20 x 30 cm detail from ‘Longing for Pondicherry’, Linen on wood, 70 x100 cm, in progress
Hanneke van Oosterhout just emailed me a detail from her latest painting showing a watermelon resting in an earthenware bowl. When I first discovered Hanneke, she was painting roses. I am able to admire one of them because it graces my dining room. Hanneke’s painting shows a yellow rose standing in streaming water while stretching upwards, both lovely and powerfully, with one of its leaves fluttering downwards. more… »
On August 23 I finished the seven-panel plein air oils of The Diamond Grade. On September 10, I’m still working on putting together a small card with a fold-out version of the panorama. This is a project I thought to complete in a couple of hours. Instead, it’s taken weeks.
There was the question of the size of the images. And the paper onto which they would be printed. And which printer. And then it was clear that without some kind of cover, the images, folded into rectangles, looked a bit like the notes I passed to friends as a sixth-grader. So I had to find a cover. And then the images sprang open inside the cover, so I had to find a way to fasten the cover, a way which could be undone and redone, without too much damage. I had a bunch of Moo cards that I am currently enamored of that I wanted to include somehow.
Here’s the photo essay of the process:
The original strip of images:
After trying out samples of 3″ and 4″ sizes on my HP ink jet printer and 2″ sizes on my Epson pigment printer, which actually could handle up to 24-inch wide strips, I decided to go with Kinko’s laser printing service.
Noticing that prolonged standing at an easel and painting with the right hand results in a twisted torso, it seemed a good idea to spend time to learn sketching with the left hand to twist the torso in the opposite direction and thereby, hopefully, realign centrally.
Remembering that da Vinci is reported to have been ambidextrous, I looked him up on Wikipedia and noticed with disappointment that his Vitruvian Man shows two opposite twists. The belly button is displaced with respect to the sternum in one direction and the sternum and his nose are displaced in the opposite direction. more… »
Art supply companies sell pre-stretched canvases, wood and hardboard panels with only a limited number of dimensions. Standard width/length ratios are 1 x 1, 1 x 2, 2 x 3, 3 x 4 and 4 x 5. If I want to use a photograph of my camera as a motif, a 2 x 3 panel would be the most suitable to represent the full picture. Musing on dimensions, the golden ratio came to mind – 1 x 1.618 – easy to remember because 1.6 km equal a mile.
Here is a photograph cropped to fit the golden ratio with respect to width and length:
The upper frame is an inferior mirage of the Farallon Islands. The second frame is the Farallon Islands with a green flash on the left-hand side. The two lower frames and the main frame are superior mirages of the Farallon Islands. The superior mirage went from a 3-image mirage (inverted image between erect ones) to a 5-image mirage to 2-image mirage. Such a display is consistent with a Fata Morgana. All frames but the upper one were photographed from about 50–70 feet above sea level. The upper frame was photographed from sea level. The interval between the first and last frames of the superior mirage was six minutes.
And, on a not unrelated subject (albeit obscure, perhaps) I have finished my southeast Oregon painting extravaganza. It resulted in seven panels, each 16″ wide and 12 ” high, a total of 112″ in width (with no spacing) and 12″ in height: 9.25 feet x 1 foot.
[You can see individual panels as well as closer combos by checking southeastmain, a blog I maintain with husband Jer: From the Diamond Grade, panels 1 & 2, and the following four posts are the pertinent material. I’m not bothering to reproduce the results here because many of you already saw them, ad infinitum, on southeastmain.]