Landscapes

"Holiday Road" by Lesley Spanos. Oil painting on Ampersand Gessobord, 5" x 7". Copyright ©2011 Lesley Spanos, all rights reserved.

Funny how some paintings grow on you. When I finished this one a few weeks ago, I didn’t think it was up to my standards. I was going to wipe it off and start over. But it had so freaking much paint on it. Wiping it would have created a toxic mess. So I put it aside, thinking it would be easier to deal with when dry.

Over the weeks, my revulsion mellowed. I started thinking maybe it wasn’t so bad. Maybe even I liked it a little bit. The warmth of the colors made me feel good, and the texture was pleasing. The day it was dry enough to test in a gold frame, I fell in love. Not the first time that’s happened to me…

"Life Becoming" by Lesley Spanos. Acrylic painting on Ampersand Gessobord, 6" x 8". Copyright ©2011 Lesley Spanos, all rights reserved.

This week I’m hosting the painting challenge on Daily Paintworks. It’s called “The Color Of Music,”  and you’re invited to play along! The idea is to paint a favorite piece of music, converting sound to pigment.

My song choice, “Life Becoming,” comes from a long-time favorite album by Michael Nesmith called “The Garden.”   This mostly instrumental album comes boxed with a short novel. The idea is to play the music while reading the book, allowing the written word to sync with the music. Sounds weird, but if you’re a visually-minded person, it’s almost like watching a movie in your mind. The album provides the script and soundtrack, and the user is free to create whatever mind-pictures they want. Be your own cinematographer. I like that.

As an artist, I also appreciate that the book is illustrated with paintings by Monet, and loosely suggests his efforts to bring water to his garden in Giverny. The main character is named Jason, and he’s not a painter, but the garden described is definitely Monet’s.

“Life Becoming” is the final “scene” in the story. Jason has returned home after his quest to discover that his once-dry yard is now a beautiful garden. Monet’s garden. He walks down the rose-arbor allée to the lily pond, where he is greeted by the woman he loves. They stand silently on the Japanese bridge, gazing over the peaceful lily pond.   The music is repetitive and graceful, almost circular, so painting a series of repeating round shapes – lily pads – was a natural choice.  The two lilies represent the man and the woman.

"Gran Canaria Highway" by Lesley Spanos. M. Graham gouache on Multimedia Artboard, 9.5 x 5". Painted with permission from Google Street View image. Painting copyright ©2010, all rights reserved.

This one almost ended up in the dumpster. It’s another piece I started for Bill Guffey’s Virtual Paintout, but things didn’t go the way I planned.

This time we’re on the island of Gran Canaria, one of Spain’s Canary Islands:

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Such a beautiful place! I want to be on that road driving a convertible with the wind whipping my hair.

Here are a few shots taken along the way:

I like the look of taped edges on a gouache, so I began by masking off the margins with clear packing tape. The tape needs to be burnished thoroughly so the pigment won’t bleed through.

Since I can’t draw a straight line, much less paint one (see last painting), I’ve indicated the water line in pencil.

Color is blocked in quickly.

Starting to refine and add some detail.

This was the finished piece when I packed up my paints for the day. It wasn’t working for me, and I was ready to toss it in the trash and chalk it up to experience.

This morning when I came into the studio, that big empty space in the middle was staring at me, and I realized what it needed – a car! Duh! Just because it’s not in the shot doesn’t mean I can’t pull one up from another Street View, right? So I traveled a little further up the virtual highway and found this one:
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I have a hard time drawing cars and it looks a bit wonky, but it improves the composition enough so I don’t hate the painting so much anymore. A few more adjustments, like greying the highway, and it’s done. Yay!

"Tenerife Overlook" by Lesley Spanos. Acrylic on Multimedia Artboard, 14 x 11". Painted with permission from Google Street View image. Painting copyright ©2010, all rights reserved.

Every month I tell myself I should participate in Bill Guffey’s Virtual Paintout, but I never get past the planning stage. Google’s Street View is too addicting. I get caught up in wandering the virtual streets looking for the perfect painting location, always sure there’s a slightly better angle or view just around the corner. I keep going like a cartoon donkey following a carrot on a stick and never choose a spot. For the current Canary Islands challenge I decided to bypass information overload and just pick a spot and paint. Since I love the ocean – and frankly, didn’t want to struggle with buildings and perspective – I restricted my search to a random five mile stretch on the southern coast of the island of Tenrife.

Here’s my chosen location:
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Google uses a pod-like cluster of cameras on top of a mast on the roof of the car, so the view is much higher than normal eye level for anyone but an oversized NBA athlete. In addition, the images are taken through wide angle lenses and stitched together, so the photos are distorted in odd ways, and sometimes bits are missing. When drawing from Google Stree View, we can either make the most of the quirky distorted look, or try to get rid of it.

I don’t like my paintings to look like they were copied from photos, so I try to get rid of the distortion. Easier said than done. I try to imagine I’m there and paint from the image in my mind, rather than copy the digital image in front of me. To help with that process, I put the photo behind me on the computer screen across the room, and glanced at it as little as possible. It worked for everything but the car.

Not much in-progress work to show this week. The acrylic paint was drying fast (the painting took less than two hours) and there was no time to shoot. I started with the standard red underpainting, which you can see in the car area. My favorite spot in the painting is the area in the water below the sun where the red shows through.

"Sedona Morning" by Lesley Spanos. 6 x 6" oil painting on Ampersand Gessobord. ©Copyright Lesley Spanos 2010, all rights reserved.

What’s that wretched creaking sound? Must be my rusty painting skills! It seems like all my creative focus lately has been on planning paintings, rather than actually painting. But then along comes a good art challenge, and like the challenge whore I am, I can’t help but play along. This one is hosted by Lee Brown on his A Day Not Wasted blog. An artist and photographer himself, Lee is providing some drool-worthy HDR photos that are an absolute pleasure to work from. No dead shadows in his work! Go see his Sedona Sunrise Challenge yourself for some great visual treats, and play along, if you’re so inclined.

This one didn’t exactly fall off the brushes, but at least I finished something. Here are a few photos taken along the way:

Starting with a loose brush sketch over a red ground. When I sketch with a brush, I use an angled flat, which makes good lines as well as filling in large areas quickly. With the paint, I tried to approximate the tone of the deepest shadows.

As the painting progresses, I try to let bits of the red show through. Easier said than done.

Here’s where I wish I’d stopped. I prefer the painting at this stage because it’s looser, warmer, and the values are closer together. But, as usual, I thought it needed to be more finished…

…so I tightened up the details and added more light and contrast. Now it looks more like 10am than sunrise.

I really loved how those twigs in the foreground caught the light in the reference photo, but I was having a devil of a time painting them with a brush, so I scratched them out with an exacto knife. I had to really dig in to get down to clean gesso. It was an okay experiment, but next time I’ll make the lines more “lost and found” rather than continuous, ’cause that’s how twigs catch the light.

Many thanks to Lee Brown for a fun challenge!

"Telegraph Hill" by Lesley Spanos. Acrylic on paper. Copyright ©2009, all rights reserved.

This was one of those crazy weeks when I thought I’d never get anything done for the current Different Strokes From Different Folks challenge hosted by Karin Jurick. My first mistake was forgetting to seal the paper before I started painting in oils. The paper sucked all the oils out of the paint and it felt like Play-Doh under my brush. I should’ve just started over, but I kept torturing myself with it. Here’s where it was when I abandoned it:

"Up Telegraph Hill" by Lesley Spanos. Oil painting on paper. Copyright ©2009, all rights reserved.

It didn’t totally suck – the light was okay in parts of it – but I didn’t like how tentative it looked. It was obvious I was unsure of myself and was adding detail just because I didn’t know what else to do.

I needed to loosen up, and it was too early in the day for wine, so I turned on some music, got out my acrylics, out and did a quickie:

Not pretty, but it got me out of that paint-every-detail mindset so I could move on. I started wondering how much detail I could omit and still have it read as a street on a hill. Using the same colors I used in the first painting, I painted this:

I almost left it like that, but I thought it needed a couple more identifying elements:

Hopefully now it looks more like city streets than a canyon.

I tried a new technique to get the telephone pole straight: I dipped the edge a piece of cardboard in paint and stamped it on.

This is going to be one of those paintings people either like, or will say “WTF?”

Just in case any of you artists are still working on this challenge and need a street view of some of the finer details, here’s the location:
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This is actually a block closer than Karin’s view, at the 3-way intersection at the bottom of the hill. I know that view well – Karin was probably next to the San Francisco Art Institute when she took the reference photo. There’s a cable car line that goes from Taylor to Columbus in this intersection, so painting in a cable car wouldn’t be out of the question. (I thought about it…) Just around the corner on Columbus, you’ll see the world famous Bimbo’s 365 Club. Up at the top of Telegraph Hill a couple of blocks over is Coit Tower, which has some really cool murals in it.