Drawing the Desert

I mentioned in a previous post that I wanted to make some small colored-pencil drawings that I could sell for a much lower price than my paintings. At this point, I've made a little over 20 drawings, and hopefully I can do a few more before Saturday. I'll be attending a local craft fair, which will be somewhat of a marketing test for the drawings. We'll see if selling lots of inexpensive drawings is more do-able than selling a few, expensive paintings.

Here are a few examples of what I've been up to. Each is 8" x 10" (20cm x 25cm) sketched on colored paper. None are titled or framed.

New Painting: "Silver Ledge"

I FINALLY finished a new painting that I was frantically working on to enter in an exhibit. I still gave the piece all of the TLC it deserved, but I think I've been painting more than I've been sleeping!

Silver Ledge, 18" x 24"

Silver Ledge is the name of the mine -- or what's left of it -- that sits a little south of Silverton, Colorado along the Million Dollar Highway (aka Hwy. 550). Behind the structures lies the sprawling Chattanooga Valley which used to hold the small town of Chattanooga (not to be confused with the one in Tennessee!). The town was destroyed in the late 19th century, but I haven't found a definitive reason for how that happened: it was either by avalanche, flood or fire. In any case, the town was never rebuilt and only a few buildings remain there today -- none visible from this vantage point.

Far in the distance sits Bear Mountain. Much of the region displayed the glorious golden yellows of fall aspen, but this view seemed to show few aspen and lots of Colorado blue spruce.

The Silverton area was known for producing lots of mines, many of them silver. But the Silver Ledge's primary commodity was tungsten. It also extracted smaller amounts of gold, silver, lead and zinc.

The painting shows how the mine looked the last time I was there -- September, 1997. I understand efforts were being made in 2010 by a preservation group to prevent further deterioration of the minehead and also to cleanup the tailings which were leaching lead, zinc and copper into Mineral Creek (which runs below the embankment on the left and off into the Valley).

I've been wanting to paint this image for almost seventeen years -- and I've finally done it! It isn't the desert, but the site is in southwestern Colorado and we can see lots of distance from this spot. So it fits my tagline which you would find on my website and on my business cards: The Vast Spaces of the Southwest!

More Inspiration!

As a landscape painter, I love it when I stumble across artworks that I've never seen before that manage to take my breath away once I "discover" them.

Curescanti Needle, Colorado
George Frederick Bensell, ca. 1875

This is one such painting. I had Googled images of Colorado paintings, and this is one of the items that came up. Curescanti Needle is located in the Black Canyon of the Gunnison (one of the country's National Parks) near Montrose, Colorado. I suspect the artist took some liberties with how the place actually looked, but some 19th century painters did that -- they were more interested in capturing the mood of a place than re-creating every rock and tree that exists.

OK, it isn't a desert painting, but I still love it, and I DO paint Colorado scenes on occasion (in fact, I'm working on a Colorado painting now). The size is 66" x 48"/168cm x 122cm and is in a private collection. Lucky peeps!!

Very inspiring!!

Mojave Nocturne

Mojave Nocturne is the latest painting in my ongoing (never-ending?) series of desert paintings. The size is 14" x 11" / 35cm x 28cm, acrylic on panel:

 

It depicts Joshua Tree National Park at night as a full moon rises and shines through the clouds. I've always loved being in the desert under a full moon: the bare ground lights up more than grass or shrub-covered landscapes do, and the place takes on a special magic that must be experienced. And the Joshua trees appear as apparitions from a Halloween night, with many ghostly fingers and arms reaching out to grab you!

Still, in spite of those thoughts, the desert by moonlight isn't at all scary to me (unless one were to step on a rattlesnake in the darkness, but there are no snakes in this painting). The moon, the glowing clouds (when present) and the shapes against a starry sky have a beauty all their own.

Can you tell I love the desert?

Confusers

Sometimes I think "confuser" is a more accurate name for this gizmo than "computer."

I was having some problems with the thing and was concerned something really terrible happened -- hard drive crash or something -- and while most of my stuff is backed up, not ALL of it was.

So I took the confuser to a confuser repair place. The technician found the dial-up/fax modem (which I never used) was bad and removed it. He also uninstalled some extra anti-virus software which, I think, came with the confuser when I bought it in 2008.

Everything seemed fine, although I had a bit of a scare yesterday -- the confuser acted up again, just as it did before I took it in. I called the guy who suggested trying a different power supply or electrical outlet. I had already unplugged an external hard drive with a transformer from the surge-protected power strip I have everything plugged into. Guess what? The problem hasn't returned!

So -- either the surge protector is getting too old (and it IS old!), and/or the transformer for the external drive really was interrupting the power supply to the confuser itself.

Well, at least things seem OK for now. I'll plug the external drive into another outlet, and I may unplug the printers from the surge protector, too. And maybe buy another surge protector for the confuser.

And then maybe I can try to get back on schedule with blogging again!

Let's Have a Drawing!

No, no, no...not that kind of drawing. No pulling numbered tickets out of a hat to see who wins the prize!

I mean art drawings -- making an image with graphite or colored pencils!

While I can render pictures of objects using a pencil, it tends to be a utilitarian image...unlike many artists whose drawings are works of art unto themselves. There's something about the way they make lines and shading that are beautiful. I make just ... lines!

I'd like to fix that if I can. Following are some examples of drawings I'd like to be able make. Note: these drawings are NOT of my creation. The titles and creators' names appear under each image.

The Find, Charlene Brown

Barbara Palvin, Malwina Kozak

Natalie, Casey Childs

Head of a Muse, Raphael

I'd love to be able to make drawings like these! of course, I'd love to be good at drawing the face and human figure, too, but honestly: I don't have enough years of life left to learn that skill. One of these artists suggested copying master drawings to learn how to make the lines I want -- good idea. Copying the works of masters, both in drawing and in painting, used to be part of the learning curve for aspiring artists. One can learn SO much by doing that.

Maybe during this slow period of no sales and few paintings produced, THIS will keep me out of trouble!

Vent: Art competitions and Shows

I prefer to write about the more positive things in an artist's life, but -- as you might expect -- there are aspects that pull artists down. I guess that's true of all things, isn't it?

One my Facebook Friends who is also an extremely capable artist posted his opinions about art competitions. I hope he won't mind if I feature it here:


"In art competitions, the only valid criteria for judging should be the quality of the artwork, viewed with total objectivity and assessed impartially, solely on the basis of artistic merit. The identity of the respective artists competing should not be a factor, nor should the number of friends any entrant might have or how much effort he or she might have put into lobbying for votes. If I'm going to vote at all, it will be for the artwork that I see as the most worthy, no matter whose it is. Nothing personal."


I understand exactly how he feels. I've felt the same way about certain art exhibits/sales and posted my own comment:

  
"IMO, western art shows must be the worst when it comes to judging criteria. They often include "masters" in the show titles, but in reality, when you submit entries, they want lists of all the shows you've been in, or a list of articles that have been written about you,or a list of awards you've won -- stuff like that. In other words, they want to know how likely you are to be well-known and, thus, a good seller. Quality has little to do with it. It's popularity/fame/history of sales that they're looking for. "


It's something we artists have to put up with -- "adapt or die," as least as far as making it in the art biz is concerned. It's quite unfair and shouldn't be this way. But it is.

I really haven't decided how I want to deal with it all. I don't know that I have enough years of life left to accumulate the "stuff" that the competition/show sponsors ask for. But I know it's a part -- just one part -- of the reason why I've slowed down considerably in art: not only in creating it, but in selling it. It's far from being a level playing field, and maybe I'm getting too old to play this sport in a meaningful way anymore. (This pathetic economy doesn't help, either).

OK -- that's enough venting for now. On to more positive stuff.