Thanks to so many who helped us get here, my wife and I are back in the Pacific Northwest. We landed on Monday, and by Wednesday, we were out in the woods. It’s not hard to get to a forest around here. Many of the parks are so densely wooded you hardly know you’re near a town. Noble Park is new to us, so we have some nice exploring to do close to where we live. This scene was just a short walk from the parking lot via one of several trails.
I started the painting onsite. About 45 minutes into the session, it started to do that Oregon drizzle thing, so I quickly packed up the pastels and we headed back. (Only after I was mostly packed did I see the owl perched about 15 feet over my head, graciously refraining from anointing/bombing me down below!) A few hours later, I sat outside the place we’re staying and painted for another half hour…until it started raining for real. I finished painting in the dining room.
What a delight to be out in the cool woods once again! I love it.
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“Titan” – California – Pastel on MingART Premium, 8×10″/20×25 cm
“What an experience!” I said this so many times in the past week!
It was an amazing time, from the moment I received the notification that my painting “Titan” was accepted into the show to the last evening as we drifted away from the table, still enjoying each other’s company. I appreciated the graciousness and generosity of Simon and Junny, our hosts at the Ming Gallery of Art, who made us feel so welcome and honored. I thoroughly enjoyed the boundless enthusiasm and energy of the indefatigable May who facilitated the plein air event and found a place in everyone’s heart. Mingxing’s open, positive attitude allowed us to simply be ourselves, and the photos she captured of all of us are treasures to be savored like a fine banquet, complete with a delightful dessert (those are a few of Mingxing’s photos, below). To all the artists whom I met and who shared their love of art and life: I am blessed to have met you and spent time with you in Suzhou!
I am so grateful to the world of pastels for having brought together the talents and personalities of so many from around the world, and to the Ming Art Gallery for its ardent dedication to the medium. I can only imagine how daunting it was to choose these paintings from the submissions. The quality, vision and skill evident in this show speaks volumes for the medium. I appreciated the richness of the Chinese masters, in particular. It was an immersive education just to walk the gallery in wonder, observing one beautiful painting after another. This experience alone was priceless.
To the jurors and the awarding judge I give my thanks. This has been a golden moment, and I am so pleased that they resonated with the grand old oak in my “Titan” painting. Their decision and the gallery’s generosity made all this happen for me and for Ping. I am happy to have donated this painting to the gallery.
“What an experience,” indeed!
I welcome any opportunity to return to Suzhou! I look forward to all the wonderful paintings that proceed from here!
I was going to be on my own for an hour while waiting for an event. I didn’t know what I’d find in this recently opened park but I was prepared to paint plein air, even though the weather seemed iffy. The park itself is essentially a series of city-block-sized, flat-topped artificial “hills” on whose cambered sides is planted what they’re calling a “sea of flowers.” On top are a few bits of sports-themed topiary and some cartoon characters. The current blooms were muted, and the square hills looked more like bunkers to me. I walked the perimeter. I climbed up top again and looked around. Really? Was my imagination so dull that I could find nothing to paint?
Ten kilometers away, however, winds from the northeast were driving heavy clouds across the Tatun Group, a cluster of volcanic peaks that tops out at 1,120 meters (3,675 feet). Glad to be in the rain shadow, I sat on the grass and watched great curls of mist roll down from the summits. After awhile, I pulled out my DIY Inktense Plein Air kit for a couple of small studies. The Arches rough watercolor paper doesn’t like to be scrubbed, so I worked it as little as possible. Quick though they were, these are among my more successful attempts at painting this kind of weather with the Derwent Inktense ink blocks.
A friend has graciously invited us to stay in her house in California’s famed Napa Valley. Every morning, we awaken to a beautiful dawn. On any given day, we might see low clouds, patchy fog, or a bright blue sky. The clouds are usually long gone by noon, and the midday heat is a bit easier to take when one can sit inside where it’s cooler, and look out the large windows. Evenings can be brisk and breezy. A couple of times, we even built a fire in the fire pit so we could sit outside and watch the stars appear.
The backyard here is actually a small vineyard surrounded by classic Napa trees: pines, redwoods, oaks, maples and eucalyptus. I’m nursing a bad case of poison oak just now, but I can still paint, and I’m grateful for this marvelous view! This painting was a very quick study, focusing on shadows and capturing the various greens.
Derwent Inktense on Arches rough 100% rag paper
5.9×8.75”/15x22cm – plein air
Four of us went for a walk on Poplar Beach, south of Half Moon Bay. All told, we had 10 legs. I saw this gully and went over there to do some painting. That left 8 legs to keep going. Sometime later, Ping turned around, leaving 6 legs to continue onward. Shya has 2 legs and Ellie has 4. Guess who went the farthest?
In any case, I was happy to sit on the sand and paint the crumbling cliffs. The coastal pines rimmed the skyline. A little breeze shifted the sand. I got lost in the painting, and suddenly it was time to get back before the parking meter expired.
As is so often the case, I had to run back to where everyone else would be waiting for me. This time, I was barefoot, though, holding my sandals.
When I caught up with my wife, we realized we were still 6 legs short. Plus, two of those legs had the key to the four wheels. Okay, yes: technically it’s five, if you include the steering wheel.
But who’s counting?
Anyway, here’s the informal picture of the finished painting. I did some details after we got home.
The others had gone for a walk while I had to wrap up some other business, but I still had an hour and a half before lunch. I left the apartment where we’re staying in San Francisco, and headed out to the waterfront again. I wanted to see the Coit Tower again. When my wife Ping and I first visited San Francisco several years ago, we hiked up to the tower, and, just a couple of days ago, our friend Shya took us up there for a view of the city.
You can see the tower from several places on the waterfront, but it’s not particularly close. I found a decent spot by the Exploratorium where I had a clear view of it. The wind blew strongly enough that I wondered if I would lose one of the water brush covers! The ink dried very fast, but I was able to get a pretty good likeness of the tower in about half an hour.
Then I had to run back, so I wouldn’t be late for lunch!
We’re spending some time in San Francisco with a good friend. The first day, we walked along the waterfront. I noticed a nice spot with a particular view of the Bay Bridge. When I had a chance, I went back down there with the newest iteration of my Inktense plein-air kit and found a seat on a big block of concrete, just to one side of Pier 24.
I was just starting to sketch in the basic layout on my Taiwanese “Fuang” watercolor paper when an Indian gentleman took an interest and sat down beside me to watch. I said hello, and we chatted while I was sketching.
“They just took your picture,” he told me, indicating a couple that had just passed by. “You’re world famous now!”
He was still with me when the sketch was done. As I brought out the Inktense kit and started painting with it, he told me proudly that his son does design work on computers. I enjoyed our chat.
“Okay, sir,” he said, as he stood up. “You have a good day.”