooks the scenic Animas River Valley, and good practice painting a "big view", something I don't do often.

More plein air along the Florida River - pastel

Morning Shoreline - 12x12"
pastel on black cardstock
 © S.Johnson

Today, I finally was able to meet up with the informal Friday plein air group to paint.  The location was some private property along the Florida River along Florida Rd/CR 250, about half way to Lemon Lake.

I was worried that I wouldn't be able to find anything I wanted to paint; that was my issue yesterday - I went out in the afternoon, and ended up walking up and down the A.R.T., and then driving out Florida Rd.  Nothing.  Thankfully, I found this shaded spot by the river with the boulders and shoreline and minimal green.

Bummer thing:  I apparently lost my dark blue Senn - the one I used for the ripple shadows above.  Surprisingly, that's the first time I've ever lost a pastel while painting; I guess I should count myself lucky in the 1 1/2 years I've been painting outdoors this is the only loss.  I have 200+ pastels in my plein air boxes, and they are like children:  I know immediately when one is missing.   Part of me wants to drive back out there tomorrow and try to find it...

A vintage van and orange skies

The Orange VW - 12x12"
pastel on black cardstock

So, a couple of days ago, I was in my computer/office room and my eye caught the orange VW camper van parked across the street.  I'm sure it's probably been there ever since we have lived here.  Why didn't I notice her earlier?

I have no idea, but when I saw her sitting there, in all of her saucy orange glory, I realized she needed to be painted.  Unfortunately, shortly after I had this artistic revelation, and came back outside to scout for the best painting location, a red SUV had parked right in front of her - oh, bother!   I subsequently became preoccupied with painting her.  Yesterday was taken up with a longish hike/trail run in the mountains which wiped me out too much to paint.

This morning, as luck would have it, the SUV was gone.  I walked into the grassy median and painted from there.  I had her all to myself for about 2 1/2 hrs. while I painted.  I also discovered it's not a good idea to paint outside in flip-flops - I have a painful v-shaped sunburn on the top of my right foot.

Anyway, as always, painting man-made objects with two-point perspective challenges one's drawing skills, especially on location.   So, she has some "issues", but was nonetheless fun to paint.  I may have to revisit her as a subject in the future, maybe in oils.

Today aside, I haven't had the motivation to get outside and paint since we got back from our trip.  Overcast skies for a few days was a contributing factor, and I was not inspired to deal with more green and was just in a lull as to what I should paint.

For inspiration, I pulled out my Wolf Khan Pastels, a cherished part of my book collection for 12 years.  I love his work, and his bold, expressionist use of color.  I struggle with color most of the time; I find it hard to break free from the grip of local color, especially as a plein air painter.  I had been enjoying the entries on last weeks' DailyPaintworks challenge to use a pair of compliments in a painting, so this seemed like a good time to play with color in a studio piece, fueled in part by Mr. Khan.

There was a trimming of cardstock laying on the table, so I grabbed it and went through my photos until I found one that worked well with that aspect ratio.

Road and Yellow Sky - 3x12"

It was quick.  It was fun.  And I kinda like it.

More from Conejos - plein air pastels

I was able to photograph and do some minor tweaking to one of the paintings from the trip, and because the storm system still lingers in our region, I haven't been out painting since we got back.  So, here are the other three, because I got nothin' else right now.

Conejos Reflections - 12x9"
pastel on black cardstock

The first painting on the trip, from a short (1.5 mi) hike along the main trail.  I brought along my folding table and camp stool from Walmart - the second one I've owned - to paint.  Unfortunately, as with the first one, one of the legs has torn through the nylon corner, making it uncomfortable to sit on and resulting in a sore back (and groin) for the next 2 days.

Rock Study - 6x6"
pastel on brown cardstock

From camp.  Sarah, who makes a good living as an equine sculptor, had been wanting to try pastel/landscape painting for a while, and I thought this landscape still life would be an excellent subject to start out with.    So, we sat and painted these rocks and willows between rainstorms.  I wish I could have gotten a photo of the golden-colored marmot that made these rocks his home.

Rock slope study - 12x12"
pastel on black cardstock

Another from our campsite, with Sarah, on another day.  Unfinished, and an example of how I got sort of sloppy with my composition.  I always use a viewfinder, but this one got away from me.  It was also a reminder that one needs to take ownership of the view nature presents, and adjust accordingly.

Had I been putting more thought into this, I'd have completely left out the distal mountain (which is the same as in the diptych I posted) and eliminated all but a sliver of the lower slope/road.   The focus was intended to be on the rocky slope with the trees on it; the distal mountains add nothing but clutter.  I just fell into the "lazy" trap of painting what was in front of me...for shame!

I mention this, and post it, because I think as artists, we tend to have the unspoken expectation that all of our paintings should have successful outcomes (that is:  a painting that is fit for selling).  Sometimes, however, there is much to be gained from the paintings that don't work.  A self-critique of "why didn't this work?" is useful; if we're lucky, the same mistake perhaps won't be repeated again.

A new blog name and two new paintings

As the four year anniversary for this blog approaches, I realized it was time for a change to reflect the direction my work has taken since September '09.  Back when I started blogging, I wrote in my initial post that I was not sure where my work would head based on my past experience in various media, so it was easy to call it a "daily art journal".  For some reason, that just doesn't seem to fit now.

Since then, it's evolved along with my interests and art and priorities.   I identify as much as a painter as I do a photographer now, and the blog has always been about more than just posting a painting or a couple of photos and calling it a day.

Anyway,  there you go.  I've done up a new banner, which I do periodically anyway.  I'm going to keep tweaking the format to hopefully make it more appealing to readers.

On to the paintings....

Fly Fishing Waters - 9x12", plein air
pastel on black cardstock

This one is from yesterday, on another trip to Cascade creek, and was actually destined for the trashcan because I lost interest in it about 3/4 of the way though, partially because of the greens which I didn't want to deal with, and I was also having difficulty concentrating, probably from a poor night's sleep.  That happens sometimes, and I've found it's very much linked to those periods of "artist block" that I go through.  Having had the same thing happen a few days ago the last time I went out painting, I wasn't terribly surprised when I realized I'd left my game back in the locker room, so to speak.

A digression here regarding the trip:  we got off to a late start, and as is typical, the chance of rain in the mountains was pretty high.  From the parking area, it's about 1.25 miles to get to the section of the creek where I'd planned to paint, so I brought my folding table and stool, rather than my french easel.

Wayne split off to hit the creek and walk upstream, to practice with his brand new fly fishing gear.  I got to the location - one I'd scouted and photographed during our June trip - and already the sky was filling with dark clouds.  Thunder rumbled off in the distance, and it was clearly doing to start raining within a few minutes.  I wasn't enthused about the spot; the water was down, and the green was just not something I felt like dealing with.

So, I gathered up everything and decided to head back down the trail to find Wayne, who told me he'd meet me walking upstream as he fished.  Right before I got back to the junction to the main trail, the wind kicked up suddenly and it started to rain.  I dropped my gear and was putting on my rain jacket when I heard a loud crack - a sound unlike anything I'd ever heard before.  I looked up to see a rather large tree blow down not 15 feet from where I was standing.   Had it fallen towards me, I'm not sure I would have had time to get out of the way.

Worse still was hearing another tree fall about 30 seconds later on the other side of the trail.  I started worrying about a blowdown (a large number of trees blown down in a localized area from a windstorm), because those are a frequent occurrence in Colorado forests, and I've seen plenty of them after the fact on hikes across trails.  It was, needless to say, a disconcerting experience.

At that point, I started running down the trail in the rain, and ran into Wayne coming up to meet me.  We decided to go to the historic cabin near the trailhead and wait out the storm.  Within minutes, it was over, the wind and cloudburst heading south to torment some other hikers.

We went back to the creek, and I settled on this new location to paint.  Wayne, who has been talking of  learning to fly fish during the entire 7 years I have known him, finally purchased all the gear, and this was literally only his second outing using it.  He started right where I was painting and worked upstream.

The title of the painting comes from the fact he caught his first fish with a fly right in front of me.  It was an exciting moment for him, and fun for me to witness.  For those that don't know, the nice thing about fly fishing is that the fish can be released, unharmed.

Oh yes - here's the other painting:

Afternoon Cloud Study - 12x12", plein air
pastel on reclaimed cardstock

Not to be deterred by two back-to-back "failed" paintings, later that afternoon, I decided to wipe down the earlier one and stand on the sidewalk and paint the clouds outside.  Really, when all else fails:  go paint a cloud - it's good for you.  Bonus:  painting 10 feet from the front door.

Then today, as I pulled out my pastel boxes from my backpack, I looked at yesterday's creek painting, and thought:  "what do I have to lose?  Why not sit and finish it with no regard to the outcome?"  I had planned to toss it anyway.  So, I worked through it, with a different frame of mind, and made it happen.  Maybe there's something in this readers can take away for themselves?  I hope so!

Valley of the Gods - plein air, pastel, Utah trip wrap-up

After sitting in my studio for over 2 months, I finally sat down and finished another plein air piece from our Utah trip in May.

Morning Shadows, Valley of the Gods - plein air, 12x24"
diptych, pastel on black cardstock
© S.Johnson

I actually got the majority of this finished on location, and was reminded why I really prefer to finish the piece to completion on location:  I tend to get too fussy back in my studio, and then it takes 2x as long to do the last 25% as it did to do the first 3/4 of the painting.

Anyway, it is done.   I do have another unfinished piece from our campground in Torrey, but I'm not sure I'll finish it, and quite frankly, it can't top this one.

I sat to paint this one.

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Photos from our drive on the second-to-last-day of the trip, from Capital Reef down to White Canyon.  We left the gale-force winds and unpleasantly cold temperatures in Torrey, and were rewarded with beautiful, gradually clearing skies and warmer temperatures as we headed east and south:

East along Hwy 24, towards the San Rafael Reef

Factory Butte, Hwy 24

Henry Mountains, along Hwy 95, south of Hanksville

Wash and sandstone canyon

Lake Powell

Approaching White Canyon along Hwy 95

Along the Animas River, and another cloud study - plein air, pastel

Both from yesterday.

Riverside Stata and Cottonwood - 12x12", plein air
pastel on black cardstock

In the morning, local 4CPAP friend Lori and I painted together along the river, right along the A.R.T.  I've been wanting to paint this particular view since last fall when I took the photo below during a walk.  So, I probably will come back in the fall and revisit it.

Hard to believe it's the same location.  Both Lori and I took the same artistic license and left out that distal mountain.

Later in the afternoon, as a large monsoon storm was building to the northwest over the mountains, I set up the easel in our front sidewalk area for a fast cloud study, with the eastern slope of Smelter Mtn:

Sky South of Smelter - 12x12", plein air
pastel on yellow cardstock

Quartet of plein air paintings - pastel

Today, I was on a roll, and pushed my plein air total for 2012 past 70.

First, the large one, from a park south of town:

"Passing To the North" - 12x12", plein air
pastel on black cardstock

Then, smaller, 10-minute cloud studies:  one at the same location as the above painting:

Cloud Study with Slopes - 6x6"

And, two more at home, from inside my studio looking west:

Cloud Study - from deck - 6x6"

And east, with an attempt at the moon:

Waxing Gibbous Moon with Cloud - 8.5x11"

Monsoon sky - pastel, plein air

Colors of Earth and Sky - 12x12", plein air
pastel on sanded black cardstock
 © S.Johnson

This was just plain fun to paint.  Near the river and looking south with a peek of the Purple Cliffs.

Hermosa Creek - plein air, pastel

Hermosa Creek - 12x12", plein air
pastel on brown cardstock
© S.Johnson

Today was one of those days I was in a bit of a quandary as to what to paint, and didn't think I'd end up going out at all - nothing local sounded really appealing to paint.

But, today was an absolutely beautiful day, weather-wise, so at least a hike was in order.  Wayne suggested Hermosa Park, which is a river valley that is due west of the ski area, Purgatory, also known as Durango Mtn. Resort.  

I remembered this very location from earlier visits, and even a photo taken in '09 before we lived here, of the red creek bank, so it was an easy choice to paint.

Beautiful cumulus clouds filled the sky, but I chose to leave them out for this painting to simplify things.

Painting and hiking around Lizard Head Wilderness

Back from our trip.  I spent part of the afternoon doing finishing touches on two of the paintings, by which time a monsoon storm had moved in, forcing me to wait until today to photograph them.

From this trip, I learned how to work around heavy monsoon activity:  1) paint near the car; 2) wait for any window of opportunity, no matter how small, to head out with the easel; 3) be prepared to return at a different time when the weather is amenable, to finish; 4) small paintings at camp.

First up, is my favorite from the trip.  Started Sunday afternoon during a short break in the weather, and finished up yesterday morning before we headed home, it was a "two-for-one", so to speak:

San Miguel Colors - 8x16", plein air
pastel on board with Golden pumice ground + black acrylic
© S.Johnson

This is painted from the area I mentioned in my last post:  "the meadows".  The meadows themselves were striking, with a variety of summer grasses and small meandering stream passing through.  Hills with scattered groups of spruce/fir, and aspen lead up to the base of the southern edge of the San Miguel range.

I'm always struck by the colors of the mountains within the southern San Juans (of which the San Miguels are part of).  A geology query of the San Miguel range tells me that the colorful purples, greens reds and yellows are due to the sandstones, breccias, tuffs and claystones of the San Juan Formation and Telluride Conglomerate.  Volcanic intrusions into these sedimentary layers, referred to as "stock", are what form the mountains themselves.

So, having the colorful southern edge of the mountains combined with the meadows was like being handed a gift as a painter.  But, I had to work fast:  less than 40 minutes after I set up my easel and began painting, rain started suddenly, and I was thankful I was set up 2 feet from the car...and not painting on LaCarte paper.

view from the driver's seat...two minutes earlier, I had been painting

Earlier in the day, I'd painted just down the road from this rainy view - a cabin complex situated at the end of the meadows.  I got most of it finished on location before the rain started, and pulled it out later at the campsite to work on it more between rains.

 Morgan Cabin and Dolores Peak - 12x12", plein air
pastel on black cardstock

I didn't take any photos of this cabin, but at some point (as we will be returning to this area - a new favorite for everyone), I plan to revisit this building complex from a different compositional approach.

Finally, two small pieces done from the seated comfort of our campsite yesterday morning - fun and fast, while I chatted with Sarah, and before I headed out to finish the San Miguel Colors painting:

Mountain Morning - 6x6", plein air
pastel on black cardstock

Morning Sky - 6x6", plein air
pastel on brown cardstock

Saturday was spent hiking (and dodging lightning storms).  The Kilpacker trailhead was a mile up the road from our camp, so the four of us headed out on our chosen methods of transportation:  foot and horseback.

Morning along the trail

falls along Kilpacker Creek

Sarah and Jypsi in the meadow near the Navajo Lakes trail junction

Ominous skies and tree appropriate to the mood along the steep switchback section of the trail (Sarah and Todd opted to turn back before this section, thinking it might be too narrow and of loose scree)

Navajo Lake, from the basin, almost 6.5 miles from the trailhead.  Mt. Wilson,
one of CO's fourteeners, is visible from the saddle 

We were lucky that the thunder and hailstorm we got caught in on the way back didn't last more than about 25 minutes before fading off to the west.  Lightning flashing overhead, followed by immediate loud cracks of thunder, were a reminder that hiking in the high country during monsoon season is not to be taken lightly.

Approaching the trailhead (cars in stand of trees to right), with another storm over the Yellow Mountains.  Thankfully, we were back to the RV by the time this 3-hour rainstorm hit us.

More photos from the campsite:

Saturday sunrise 

Dramatic afternoon light over the Yellow Mountains (the same in the small paintings above)