The Last Day of the Year

2023 has been a strange year for me. In many ways it has been productive in creativity as I have seen advances in skills I have been focused on. In other ways it has been limiting, too, when focus is more in one area than another. I am the kind of person who is interested in too many things but who does not seem to excel at any one thing in particular. That can get pretty frustrating.

And then there was The Fall. Breaking my left arm was pretty traumatic in a lot of ways. The esposo is still trying to recover from it because the vacation we had looked forward to, one of relaxing and traveling and visiting new places and seeing old friends, turned into several weeks of taking care of me and schlepping me here and there. His time off never really happened, so there is the mental and emotional repression that ultimately does no one any good. He has taken the next few weeks off, and I hope that will help ease things and take off pressures which are there. At least I can get here and there on my own, although we both fear another fall. I have broken 3 bones in the last 5 years because of falls.

As far as myself, I am really bored with my ongoing fear of falling, and the self-assignment for the next several weeks is to watch YouTube videos about balance and strengthening muscles, taking a “How to Walk” class if possible, and moving into forcing myself to do things that frighten me. I have a dislike of being out of shape and incapable of independence so hopefully this will motivate me into a more active approach to these things. For the first time in my life I have felt old, and normally I am emotionally and intellectually about 12 . . .

Creativity, too, needs some sort of order! I keep saying “schedule yourself” - and by this I mean making deliberate choices for time to do all the different things which interest me. Let’s see what happens! I want to do more photography, travel, sewing, knitting, gardening, and of course drawing, painting, learning. My own personality is set toward doing the daily chores and drudgery before having fun, and that is okay as it weighs me down if I know a pile of something needs to be done. 

For example, since August, I have not really addressed paperwork as I usually do, and that is because my daily life was filled with exercises, occupational therapy appointments, dental appointment, doctor appointments, and home health care appointments. Yesterday, I pulled out all the things I needed to sort through. I sorted them and shredded until the 20+ year old shredder up and died. (New one arrives today.) I logged expenses and so on. Fortunately, it wasn’t a horrible process as I have kept up with the daily stuff quite well, but the paper stuff needed sorting and discarding. It feels good to have that done before 2024 shows up! And I have a bog full of papers still needing shredding, so I can practice on the new shredder, and see if it works. What fun!

And so, it is New Year’s Eve. We will be going to the Descanso Gardens to enjoy the Enchanted Forest of Light. We did it a few years ago, and I thought it a lovely way to end a year. I hope that 2024 is not as rough, and realistically, while tough in many ways for my immediate circle, it is far easier and pleasant than it has been for many. I hope that changes, but sadly, I do not think it will.

Strange Fruit

Ugh! I was in a rather bad mood today – you know how it is sometimes – so I decided to just play with oil pastels. Nothing great, but the fact is, drawing and such can be very soothing and change perspectives. So, I sat outside on the patio, a tablet of small, meh paper, and the different packages of the oil pastels. I decided to draw fruit. And there we are, about 3 hours later, with the following pear and two apples.

A pear . . .

And a pair of apples . . . .

I think I would not be too tempted to eat the above apple, nor the one below, if I were Snow White.

Through Many Seasons

While the peasants needing food and firewood in the past centuries in England were kept off the king’s land, it has left a wonderful legacy of old growth trees, unlike, I understand, in most of Europe. Here in the U.S. we have many old trees, and the wilder parts of our country have many stunning examples.

Personally, I am partial to oak trees because of their oddly twisting limbs and branches. As a kid in the mid-west, I grew up with a forest of oaks behind my house, and these trees have always held a special place in my heart. The Druids found them magical, and so do I. 

There are multiple species, distributed worldwide. Here in California, the overall objective is to give oak trees the protection they deserve, and while property owners can cut down trees, permits are generally required, and woe betide those who fail to follow those regulations. Sadly our fires are killing many.

A return to the theme of snow and winter. Can you imagine what these old trees must have seen through the years and years they have stood? Changes in forest, change in season, spring to summer to fall to the desolation of winter. For me, a tree is more than a tree – it is a legacy of times gone by as well as, in many ways, a hope for the future.

Kilimanjaro 300# cold press paper, 11×14, limited palette of blues, umbers, and siennas.

Winter Farm on Christmas Eve

Now to the northern part of the continent . . . somewhere in North America for winter on the a prairie farm, snow covering field stubble, early evening or morning. Cold, desolate, and heartbreakingly beautiful.

I spent the morning painting this on rough 300# natural white Kilimanjaro. I did it in stages. The sketch was light, with suggestions of shapes. Then the sky was wet and yellow, quin gold, and permanent alizarin crimson used to create the rosy golds. Once down, cobalt blue and ultramarine were placed to simulate sky being careful not to merge into the rose gold of the central cloud. As the sky dried, purple and alizarin were mixed with ultramarine to create the darker clouds. 

After the clouds were laid in, I did the dark trees, blurring some green into the still damp sky, as well as waiting for the sky and soft trees to dry. This was done to create the hard edges needed for the buildings against the tree line. The buildings themselves were left white as the trees dried.

From there, the snowy field was laid in with cobalt and ultramarine in a very light wash and using a 2″ soft brush. Again, drying. At one point, the 2″ brush was dried and dipped into lightly damp burnt umber and applied to make the streaks of brown for field stubble near and far. Then the buildings were done, and once the snow dried, more thin washes as glazes applied to the foreground snow, culminating in a streak of quin gold and then permanent alizarin to the middle of the painting, hoping to show a sense of light reflected in the still dark snow from the breaking clouds above.

After that, details such as dried grasses, windows, tree trunks and whatever were added as deemed necessary.

I am pleased with this painting quite a bit! It achieves what I set out to do – a winter scene, snow, clouds, and patience to wait and think about a painting before just diving in with brush and color. The 300# rough Kilimanjaro is 11×14 and a wonderful paper to paint on. More is needed in the future for sure.

Winter Road in Hill Country

Today I decided to do some oil pastels. This is my second – no, third – painting in the medium. The cat and mandarin were on Strathmore 300 watercolor paper; this is on an 8×8 cotton canvas panel, the kind used for oils or acrylics. I read you could use oil pastels on nearly any kind of surface, so I grabbed this just to try it out.

To tell the truth, oil pastels are fun to use, but they are also tricky. Blending colors makes sense – layer this with that to make thus – but the blending itself is a rather creative experience. I used stumps (tortillons) for the most part, but toward the end I used my finger tips. Also, I found out that if I put on too many layers, eventually the newer layers pull off the underlying colors. While this could work for some desired effect, it was problematic in other ways. Live and learn, right?

I scanned this canvas on my Epson V600 (one of my best purchases!) as photographing paintings is time consuming, tedious, and usually worthless the way I do it. Two scans were needed, and in between I had to wipe of the glass platen to remove little oil pastel bits. Apparently oil pastels never really dry out, but you can apply a finishing spray to them. Sennelier makes one, which I bought along with my pastels, which I will try probably next week.