The Right Brain Reader

Treehouse Marble Clock - Chapter 6

2011-08-14T08:25:00.000-07:00

The Mama Bird
This animation follows the rabbit. It operates on the same principal of the hinged track section. Here you see the bird with worm in beak, in the "up" position. The bird is hinged at the hip and has a lead plug in her.... well... backside. That keeps her beak "up" by default. The wire (A) is tripped from the inside and pushes her tail up (and beak down) to "feed" the baby birds (B).

The Inside Story
This next view is from the inside of the roof, near the bird. When the marble weighs down the track (out of view here) it pulls the string (B) which then pulls down the arm (A) that is connected to the black "bump" wire labeled (A) in the previous photos. In this photo there is a small wire spring just under the (A) which ensures that the black wire returns to its default position.

Treehouse Marble Clock - Chapter 5

2011-08-12T22:09:00.000-07:00

The Rabbit House
Today we take a look at the rabbit house (no baby rabbits in there yet...). It was my first animated project. The sketch shows when I began it it was simple.... based on the marble rolling on to a hinged section of the track which drops slightly and yanks a string that is wrapped around a wheel. That wheel rotation action thrusts the rabbit out the window. Okay, that was easy. But then I had to get the poor fuzzball back into the house! I thought I solved that but it took a few tries to do both successfully.
The Final
The final design below involved having the marble enter at (E) over a section of hinged track (A) that was moved downward by the weight of the marble. That hinged track pushed down on a long arm (D) that, in turn, pushed a teeter-totter-like arm (C) that served as a catapult to launch the rabbit out. On the next action, a boomerang-shaped trip mechanism (B) pulled the rabbit back by a wire attached to the side of the catapult, and then the marble continued out of the rabbit house (F).

Sorry about how dirty the rabbit house track looks. I got sawdust on the felt track and hadn't cleaned it yet. (Oh well, most rabbit cages I've seen are pretty much like that anyway....) From the outside, this is what the rabbit house looks like. You can see the entry doorway on top. The egress door and track are under that, out of the photo.

Treehouse Marble Clock - Chapter 4

2011-08-11T17:35:00.000-07:00

The Marble Return Mechanics
As I mentioned, the two most important keys to success were the marble release gate (Introduction post) and the marble return—accomplishing the 72" vertical rise in order to keep the animation non-stop, hour to hour. These studies have evolved over several years. I don't want you to think I worked every day for 15 years. I might work a few weeks and then abandon it for 2-3 years. But the proof of its value is that I always come back!
This conveyor belt idea involved the decision to make it electrically operated, there was no doubt about it. I purchased a slow-revolution motor (top of photo: A) from Graingers in Portland, OR (also found at www.graingers.com) and had an electrician wire it up with a UL quality cord and switch.
Here are the Stages
Just as important as the motor was the switch. The motor was attached to the conveyor belt

drum (upper photo B) and wired to a switch that operated by being held down (on) and when released it turns (off). So I created a little loading device (A) that was hinged to let the weight of the marble force it down. That turned the switch on and began the belt rotation (B). In this photo you can see the little brass switch (C) right under the loading chute. The marble enters from the left opening (D) and weights the loading chute downward. The belt keeps the marble in place (on the chute's little "wheelbarrow handles") until the wire scoop advances and comes up under the chute. As soon as the wire scoop lifts the marble up off the chute, the motor stops. That mable #1 remains there, just an inch above the chute and gets a one-hour nap until the other marble (#2) is released by the clock and comes down into the chute, weighting it down and turning on the motor again. It advances marble #1 to the clock top and when its emptied, the empty scoop comes down and scoops up marble #2 off the chute, and waits there for another hour. The full cycle is complete.

The Original Idea

Here is the original plan from 1996. It shows the motor and conveyor drum and is quite easy. It was the marble scoop that was puzzling. The next sketch below is the first belt idea (A) I had. It involved pouches (B) that would receive the marble and then travel to the top where it revolved around the rotor drum. Rolling around that drum would skootch them out at the top (kind of like squishing peas out of the pod). Needless to say I found a better way.

Here's the Scoop

After several planning ideas the better idea was this wire "scoop" I invented which is simplistic and highly effective. After I lashed it to the belt with dental floss thread, it became very easily my moment of triumph. I can't tell you how exciting it was to see the belt creep around, and... here comes the scoop rising under the schute. It lifted the waiting marble off the loading schute perfectly.

Treehouse Marble Clock - Chapter 3

2011-08-11T08:33:00.000-07:00

The House Part of the Treehouse
Here is a detail of the top of the clock. It is 24" wide so probably not suited for your small apartment folks! The roof peaks are skinned tree branches and the siding is cedar. In the early days I used dollhouse shingles on the siding, but since then I've shied away from all craft materials for fear I would be pigeonholed into the hobby craft group. So I'm gradually stripping those off and replacing it with more random shaped, handmade shingles.
The two brown vertical boards inside the clock face area are the "motor mounts" for the clock works. Just left of that is the release gate. What appears here is version # 3 of that mechanism and I've since used #8. On the right, by the small chimney (undoubtedly for a small bedroom fireplace), is the bird's nest where the first of the animated characters will operate. The window above the fireplace has real glass (ok plexiglass) operating windows, just one of about 25 windows when complete. There will be a main chimney in back and a few turrets later. They're made but not installed yet...

Treehouse Marble Clock - Chapter 2

2011-08-10T21:18:00.000-07:00

The Big Picture
Now that you've seen the marble release gate, I think you need to see how it relates to the main clock tower. This sketch is labeled 2008 but that's because it is a refined sketch of the original. When a marble is at the starting point (1a) labeled BEGIN on this sketch, it is hidden from view. As it rolls across to (1b) a mama bird dips her head to feed the babies in the nest by the chimney. The marble continues to (2) the rabbit house. The marble launches the rabbit which jumps out of the window. As the ball continues it trips another lever that brings the rabbit back inside the house. Next the marble trips a wire that makes the owl (3) move its eyes. At (4) a duck quacks and flutters its wings and at (5) a chicken pecks for seeds; at (6a) a squirrel pops out of a tree hole; (6b) a gopher sticks his head out of a gopher hole; (7a) the treehouse front door opens to reveal a bear that waves; (7b) closes the door and proceeds to (8) which is the reload station to get picked up by the conveyor belt that will transport it to the top of the clock.

The Current Stage

Here is the real-life clock as it appears today 8-11-11. The large house at the top of the tower will be the main feature that contains the clock face. It goes the square hole you see and will be in front of the brass clockworks. Ironically, after 15 years, I still hadn't attempted to start the clock until July 2011...but it ran on the first try! As I assemble it, the "house" can be removed from the tower and be worked on.
On the left window you can see Mr. Rabbit poised to jump out of the window. Center, the square hole is where the owl mechanics reside. What is shown here (lower tower) is the "innards" of the tree. When completed, I will have the marble tracks circling around the central tower, and then around that I will add the "fuselage" or outer shell which will appear as tree bark to complete the tree shape. There are many other mini houses that adorn the sides of the tree where some of the animation will take place (as seen on the original painting). Lots to do yet...

Treehouse Marble Clock: 7 ft. - Chapter 1

2011-08-09T23:15:00.000-07:00

This is the story of a love that has lasted for more than a decade. It began for me about the time most men experience a mid-life crisis. Mine was more like a mid-life inspiration—spawned from a desire to create something fun (artsy) and also submerse myself in a world of mechanical engineering and problem solving. Kinda like a Rubics Cube that keeps on giving...
How it all started
In 1996 I had begun making clocks after inheriting my clockmaker dad's collection of woodworking tools. For the following years I upgraded with a new table saw, a nail gun, planer, etc. I wasn't too concerned with being a master carpenter. My dad built clocks for fun but was the kind of woodworker who labored over stains, salivated over the grain of the oak or the richness of the mahogany. Yawn... I have always focused on the creative aspect of the end product and less about the wood that got me there. I use soft woods (basswood) for carving and hardwood (alder) for moving parts. Everything else is selected by what it can do to help me achieve the result I wanted—and without all the snobbery. I've used plywood, mini cedar shakes (I split myself), slate, metal, glass, five kinds of glue, cardboard, warehouse palettes, pine, beads, twigs, acorns, cement, stains, paints, re-purposed car parts and more. I have the advantage of being a painter (the artist type) so I use those gifts to achieve whatever look I want through layering techniques and faux painting. I can then arrive at a look of realism that's not really real! So the Treehouse clock began with a dream of doing something creative on the outside and intensely low-tech mechanical engineering on the inside.

Treehouse Marble Clock (Introduction)

2011-08-09T22:42:00.000-07:00

The Inside Story
As I began the planning for this clock it was driven by the mechanical logistics. That sounds like a pretty heady term for a farm boy, self-made jack-of-all-trades, but I love pushing through problem-solving, based on common sense. You simply barge through problems until you find the answer! The times when I create/design the best are during the two hours (usually between 4-6 a.m.) before I get up. During the day I sketch whenever and wherever I can: in a doctor's office lobby rather than reading magazines, at a stop light, on a lazy Saturday evening with one eye on a Western movie. I am most happy with a scrap of paper and a sharp pencil. I must have OCD when it comes to sharp pencils with erasers. I know that I can burn an eraser off a new pencil in about one day. In the end, once the eraser is gone, especially if it's a short pencil—it's time for the round file.
Beginning the Plan
The first sketches I find in my journal were of the marble-release mechanism. I needed to be confident that this aspect could be accomplished. It HAD to work or there was no point in building the clock. Here is a look at that process. Even though I had the concept for that done first, it was reworked twice (2008 and 2011) before it was built. I actually finalized and successfully tested it for the first time in July of 2011.
From this original sketch (1996) the track is seen running top to bottom in this view. You can see the round marble indicated in the bottom area. The fish hook shaped piece is the gate and it blocks the marble until the chime action pushes the top of the hook to your right. That, in turn, drops the bottom of the hook into a slot which allows the marble to pass. This design proved to be unable to stop the marble which simply overpowered the chime hammer, opened the gate and plowed right on through to its heart's content! Of all the nerve!
The Completed Gate
In the end, the most problematic aspect was to get a "gate" that was easy enough to open and not hinder the clock chime hammer movement, and yet tough enough so that the marble did not knock the gate open as it came to an abrupt halt. The final gate of 2011 was the first one that achieved that.
It's hard to believe, but I made eight full "finished" models before I finally had success! In this final, tested fail-safe version, seen here, the gate is operated by the connecting lever-action arm (upper right) to the clockworks. The marble has just come off the vertical conveyor belt and is in the gate ready for the next hourly chime action. You can see the brass rod (right in front of the marble) that is extended which holds the tiny gate door closed and blocks the marble. I built little "speed bumps" out of felt strips to slow the marble down and reduce the high impact hit off the gate. They are on top of the green felt track covering, but hard to see here. Also you see the peg on the left of the marble. That is there to create an exact, minimal channel width to snug it up to the release door on the opposite side of the marble.
In the last photo the rod is recessed (by the clock movement) and the tiny door is allowed to "open." With that action the marble is free to leave, and in doing so, begins its long descent down the track through the animal action stations. [P.S. for those of you finding this from the How To section, go to: clocks, treehouse Marble label for the complete story.]

An Old New Project

2011-08-06T20:15:00.000-07:00

I am starting on another project that I'd like to track with you. It is a seven-foot, standing clock. As you may know, I have built custom clocks since 1994 and have alternated my attention between clocks and painting. Well, it's hard to believe but I've made the switch again! I started this monster project in 1996 and have periodically returned to it, only to pull away after a few weeks because of other projects that seemed more doable and quicker return on investment (ROI). In June I started working on it again, and am making good progress.
I call it the Treehouse Marble Clock and I am getting some visuals prepared to launch the blogging on it. Stay tuned please...

Here I am

2011-05-17T20:49:00.000-07:00

Sorry for not staying in touch. My day job is very busy and engrossing so I just shut the right side of my brain down for awhile to take a short sabbatical. I know this is not the best way to maintain a blog but it was necessary.... See you soon.

Thinking about something new

2011-04-12T20:49:00.000-07:00

I know, I know... I have three half-finished paintings but I'm still not ready to work on them. I have painter's block on them because, ummmm, well... just because!
So here's one scene I've been dreaming about. I took this photo in 2007 near Kalispell, Montana (my home town). I love the feeling of expanse in this scene and when I am in rush hour traffic, I visualize this house. I am prepping a 16" x 48" canvas now on this and one other. I think it needs water so I'll throw in a river on that flat field behind the house. And maybe a long driveway winding through the field. (I'll tell you about the other painting idea in another blog).

TIme out for Easter

2011-04-10T16:25:00.000-07:00

This week I painted a 12' x 5' scene for our Easter program at church. It is a depiction of the earthquake, darkness and rent veil that occured at the time of Jesus' death. Here is the original sketch and an in-progress photo. In this view, the rocks are shown (3D with "floating" pop out panels). This was about midway into the project, and the cross will hang in front of this view.

Little Place Outside of Town - Post 3

2011-03-26T11:43:00.000-07:00

Day 2 and working toward the foreground.
I am attempting to adjust each zone to blend
more together. The lower photo shows the result—I've finished some of the detail but then, since I'm in acrylic, I've put a glaze of purple over everything to pull them together.

Sometimes when I imagine myself up at the viewers height and look down to the bottom, I get a little squeamish about painting that close to the cliff! Other times when my eye follows the winding road, if I really place myself into the scene, I feel car sick. It must be realistic if that happens!

Little Place Outside of Town - Introduction

2011-03-24T08:49:00.000-07:00

My pattern sketch

Ok, let's take a break from Hidden Retreat. By the way, I was offered a place in a New York and Beijing gallery show with that painting. There is a cost involved so I may not participate.

This 18 x 24" scene is one I've had drawn out for about five years. I just wanted a break so grabbed it and started painting. I started in oils and after the first day, that went into the dumpster and I started this one in acrylic. Illustrative works are much easier for me in acrylic. This is layered greatly, and I just keep building the hues and values to what it needs. With oil, that process would either get muddy or take two weeks to accomplish the same thing.

This is a humorous scene that has a full title of "We have a little place just outside of town." As you see in the sketch, the road from the horizon leads to the castle on the lower right. Today I will tackle the finish on the red bank on the river and then the foreground area. Fun!

Hidden Retreat - Post 8

2011-03-21T22:13:00.000-07:00

Well, it's coming! Every day I get a little closer! Today was spring break so I took the afternoon off and got a bit of the foreground and trees adjusted. It shouldn't be too long now. I still have the lower right rockery to do and also value adjustments on the road and wall. Also detail in the fir trees. It is starting to look like the retreat I imagined. People have asked, "where is this from?" The house was from an old black and white photo from Portland, Oregon (no longer standing). The rest I've made up from my imagination, which speaks to why it is taking so long! I not only had to imagine the scene, but all of the color and values.

Hidden Retreat - Post 7

2011-03-18T21:44:00.000-07:00

Today I detailed some of the middle ground forest and also altered the sunbeams coming in from the right. The trees are finished but the sunbeams still have some work to mix in some trees in front of and behind the beams. I included a full shot to see where they are on the painting. I also did some pretty extensive shifts on the perspective of the tower column. It was bugging me and I think it was worth the timeout to fix. You can compare it to post 6. The lighting is different so you get a different color variation in the sky. This is a lot more accurate than the previous ones. This is my 5th week of work on this and I'm only half done!

Hidden Retreat - Post 6

2011-03-15T21:12:00.000-07:00

Saturday I had an epiphany and tore into my sections of dissatisfaction. I did not like the sky and in the process of fiddling with it, a mountain was born! I also warmed up the sunny side of the house and now, since I put so much raw paint on the sky, I have about a week to wait for it to dry.

Hidden Retreat - post 5

2011-03-15T21:03:00.000-07:00

I have made some mid-course adjustments because I didn't like some things that were going on. The perspective was wrong on the house so I corrected it (3 times). I also made some changes to the background and warmed up the right side of the house.

Help Needed

2011-03-08T19:52:00.000-08:00

Anyone out there know why I can't add selected photos? As of yesterday this posting process does not allow me to insert a photo (implying that I do not have rights or licensing for the photos. Why is this and what can I do?

Hidden Retreat - Post 4

2011-03-05T15:47:00.000-08:00

Today was a good day of painting. Got up early and had a long spell without interruption (until 2 p.m. when I was assigned some honey-do work in the yard so had a nice (active) break. My eyes are fatigued and I am not sure what to do about it. Actually I do know, I just don't want to stop painting.

This post shows the finish work on the house details. Lots of color and value adjustments and detail cleanup. On the sunny side of the house (compare last post) I've warmed up the color to coincide with the skew of gold that the sunset makes on the house. I think next I'll do more of the distant and mid ground trees. I will save the wall and closeup stuff for dessert!

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2011-03-02T22:48:00.000-08:00

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Hidden Retreat - Post 3

2011-02-26T20:36:00.000-08:00

Here is the third in the how-to series on Hidden Retreat (see Labels section: hidden retreat). Since the first post, I have detailed the house a bit with white window frames and shakes on the roof. I also added light contours to the clouds to give the light direction.

I generally think of this stage as "roughing in" and anticipate adjusting color and value as it gets closer to the finish. For example, the white window frames are all the same brightness. When I get the rest of the house detailed, I will brighten the right (light source) side. Some might be smarter than me to do it from the beginning but I generally wait to feel my way along on the light intensities.

The trees are roughed in also. I have the distant trees as softer purple and mid-ground trees as light green, without detail. The two closest trees and the lawn and foreground are there but just as shapes without details or light variations. That will come as I get more of the rest done.

Peaceful Sunday Street (update)

2011-02-22T18:09:00.000-08:00

Here is the next-step progress on this painting, begun 2-12-11. I have roughed in the tree area and have put in the undercoat of the house. Once dry, I will transfer the siding details on the house from the full size sketch and begin that process. I will alternate sections of the painting (house, trees, foreground, as other sections dry, just to keep the progress moving.

Up at Dawn (update 2)

2011-02-21T17:43:00.000-08:00

Here's an update for today. Three day weekends are great for making progress. I love the look of a light flare-out on objects back-lit by the sun. The tree is well on its way to do that. I will also add a lot more feathery tips to branches which will capture more light too.

The house verticals are not cockeyed, my photo just messes up the paralax. The cool (shadow) side of the house is blue but will not stay that way. Once I get the window frames in, I'll do glazes (washes of paint thinned with Liquin Original or Galkyd lite + mineral spirits) to pull the colors closer together. The front will have warmer white+Cad reds to tie in with the sunrise, and the cool side will have more white but without the warm tints. The snow will also contain a lighter value at the edge.

This part of a painting is critical (and hard to be patient) because it is the incremental light and hue elements that make or break the final realism.

Up at Dawn (update)

2011-02-19T17:38:00.000-08:00

Made good progress today because of a tip by my friend Larry Kassell. I was stymied by the fearsome task of attacking the detail on the house based on my sketch. He introduced my to Saral Graphite Paper that comes in black, white and colors. For 40 years I've been scribbling pencil graphite on the back of my sketch pattern and then using a ball point pen to transfer the image onto the canvas. With white Saral, I could simply transfer it onto the dark indigo blue around the roof which was far easier to see than pencil graphite. You can see my white lines around the left side of the house.

The second floor window isn't painted in yet because that's the "up" window in Up at Dawn and will have a golden glow instead of darkness. Mr. Occupant is probably in the bathroom brushing his teeth....

I am not done with the tree. Too bulky in the upper trunk and I will also do a sun flare-out where the tree is backlit at the horizon. My triumph today is the subtle light on the roof. Took about 2 hours today to do all of the changes you see from my last post (2-12-11). [Note: on the LABELS column to the left, you can click on the "up at dawn" label and it will give you all the posts for this painting in sequence.]

Sunrise Blush

2011-02-18T20:15:00.000-08:00

Here is an 18 x 36" oil painting inspired by a view from Hwy 22 west of Salem, Ore. near the Cross Creek Golf Course. (Apparently I wasn't paying attention to my golf score...)
It is skewed with a rosy tint but is interestingly compatible with a wide range of colors. It is currently in my office building at work.

Painting 101 - Chapter 3

2011-02-16T21:21:00.000-08:00

Here is a glossary of terms about color that you might find useful:
Advancing colors: warm colors such as red, yellow and orange.

Receding colors: cool colors such as blue, violet and green

Analgous colors: colors adjacent to one another on the color wheel. Example: red/red orange/orange.
Complements: colors opposite on the color wheel.
Hue: the term for referencing any clolor.
Monochromatic: one color in its shades and tints
Primaries: colors from which every other color can be made--red yellow blue
Secondaries: colors made from mixing any two primaries
Shade: any color mixed with black
Tertiaries: colors made from mixing a primary with any color than a secondary
Tint: any color mixed with white
Tone: any color mixed with gray
Triadic colors: three equally distant colors on the color wheel.

Hidden Retreat - Post 2

2011-02-15T22:30:00.000-08:00

Here is the beginning of Hidden Retreat: an 18 x 24" oil. In actuality, it is not this vibrant, but my photo correction work isn't there yet...
Hidden retreat (see sketch from 2-12-11 post) is a moody, dark painting with patches of sunlight lighting the mansion. The ochre sky will be complemented (by its complement color!) purple in the shadows and browns of the house.
I'll let this dry for a couple of days and then cut in the background trees, then begin on the house. Since the house is going to require some pretty intense line work to get the details correct I don't want to be doing that around wet paint, so it'll be a week or more before I get into doing the house.
I'll probably jump over to Peaceful Sunday Street in the meantime....

Painting 101 - Chapter 2

2011-02-15T21:17:00.000-08:00

Types of Light
Reflective light/color
The subject of light and shadow are always fascinating to me. I constantly look at things as I am out driving (ok I watch the road sometimes) and I study how light affects the shadows, color temperature and moods around me. Here are a few principles:

1 When viewing a painting, (depending on the canvas or board), reflective light bounces off the color on a painting and is then received by our eyes. The very lightest color, made from adding white pigment, appears bright but it can never exceed the 0 value of the white. It is not the most vibrant way to view color because mixing white pigment into a color pigment to lighten it automatically makes it a tint which is inherently dimmer than the pigment's pure hue. The goal should be to avoid making tints (adding white) when trying to achieve a very vibrant color.

Transparency
1 Transparent Color: To achieve a lighter hue of any color, make it transparent. In transparent color, the "white" being used to lighten it is actually the white of the canvas (or white underpainting you've laid down, similar to a watercolor painting). It is not necessary to add white pigment to the paint color. Simply thin out paint pigment (as a glaze, using 50% Liquin Original or Galkyd Light and 50% mineral spirits) and wash it across the canvas in a very thin layer of color which allows the white underneath to "light" the pure pigment. This color is generally the brightest way to express color in a painting. However using it in too much of the area in a landscape will just make it look gaudy and unnatural.

2 Transparent Light: is essentially using a "back lit" method, or, having the light pass through the color from behind—through a colored film or screen. An easy example of this is your computer screen. Have you noticed how great a photo looks on screen only to poop out later when printed? It's because the intensity of the light can be increased greatly to brighten the color it is passing through.

Practical application: It you have a painting that involves sunshine and shadow or filtered light, using transparency method for the sunshine on an element like a tree, etc., can heighten the sensation of bright sun, compared to using a reflective method (tint) on the ambient light or shadow sections of the painting.

If you look at the painting called Up at Dawn (see below, posted 2-12-11) you can see the sunrise color blend from pink to yellow to green and then blue. This section was a transparent glaze so that it was vibrant and not pastel in appearance.

Fun Fact: With reflective light, the sum total of combining the three primary colors (yellow, blue red) made of pigment creates black. In transparent light, the sum total of the primary colors (red green blue), makes....white.

Ok, that's all for today. I need to go paint and practice what I preach...

Painting 101 - Chapter 1

2011-02-13T20:34:00.000-08:00

Basic Painting Principles
I taught a painting class this week with that title. I've been out of teaching for a lot of years... and it was fun to do it again. There are so many things that we all take for granted, after having done them for a lengthy period of time.
I think I'd like to share some things with y'all and hope that we can use it as an interactive place to learn from each other! Call them tips, call them rules—call them whatever you want. But let's just immerse ourselves in self improvement.

So, here are some things that I've learned over the years and apply all the time. Please don't say: "well everybody knows that!" Not really. I find people all the time who are advanced in their art career and surprised to learn something new. I always say that if I learn something new, it doesn't mean I was dumb before—just ignorant. We're all ignorant about many things and the way to conquer ignorance is being open minded about learning.

Graying and Brightening Colors
Colors are categorized by their relevance to purity. Graying colors are those that are mixed, either by the artist or inherently in the tube, as tertiaries. Graying or deadening a color is done by mixing those colors mixed with another color other than those next to each other on the color wheel. The most obvious are complements (colors that are directly opposite them on the color wheel). Brightening colors are those that are pure and vibrant. In a practical way, landscapes generally use graying colors for distant elements: storm clouds, mountains, distant hills,. Examples of graying colors are: Alizarin Crimson, Naples Yellow, Yellow Ochre, Burnt Umber, Ultramarine Blue. Foreground elements use brightening colors which are sharper and brighter for the clearer view of them close up. This is a way to convey the effect that our vision is influenced by atmospheric conditions, making the distant items seem less clear and mellow. Examples of brightening colors are: Grumbacher Red, Vermillion, Cadmium Yellow Light, Cadmium Orange, Burnt Sienna, and Prussian Blue (or Thalo).

Helpful Tip: Washing Brushes with Dawn
If you suffer from allergies like I do, I cannot have mineral spirits or solvents in the same room that I am in. Awhile back I came within a few days of completely giving up oil painting because when I cleaned my brushes, my sinuses were locked up tight for a week. Finally I deduced that if DAWN dishwashing liquid could get the grease and oil off of water fowl after an oil spill, it darn well ought to be able to handle a little bit of oil paint on my brush. Sure enough, I've been washing my brushes out with Dawn and warm water—no solvent— for four years and it works just wonderfully. Just a spot of pure Dawn in the palm and then scrub/rinse the bristles as many times as needed to become clean.

Little Island Vic

2011-02-13T19:28:00.000-08:00

Here is a cute little Victorian house sketch that I've made into an island retreat. It will be an 18x36" oil. I like the fact that it is a three story house but with a very tiny footprint. I must decide now what the coloration/light will be—either mid day sunlight or a night time moonlit scene. Stay tuned.

Hidden Retreat - Post 1

2011-02-12T07:55:00.000-08:00

1. ...And waiting in the wings, I have this painting sketched now and will begin painting it along with the previous two. Since the stages of an oil painting take time to dry, I like to alternate work on three at once so that I am not held up, as they say, "watching paint dry." You might be thinking, "I wonder why this scene is called 'hidden'." Well, here's the answer: as the scene will develop, there are large fir trees that overlay the view of the house (see marker lines for stump at lower left). This will be a tree clear to the top of the painting and the scene will be fairly dark and in shadow. Occasionally, sunlight will accent the house and brightly reveal it in some areas. I have a photo of a man sitting on steps (from the 1800s) and I will add him on the porch to the left. I also want to put a horse and carriage near the entry on the right.

2. Talk about providential! I wanted some reference of how to do the rock wall. During my morning walk the next day I rounded a bend in the road and... wow! There it was! I took this photo on my camera phone and it will serve as reference for the rock wall in the sketch. (I don't think I'll put the security sign in the painting).


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Peaceful Sunday Street

2011-02-12T07:47:00.000-08:00

Here is the next-in-line painting. I have loved a picture of this street scene for a long time and finally am acting on it. I've combined the street scene with a Victorian house to create a vintage atmosphere of America past. I hope to add a horse and carriage on the street and some characters on the porch.

Up at Dawn Progress

2011-02-12T07:41:00.000-08:00

Today I am advancing into the house on this scene. Completed the horizon and city lights section and added some background trees. As soon as the house shape is dry I will begin the task of creating all of the exterior detailing on the house.

My Current Painting

2011-02-04T18:28:00.000-08:00

I am working on an 18 x24" oil painting called "Up at Dawn." It is a crispy, early-morning snow scene with a big three story house. The upper window will have the light on, creating the only warm light in an otherwise greenish-blue sunrise.This is a fine-tuned realism one so it'll be awhile before I finish.

Long Road Home

2011-01-16T20:03:00.000-08:00

Another painting completed—The Long Road Home is a 16 x 20" oil. Actually I work three at a time so they will dry and rotate as I work. The next one crashed and burned so it will take a bit longer to wrestle to the ground... This one is referenced from a photo I took west of Salem also, actually the same day as The Sunrise and Shadows shot. I added the house and road from the original scene. You can find this and all the others on my website: jstevenhunt.weebly.com

Sunrise and Shadows

2011-01-15T22:10:00.001-08:00

This newest oil painting is 24 x 30" and was done over the Christmas/New Years break. It was inspired by a photo I took a couple of years ago at Baskett Slough west of Salem, Oregon. I especially liked the vineyard on the horizon. I think I've developed a love of direct light views. After a lot of years trying to decided how to best sign my work, I've also decided on a permanent rule of signing in the bottom/ middle.

Majestic Cloud Dance

2011-01-10T22:19:00.000-08:00

Here's my next project. I am finishing up three oil paintings but doing the planning on this ranch scene from Eastern Washington. By the way, it's a collaborative effort with my sister: I took the ranch landscape but she took the cloud picture in Brazil. I've combined the two for my reference to do the painting (you can see the funny green caps on the golden wheat hills where I rough-seamed it). Should be done in a couple of weeks. I'll bring the buildings closer in and of course I'll try and eliminate my out-of-focus car mirror on the lower right!

Montana-Theilman Homestead

2011-01-01T21:31:00.000-08:00

This scene was made from photos I took on a trip to Eastern Montana, land of my Mother's family. I sold it to U.S. Bank before I learned that it was my Aunt's family homestead. I recently learned that it was bought from the bank in 2010 by a retiring employee. It is an acrylic, 30 x 40".

Lauren's Field

2010-12-28T19:41:00.000-08:00

Lauren's Field is a 24" x 28" oil painting I did that hangs in my granddaughter's bedroom. It was created to celebrate her life and welcoming to our family. It's from no particular scene, and primarily came from an expression of what I felt was a peaceful concept in my (right brain). Lauren is now three its still in her room. To see it, go to this blog: http://southerninmyheart.blogspot.com/2010/07/my-little-girls-room.html

The Golden Tree -- a how-to story

2010-12-19T20:10:00.000-08:00

This mixed media piece was inspired by my leaf art. But instead of real leaves this one is all wood. The wood, acrylic and gold leaf elements are combined for a real fun piece. This particular project was done as a donation to our local art association to benefit arts in education in the public schools. The auction is in February and is a grand event called The Clay Ball. It's a fun evening of dinner and art.

The project began as a thumbnail sketch one night while watching TV (probably). I usually sketch something small and gradually enlarge it either on a photocopier or tracing paper. I am particularly proud of the fact that the final is a direct duplication of the original idea.

Here is an enlarged pattern of the tree. It's in my shop where I cut the tree out of plywood.

Here is a wonderfully bad shot of the base structure. Some day I'll get the photography down and produce some better work. The side panels are bumped out 1.5" and the center panel has 1/8" rectangles that add some texture to the black background.

The undercoat of paint outlines the zones of color before the textural paint final. That's what the stages of this project were. Thanks for listening!

The Christmas Cross

2010-12-14T22:23:00.000-08:00

The Christmas Cross was an original concept I painted awhile back, and since it is Christmas season I thought I'd share it again. It's a very meaningful painting for me, and expresses my faith, demonstrating God's love through Christ's birth, his death and resurrection to make a way for mankind. I hope you can experience His peace this season.

Maple Leaf with Medley Bangles

2010-11-22T09:37:00.000-08:00

This wall hanging centers around a gold-edged yellow maple leaf surrounded by darts of rhodie leaves. The background is green/purple crackle with the purple triangle points covered with spotted green/amber maple leaf cuttings. The yarn bangles show red wooden beads and four types of leaves: aspen, plum, vine maple and birch.

Introducing my How-to Blogs

2010-11-21T16:40:00.000-08:00

Back in July I showed you my Texas Town clock, but today I added a blog on how it was built. If you'd like to see it, click on the how-to label in the LABELS section on the left. Thanks!

The Acme Stove Clock

2010-11-19T22:23:00.000-08:00

My wife and I took a trip to Vancouver Island, B.C. a few years back, and journeyed around its perimeter one day. As we traveled, we stopped at a number of antique stores where I bought sets of related items such as kitchen utensils etc. I found the book shown here in the "book rack" of this clock. The Acme Ranges manual for "better cooking" was the centerpiece for this clock. I did a series of this basic design with different themes/antiques. All have sold, but I still have the patterns and the ideas in my head for more!

Moody Misty Morning

2010-11-18T21:47:00.000-08:00

This is a painting inspired by the Baskett Slough west of Salem, Oregon. I was up early on a photo-shooting trip and saw this early morning fog hovering around the hills. I added the house later. It is a 30"x40" oil on canvas, and is for sale.

The Good Life

2010-11-17T22:06:00.000-08:00

"The Good Life" brings up feelings inspired by my rural upbringing. We didn't have a lake in our yard but my cousins did. Their lakefront appaloosa ranch near Fortine, Montana is really what inspired this scene. It is the direct opposite of life as I know it today, commuting to work through busy traffic. The peaceful scene I imagined for this family home simply dipicts a lifestyle that has the city craziness beat! Oil painting, 2007, 24" x 48" ; also limited edition prints are available at 12 x 24".

Spring on Jensen's Farm

2010-11-16T20:23:00.000-08:00

This 2007 painting is a real favorite of mine. I was driving south on Hwy 99E from Portland, Ore., one evening having fun shooting photos of the storm clouds and setting sun. Each time I stopped I thought I was done, and then a few miles down the road I'd see another must-do angle. As I approached this farm I knew I had a winner! After a few weeks I finished the painting. I needed a name so I thought of "Spring on Johnson's Farm." Well, Johnson sounded too obvious so I changed it to Jensen. About three months later I asked a friend what the name of the farm was and....(creepy music cue) .....the name of the family farm was Jensen. THAT was eerie and still amazes me today.
It's a 12 x 18" oil on canvas and is for sale: $250 (framed).

Maple Leaf and Support Group

2010-11-15T18:24:00.000-08:00

I love this pristine little lady—a maple captured midway between green and red. It's on a black background and has a ring of weed buds that each contain a bead and a bit of gold thread. The stem is beaded and just a fun, (5") accent.

The Beacon

2010-11-14T20:01:00.000-08:00

One of my favorite paintings is The Beacon, an expression of a scene I encountered in 2008. I was driving back from Corvallis, Ore. after a day of shooting photos. As I passed through Albany, I saw this building barely visible in the fading light. I shot a quick series of photos and was surprised at how much light was captured by the digital camera. I like the low light subtle differences of the scene the best. The building was minus the steeple which I added to carry the theme of it capturing the light much like a lighthouse.... which is precisely what it is.

Moondiddle Clock

2010-11-13T22:34:00.000-08:00

I just wanted to have fun and do a clock for a kid's room. I apparently succeeded because it sold. All of the elements were hand carved and the overall shape was cut from wood and hand painted. I wonder who bought it, and if they'll find this blog..... SOLD

The Leaves of our Lives-Chapter 4

2010-11-12T19:17:00.000-08:00

Introduction

I have been known to have a sense of humor that occasionally escapes. My right brain is where that information is stored whereas my left brain is where I hear it urging me to act my age. Sunday morning I awoke at 5:30 (hello daylight savings!) My right brain had been up since 5:00 a.m. and already dreaming up a line of silly leaf ideas. I slipped out of bed and got on the computer—rattling out a string of "Romance Novel" stereotypical phrases (not that I've ever actually READ a romance novel...) They describe some of the leaves in my vast collection.

Most leaves are serious, geometrical, creative tools. But some, well... they

just ooze personality and need to be given an audition.

Thus, here they are, THE LEAVES OF OUR LIVES.

"Do these pants make my bottom look fat?"

Silver & Gold Showdown

2010-11-12T19:07:00.000-08:00

This 12 x 18" piece showcases the maple leaf and its bones. The leaf cube cross sections display the veins and unique color of the maple. The bead row is a blend of earth colors each set in a silver ring.

The Leaves of our Lives-Chapter 3

2010-11-10T21:39:00.000-08:00

"As their relationship developed, Samantha was smitten. Yes, he was a little different, but she could not imagine life without him. In spite of her devotion, most of the relatives questioned the relationship and considered him a little rough around the edges."

The Leaves of our Lives - Chapter 2

2010-11-09T20:45:00.000-08:00

"I know you're bluffing, Louise, now PUT THAT GUN DOWN!"

The Leaves of our Lives - Chapter 1

2010-11-09T20:34:00.000-08:00

"Monica could feel the color creep into her face as he gently took her hand..."

Grampa Leaf and Friends

2010-11-05T22:17:00.000-07:00

This is a mystery leaf I found in the forest growing like rhubarb. When pressed, these leaves are as thin as tissue paper. I love this design with its twig bangles at the bottom, the copper painted box elder leaves as a backdrop, and the maple leaf squares on top. Very fun. By the way, this is the last project I did with varnishes, super glue and mineral spirits. I've been having tremendous alergy attacks for about four months and had blamed it on the pollen around our town. Then one day I (re)read the label on the oil-based products I was using in my little closed-in studio and found that the label says if breathed for prolonged periods of time, they "will kill you and all of your children, grandchildren and great grandchildren if you don't stop inhaling this stuff right now!!" So, everything I do now is with water-based products. Not as good but hey, I'm alive. Here are some detail shots:

Copper Integration

2010-11-03T18:18:00.000-07:00

I am celebrating my first blog in two weeks! This is why... I've been busy getting two more new pieces of art off the table. This one, Copper Integration, combines several textures and elements. It began as a recycled backboard that had another life. The large maple leaf is the anchor in the design and the heart shaped yellow leaf (detail below) offsets the design. The color zones are separated by weed buds and the upper right top has a quintet of twig buds all dressed up and wearing their gold "makeup!".

DETAIL: The fan-shaped leaves are wearing their "jewelry" (beads). It's a very rich-looking, earthy piece that will complement a contemporary room.

Leaf Overlay Beauty

2010-10-18T17:47:00.000-07:00

This was a labor of love with its beginning as far back as a year ago. Oregon has had a very late summer and fall, and so here it is Oct. 18 and many of the trees are still green, but I've been diligently collecting leaves and have several hundred on file. This piece is made up of leaves from: star lily, blackberry, plum and the center design is an ivy bud, just before going to seed. The twigs are from a prune tree and vine maple. All of the elements were happily camped out in my shop, drying and waiting to hear me come over and choose some of them for their chance in the "hair and makeup" chair, and then fame and fortune.

The Spirit Within

2010-10-12T13:30:00.000-07:00

This is another Natural Element design -- inspired by the crusty old leaves found this fall around my house. It has a 1" thick wood casing base that the leaf rests on and the hole is about an inch deep, bearing the "new life" leaf that represents our Spirit. Although the old body is fading, the inner strength of the Spirit is where the true picture of our daily lives is revealed. It is a very meaningful concept to me right now. The leaves are trimmed with a gold edge, and the base is deeply textured and covered with a varigated color blend of purple, bright orange and gold, set back in value because of a coat of mohogany stain that softens the bright colors. I love it!

Carriage House

2010-10-09T21:44:00.000-07:00

This painting was done from a photo I took of the carriage house for a historic estate in Salem, Oregon. It was enveloped in warm evening light, and the old house is in the background. It hangs in my office for now, but would be glad to find it a nice home. It's a 14' x 30" acrylic painting..

Southwest 3D Clock

2010-10-06T22:03:00.000-07:00

This little gem was built from cedar and an old barrel strap. I like it.

My Old West Clock

2010-10-03T21:43:00.000-07:00

This clock needs a nice (cowboy) home! It is my all-time favorite creation and has a lot of history integrated into it. It has a base made out of a reconstructed foot locker that undoubtedly made its way west on a covered wagon. The pendulum is a horseshoe and the background behind it is a (hand painted) Navaho blanket. The leather straps and buckles beside the glass door are actually carved wood made to look like leather and steel. The star on top is a turquoise gem that is acually hand-painted wood. Sides of the clock are distressed, silky-smooth rough wood. The curved metal top also uses vintage metal from the foot locker. This clock is a unique, all custom collector's item that can be found at Beacham's Clock Company, Sisters, Oregon (541-549-9971).

The Aqua Silouette

2010-10-02T10:40:00.000-07:00

On a clear winter day I looked up and became intrigued with this view of Grampa Tree. I love that sequence of Big Daddy trunk, Teenage branches, and the thousands of Itty-bitty Fingerlings that complete the image. Many of us think that the glory of a tree is when its seen with its leaves on, but I like to see the "soul" of a tree that constitutes the real beauty... Prints are available up to 20" x 30".

Spanish Door Clock

2010-10-02T08:13:00.000-07:00

I like this clock but lament the fact that the photo quality is not good. I was origially the master for a ceramic mold, but I never completed that process. So I just took the original and painted it for a finished design. It is 16" tall. SOLD

Big Mountain Blues

2010-09-30T21:30:00.000-07:00

This 2007 painting I did takes me out to the great outdoors and I think that maybe it was a precursor to my current Natural Element line which involves finding the beauty of nature on the ground in front of me. The thousands of wild flowers shown here are just a first cousin of the seeds, leaves, buds, and blossoms that I find so intriguing. Since I only have about 60 days in the fall to gather such items, you haven't seen much in the way of completed projects. But don't worry — I'll have lots up in a little while. When I gather leaves, I have to take the time to preserve them the same day or I lose the effect of what attracted them to me in the first place! So my evenings are spent pressing and preserving them in the hope of assembly and doing the final creations in the near future. Stay tuned!

Willamette Heritage Center Clock

2010-09-22T07:18:00.000-07:00

Here is a project just finished today. It was made as a donation for a benefit auction of our local historical museum now called Willamette Heritage Center. It is 26" wide and is a very unusual concept and one that I did PLENTY of thumbnail sketches on to see if it would work. From the final photo it looks 3-D but as you see below, it is more relief than anything and the buildings are really skewed to get the right feel for a wall hanging clock. It is sort of a hot air balloon view I guess.

As you can now see, it is about 6" thick at the bottom and 1/2" thick on top so that it allows the view to "curl up" toward the bottom to simulate a forced perspective of the foreground. I love perspective challenges and this was a doozie! Yes, that clock time is correct (5:50 a.m.) when I shot these photos so now I need to go on my walk and then get to my day job! SOLD
- J. Steven Hunt

Leaf Burst — Final Chapter

2010-09-22T07:06:00.000-07:00

Here is the final on this piece in my Natural Element line. It is a combination of natural leaves and painted shapes, about 20" around. This piece is going in the Salem Free Medical Clinic to hopefully inspire many people. In the closeups below you can see the detail of the center burst. It is made from the top of a (weed, I guess) that grows around Oregeon. It gets to be about 7' tall and looks like bamboo. The top has these intricate stems that just "burst" like an explosion out to the blossoms. I gave it a shave and haircut and painted it purple with gold tips. I love it. I only have about 300 more leaves to do some more of these, all in my NATURAL ELEMENT line.

Post #3 on the Leaf Burst wall hanging

2010-09-19T21:37:00.000-07:00

This weekend I continued work on the base of this piece. I have now stained it and worked on the central burst, but it's still just temporarily fastened. Until I get all of the stain coats dry I won't install the leaves. The spots are created by interrupting the smooth stain with droplets of alcohol (thinner) while the stain is still wet.

Leaf Burst Wall Hanging

2010-09-15T22:09:00.000-07:00

In this current piece Natural Element piece, I am making it to decorate the walls of an exam room in Salem's Free Medical Clinic. I cut the background parts out of hardboard and MDF board—about 24" round. After arranging the outside shapes I painted the backboard a metallic-sheen copper.

The last couple of weeks were spent pressing three kinds of leaves and coating them with varnish. I mounted each one on card stock just to ensure that they don't break. Here is what it looks like so far. Tomorrow I will add more drama to it with some "secret" (special sauce?) painting tricks and then add more leaves into the pattern to complete it. I should be done next week so I'll reveal the final to you.

MORE FUN: This a.m. on my morning walk I snagged a couple of stalks of those beautiful, white-pearled blossoms of a silver dollar plant. As I walked the remainder of my 1.2 mile journey I was plucking off the blossoms and putting them into an envelope—I was snickering inside wondering if the morning commuters thought I was a strange-looking nut case in my jogging shorts adorned with plant stalks dragging along behind me... Anyway, I got about a hundred blossoms but since I then separated the three micro-thin layers for each blossom, I actually ended up with 3x that many.

I also harvested the flat seeds that hide between those layers so that I can use them for "accent dots." I CAN"T WAIT to do a beautifully geometric, symmetrical design for an unusual piece of art.

Orchard Bright

2010-09-13T22:29:00.000-07:00

Here are the results of a simple morning drive that turned into a double-take of geometrical interest. The orchard drifted in and out of fog and with a little imagination I shot an angle that accented the horizontal ground strips with the vertical tree shapes. I shot four photos within a half hour of each other, capturing different scenes that all turned out to be winners. I loved all of the scenes but chose to stay with a high-contrast photo for Orchard Bright.

As I moved on from the orchard, within the next 200 yards I stopped the car and just drank in the scene that spread out before me. It spawned Mist-eria Lane, a painting that sold for $1,800. Ever since I was a boy I've been enchanted by the road that curves out of sight -- it just begs me to go a little farther and see what's beyond the bend in the road.
Here is the final painting--below.

Cobalt Tree

2010-09-09T21:01:00.000-07:00

I love shooting tree shapes and began doing so in 2009 to paint them. After reviewing my files one day, and feeling too lazy to paint, I began to "paint" them in PhotoShop. The results were very inspiring and I have a lot to show. I'll drag them out and show you a few at a time....

Rose Vine Clock

2010-09-09T18:52:00.000-07:00

One of my favorite clock projects -- 72" standing clock, all hand carved accessories and a great garden room theme.

Early to Rise

2010-09-08T22:04:00.000-07:00

Early to Rise is a painting that reminds me of my younger days on the farm. I like the wide open space and the light in the window that indicates someone is up for early for milking time... It's an acrylic that is 18 x 24".

Silvery Moon Driftwood Clock

2010-09-07T21:05:00.000-07:00

This fun clock began as a rough piece of driftwood and morphed into a beautiful, shimmery-metallic piece. The faux copper base and clockface rim make it a nice contemporary accessory. Available by contacting Kathi at kathibeacham@gmail.com

Here's to Labor Day with my bumpy blue

2010-09-06T19:15:00.000-07:00

I call this Bumpy Aqua Blue mantle clock and it's pretty artsy. The colors are all hand-rubbed so it has a textural appearance. There are 42 bead bumps on top that give it an old world (pirate chest?) look. This ones 12" x 12" and is still for sale!

Oak Bangles Clock

2010-09-06T19:06:00.000-07:00

I just sold this clock, and I am so glad it found a nice home....thanks to my friends at Beacham's Clock Co. in Sisters, Oregon who carry my work. It is about 30" tall and had an oak tree twig "tiara." The twigs were "frozen in time" (at the stage of being half-budded out) and tinted in blues and metallic gold. The hands were also twigs and the dial is, again, my special mix of water and oil based paints that do weird (beautiful) things when mixed. The bangles are willow branches accessorized with clay beads.

APPLE PIE WALL CLOCK

2010-08-05T13:14:00.001-07:00

The Apple Pie clock dial asks the question, "Got Time for Pie?" (My hand just went up!) This clock started as a way to have fun with the Washington apple growers, but it ended up as the Happy Valley Orchards clock. Where is Happy Valley? There must be a lot of them around....

It contains a recipe card for apple pie, an antique apple peeler, wooden spoon, enameled cup and an apple pendulum. The pie crust is hand carved and attached to an actual pie tin. Very fun!

ANGULAR CONTEMPORARY CLOCK

2010-08-04T12:54:00.000-07:00

I love this clock. It is 12" square (sort of) and from the top the juxtaposition of the layers is quite obvious—which amounts to about 2.5" thick with the four levels. I have a base color for each layer, and about eight coats of gloss spar varnish on it all. Between coats there are "rubs" of powdered metallic paint. The result is almost a hologram effect—the colors change as the viewer moves past it. It is for sale, as are all my clocks at Beacham's Clock Company in Sisters, Ore.... by contacting them http://beachamsclockco.com/

THE MULLET CLOCK

2010-08-04T12:43:00.000-07:00

Here's a little mantle clock that I liked because of the interesting variation of twig lengths in the wrap-around. The trickiest part was drilling sequential holes for the twigs. I dipped the twig tips in thick medium and then painted gold with metallic airbrush paint, which is a bit transparent. The resist pattern on the front of the clock is a special part of my work. There is an endless variety of patterns and moods that can be created on the copper base combined with clear stain, powdered metallic paint, and gloss varnish.

TWIG WALL CLOCK

2010-08-03T22:30:00.000-07:00

I gathered twigs from my yard and the Oregon Cascade Range to create this 14" wall clock. It is comprised of three separate rings with are embedded with twigs of various diameters and colors, and also beads. The clock inner dial is made of faux copper color with a resist pattern of greens and purples, much like the wedge clock from July 28. The hands are a fade of black to copper with a red dot on the tips.

TEXAS TOWN CLOCK ...a how-to journey

2010-07-30T21:16:00.000-07:00

I dreamed up a clock that is a miniature Western town. It is about 20" around, and has five buildings, two horses and a buckboard wagon all crammed in. It used a fish-eye view to accommodate all of that, and since it hangs on the wall, I foreshortened the items so that even though the buildings are 3D, the whole thing is only 3.5" thick.

Here are the steps it took to build:

1. Sketches: I sketched my ideas as small thumbnail drawings on a simple sheet of copier paper. I like to sit in waiting rooms, boring meetings, or in front of the TV and doodle the ideas into reality. Once the ideas get rolling I enlarge it on a photocopier, re-draw and re-draw it, sometimes with tracing paper, to refine what I see. I use a LOT of erasers, and I hate having a pencil without an eraser. I've finally come to terms with the idea that I should stop feeling guilty about rejecting poor, eraser-less pencils so I've made a rule that as soon as the eraser is gone, I toss the pencil. I rationalize that other men can hunt, some buy boats, some hang out in bars,so I ought to be able to afford to buy pencils by the gross.

2 Base and depth: In order to set the depth of a wall-mounted clock it must be very thin in order to not stick out from the wall too far. This can be a problem if you are trying to make something look 3D. So I set the max at 3.5" which is the depth of most wall clocks. You can see this top-view sketch which defines the width and the curve of the street scene. On the right you can see the top of the wagon (see item #8 below) and the bank with its round Roman columns (see FINAL VIEW below)


You can see the wood base here which was used to set the foundation of the entire piece. It is only 3.5" deep (front to back). The board on top forms the raised board sidewalk in front of the jail, general store and saloon. The squared box shapes drawn on it will be cut out and become the slots where the buildings are inserted.

3 Fish eye skewing: Another challenge was to skew the perspective so that I could get a whole town squished into a very narrow width. That way I could limit it to 20" wide instead of a few feet wide. This is called fish-eye or forced perspective and is similar to the effect given by a wide angle (fish eye) lens of a camera. I don't own such a beast, so I do all of the effect calculations in my head (which, of course is slightly skewed anyway). As you can see, the effect gives a curved horizon of sorts, and makes the largest element in the center a bit larger.

4 Cutting out the parts: As I began building the different sections I made photocopies of the original full-sized sketch and glued them to the wood in order to cut them out like a seamstress does a dress pattern piece. As you can see here, I built each building separate and inserted them in slots formed in the base. The brown backboard and the base were fastened together and then as I worked on each segment, I could "fit" them in and remove them for easier handling as I added detail.

5 The Feed and Grain building: The parts are uniquely shaped. The front has a sliding door, the interior a hanging light and hay bales. From the back you can see how these are staged. Viewing the top of the jail building, you can see how it is shaped to fit into the overall perspective—thick to thin, in order to follow the fish eye curve.

6 Details: Details included such things as the siding—either horizontal boards or old-west "batten boards" on the walls. Both of these were made from thin card stock (actually file folder stock). The process starts when I cut them into strips and soak them in a combo of Elmer's glue and water (about 40/60 ratio). See the photos below. I find that if you try and glue cardboard on to wood, there are inevitably loose sections that tend to bubble up. By soaking the cardboard in glue/water, I win that battle.

Here is the side of the building with the strips glued on.

7 Finishes: Once the glue is dry, I coat the entire piece with medium (clear glazing) which further seals them. Then I paint with a two or three step skip-trowel effect: flat base color then lighter values and hues lightly brushed over it in a sometimes random pattern. This enhances the effect of an old, weathered exterior for the buildings. Then I add detail like the lettering and window frames, etc. You can see that along with the cartoon-like skewed effect, it is funky too. I tried really hard to throw away my straightedge and allow the windows and doors to be cockeyed and casually fun.


8 The Wagon: The feed and grain store was made for the right end of the clock. You can see how skewed the perspective is, with the building leaning outward from center. I allowed some extra "shelf" space on the base so that the wagon could sit in front. The wagon was inspired by the photo above and is also skewed... very thin in depth compared to the width. It is only about 3/4" thick but seems to be 2-3" thick because your eye fools you into thinking it is thicker, based on our pre-conditioned perception of the shape of a wagon. The little cactus has real stickers on it (I swiped our hand-scrub brush and clipped off the plastic bristles then glued them into tiny holes drilled into the cactus).

9 Horsies: The sketch of the horses is 2D and it took a lot of brain rerouting to carve them that way instead of the usual 3D thinking. The left horse is ok as is but the right horse is seen as facing away from the viewer so because of the foreshortened clock, it had to be carved just as you see it here.


The 3D view of the carved horses. The black horse is standing sideways so his width is normal because it is in proportion to the width of the buidlings. The paint horse is and end view and his "end" is normal but his length is foreshortened because the depth of the whole clock is foreshortened.

The final view.


10 Clock Face: The face does not have numerals but words that reflect a Texas drawl. Just read them as you see them out loud. You'll discover that voila! You're in Texas!


The completed clock. It has a pendulum too, but I haven't added it yet—I've spent all my time on this blog! This clock is for sale: $250

WEDGE BACKWARDS CLOCK

2010-07-28T21:15:00.001-07:00

It was was fun dreaming up and building this unique idea. It runs backwards so that the dial turns rather than having hands. Backwards quartz clock movements are available at: timesavers.com You can judge the time within about five minutes....hey, that's close enough in today's lightning-fast world, right? It is showing 3:45 here.

It is made out of MDF board (Lowe's) and then faux painted: copper spray, covered with gloss varnish; then sprinkled with metallic powdered paint onto a light, almost colorless stain. The powder mixes with the stain (that is over gloss varnish so that it creates a resist effect) and kind of morphs around in a spotty effect. I used green so that it creates a sort of patina affect on the copper. You can get powdered paint at art stores or here: http://www.spectrapaint.com/fauxfinish/patinas.html It's mixable with water, used dry (spray clear coating over it to "capture" it kind of grainy-like. Mixing it on to wood stain takes about four days for the stain to dry because it's on top of gloss varnish. Finally, finish with more gloss varnish, repeat, repeat, etc