Into Scotland's Wilds, an overview

Friends and regular readers of this blog will be familiar with this Scotland project of mine. I have been scheming on its details for a couple of years now, and with more intensity over the last 18

Hiking up to the Old Man of Storr. Isle of Skye, 2009

months as it comes closer to realization.  The post you now read is mainly intended as an introduction and overview for the members of Slighe nan Gaidheal, but even if you are familiar with the project's basics I encourage you to read on, as the project has certainly evolved since its initial inception.

On July 1st I will be embarking on a multi-faceted solo adventure, not to return to the Pacific Northwest until August 26th.  Initially I had intended 4 to 6 weeks for this, but in the reading and the maps and the research it was concluded that this must be treated as though it is the one and only chance I'll have to do it. No toe-dipping, let's give it everything we've got!

The project began as a gathering of photographs and research in order to produce a new body of artwork.  My method of travel and discovery is unusual though, and not many would or even could attempt it the way that I do - but I am convinced that many would certainly enjoy reading about it, and travel vicariously along with me.  I want to show folks what it's like - to travel all on one's own with a backpack and a tent, to immerse and lose one's self in the landscape and culture so far from home and well off the beaten tourist routes.

Travels
Some of these places I hope and plan to get into are quite remote and will necessitate a fair amount of isolation and wild camping.  The journey will begin, however, with the first few days in Edinburgh.  I'll meet with a couple of good friends who are Edinburgh residents who generously agreed to take me to very worthwhile places within the city that are missed by most tourists.  From there, it's a couple of days in Inverness.  After that, the journey will get a bit more rugged. I'll camp at Cannich, then walk across Glen Affric, over the western mountains by Kintail to Loch Duich, and across the Skye Bridge to Broadford. I estimate this leg of the journey to take at least 4 days.  A couple of days on Skye will be spent, along with a two-day walk and camp up the Trotternish Peninsula to meet the ferry to Harris.  I hope to catch the Heb Celt Festival on Lewis, which is celebrating its 20th year.

Beyond that point I am keeping my schedule very open and flexible.  I don't want to rent a car unless it's absolutely necessary to reach some of the places I hope to visit.  Some of these places include Torridon, Loch Maree, Mull, and Knoydart to name a few.  The only other part of this journey that is set in stone is Glasgow and the piping festival.  I want to retain a certain amount of agility in this adventure - to get far and away and into places seldom visited by the usual tourist - to slow down, touch each moment, absorb and notice - to linger when drawn to do so, or take a detour to take advantage of an opportunity which might suddenly present itself.  Immersion and a good deal of flexibility are key.

What will come of this
During all these wanders and experiences, I will be photographing, field sketching, painting, and writing the whole way through.  New bodies of work will come from this - the feather paintings for which I am most known, but also other media and in quite a few cases, mixed media. I'll be keeping a sketch journal throughout this adventure to capture wildlife, villages, scenes and more which I anticipate will be encountered along the way. I've been developing skills with pen and ink, watercolor and colored pencil, often on location, for this purpose.

Upon return of the trip, I will be producing a book - an artist's travel journal - filled with photographs, field sketches, polished art, and literary documentation of the adventure.  I intend to utilize every method available to me within its pages in order to really capture the sense of the adventure and present the full picture.  I wish to show people what it's like to remove one's self from the tourist treadmill and really experience Scotland's heart and spirit.  I hope to have this in print before the next Fèis, and I wish to donate a portion of each sale of this book (which will also be available on Amazon) to Slighe nan Gaidheal in support of its language, music, and cultural education programs.

Another body of artwork I hope to bring about when I am home again involves use of multiple artistic media, and including source water which I will collect with great deliberation, as this water will be used in the depiction of the places where the water was collected.  Imagine a painting of the mighty Liathach which uses water from the wild burn that tumbles down its side, or a painting of the recently dedicated statue of Tom Weir (who has been a massive inspiration in this journey), painted with water from his beloved Loch Lomond where the statue stands.  I truly do feel that the inclusion of such source water will make these creations all the more special. I have found 4-oz. shatterproof bottles just for this project, and continue to experiment locally with its development. I'll try salt water next as I would very much like to paint Eilean Donan with water from Loch Duich.

How you can participate, and help me bring this about-
Last Autumn I introduced a package and made it available to any who wish to support this project.  Those who purchase will receive much more value than the price of their initial investment.  Right away you will receive a limited edition print certificate which is signed, numbered and embellished with a hand-painted thistle, suitable for framing. You'll receive a postcard of one of my Scottish paintings with a personal message mailed to you from somewhere n Scotland. when I am home, I'll upload a sizeable selection of photographs and you may go through them and tell me what you would like painted, and I will create for you a multi-feather painting that is matted and framed at 8x10. My paintings of this size normally sell for $200 to $220, but the entire package is only $85 ($95 Can, $115 int'l). That is the full price, nothing extra for any of the shipping. This package is my way of saying Thank You!  Thank you for your interest, your support, and helping me make this all it can be!
You may find the package here, as well as a photograph of a feather painting like what you would receive.
I can only offer this for a bit over  a month longer, to allow time to produce and paint on certificates before I fly.
Thank you so much for your time and your interest, and I will keep blogging as I continue to prepare for the adventure, and once the adventure is underway... when I have a connection and may do so. Mòran taing!

Shelters - or, "Home is where you... happen to stop for the night!"

'Behold, the Trail Snail.... She may be slow, but she always gets to where she's going. Eventually.'

This pen drawing in my journal was inspired by a little snail down at the bottom of the canyon and above the Falls at Palouse last April during my preparatory hike and camp-out. Yes, I stopped right there and drew her, and those words entered my head as I did so, for she is surely me.

Perhaps one of the reasons she's slow is she's carrying her house on her back.  That will be me too, come July and August.  I'll be far away from home, but 'home' in its basic sense will be with me, and wherever I happen to stop for the night - no matter how wild or isolated that stop might be.

The two-night camp at Palouse Falls in April let me know precisely the current state of my gear.  Some needed replacing immediately. My old worn out tent let me know that pertinent bit of information as I set it up. The carbon pole split when I bent it into position, and I felt a seam on the fly begin to give when I pulled it taut.  The shattered pole could be made to endure that one last camp though - wrapping it tightly cord convinced it to stay put for those two nights.  This particular tent is only guaranteed three years, and here were were, going into year 8.  I think I got my money's worth out of it!

Indeed, the little tent has been so good to me, I opted to replace it with another of the same make and model - a Saguaro backpackers tent by Texsport.  When the new one arrived, I took note of the changes they made since I bought the other 8 years ago; the most noticeable and significant was the reflective silver on the fly.  When I realized this silver was on the outside and not the underside, I thought surely this was a manufacturing blunder - why on earth would you want to keep heat out??  Should this not be to keep heat IN?  It turns out that it was intended this way, which is not a thought that would cross the mind of a typical camper of my latitude.  I pitched it in the back yard and slept in it during rain and calm. It definitely keeps solar heat down to a minimum, and it also seems to stay warm and

any wonder why I'm calling it the Silver Slug?

cozy at night.  I suppose silver really isn't any more obnoxious than bright red or yellow in the grand scheme of things, and if I manage to get myself lost in the west highlands, that silver might make me locatable with a few aerial passes by Search and Rescue!  I am kidding, of course. I've since nicknamed it the Silver Slug.  It's heavier than its predecessor, weighing in at four pounds.  It's bigger though, and could comfortably contain two people.  It has reinforced stitching at stress points, where the predecessor had none.  Another nice feature is the addition of velcro tabs to further secure the fly to the poles.  Having camped before in the high winds of Glen Shiel in the west of Scotland, I know that will be a welcome thing.

Now Scotland, particularly the west, is notorious for wet weather at any given time of year - much like our mossy Pacific Northwest.  With that in mind, a rain fly for cooking and dining is vital.  I went without on my last trip there, and regretted it on more than one occasion.  Amazon sold me a very nice 8'x12' tarp of good quality and of a minuscule 4 ounces in weight.  After a few embarrassing and futile attempts at setup with cord and trekking poles in the safety of my yard, I turned to Youtube for advice.  There were many videos with fancy flies and fussy configurations, but thankfully I found one fellow in the UK who subscribes to the 'Keep It Simple' philosophy.  I include here a couple of views of the configuration I'm settling with (for now), with the 90-pound retriever clearly under the impression that this is his new house.  I'll also include at the bottom of this post the video I found that has allowed me to set up a rain fly with a bit of confidence, two trekking poles, and no trees.

As a friend rightly stated, "It's a pup tent!"

This should keep the rain off my back and my cooking.
And hopefully the wind too.

Building a writing habit.

The title of this blog post may seem overly ironic, as I have been in the unfortunate habit of neglecting this blog.  In the midst of gathering up all the strings of this summer's project and pulling them all together, I've let a couple of things rest by the wayside - this being one, and Gaidhlig studies being another.  Time grows painfully short and I want confidence that I've put my attention to the most necessary matters.

It is not to say building up writing skills has been neglected, however.  When I want to fully commit to something, I do it with pen and paper. The tactile act of writing triggers parts of the mind that typing on a keyboard does not. So it made sense to pursue this through use of a paper journal over the past year, and also by expanding this learning through the reading of several books produced for such a pursuit of improvement.

The summer's project is about more than producing art, and it is about more than travel in immersion, slowing down, and getting well off the beaten tourist track.  It is about presenting such travel to people who might not be able to visit another country in such a way.  To do this to the best of my ability, I need to be able to do so through carefully crafted words as well as through photography and art. It's the only way to present the full picture.

Palouse Falls, in Southwest Washington

Allow me to paint for you in words some of what I intend in this journey. 

Marmot babies

A life which awakens to birdsong in the early morning breezes, and pauses to bask in the late afternoon sunlight.  A life that slows down to touch every moment, that lingers to learn from and appreciate the people and places encountered along the way. A life that cherishes and savors the growing of friendships, old and new, and notices and appreciates new landscapes and each creature that crosses one's path in the journey.  This is travel that is fully experienced.

Field study of the yellow-bellied marmots at Palouse Falls.  Produced in
watercolor and colored pencil, and using source water gathered from
the Palouse River in the canyon above the Falls.

Determination, and self-determination

This topic is something I've wanted to write a blog post about for quite a long time, but for a long time I wasn't sure how to go about it. It's a story that I have shared with students, particularly when they seem a bit reluctant to jump in and try.

This scenario occurred at my very first Big Art Show, back in 2003.  Before this I had been entering paintings into juried art shows in local communities and county fairs, and for a long time prior to that I had work in a number of galleries and gift shops.  But this? This was a big annual art show that was well attended and drew around a hundred artists from several states and required one to fill up a booth space with one's work.  This was much bigger than I felt I could do, but I sucked it up, gathered my courage, and did it anyway.

Nearly all the artists at this show were very warm and welcoming, and generous with their

After The Harvest - painted October 2014

encouragement.  Their kindness and advice during this show did so much to bolster my confidence, though I still felt like I was way out of my league.  The work these folks could produce was astounding, far better than anything I felt I could do, but they never made me feel like I didn't belong.  I was the new person, the one oddball who was painting birds and animals on feathers, a highly unusual choice of canvas and something that no one had seen before.  I had a lot to learn, but I was there anyway and giving it my all.

There was just one artist who was not so accepting. He was well established in his art career, and his work certainly showed it. I was mesmerized by the beautiful oil paintings in his booth; they were very traditional in style, beautifully rendered and lifelike landscapes and detailed scenes.  He eventually strolled into my booth that weekend, eyeing my work without speaking. I was too timid to say anything more than a brief greeting, but he didn't respond anyway so it didn't matter.  Slowly he leaned in to examine one of the framed painted feathers hanging on the gridwall, considered what he was seeing for a long moment, then slowly leaned back again and thought for a moment more.

Then, without looking at me, he spoke.  "You shouldn't be here," he said.  This is an art show, you don't belong here.  You should be down at the flea market."  And with that, he left my booth.

I was so stunned, I couldn't speak, but it didn't take too terribly long for the thought of Well who does he think HE is? to form in my mind.  I wasn't going to allow myself to be deterred by this one person, and could not let him get to me.  I shook it off and determined to go on with the show.  This one opinion did not matter, not when everyone else was so kind and encouraging.

I still exhibit at this show, and I have attended every year ever since that awkward nervous first exhibition.  My work has grown a fair bit since then, as has my audience.  These little feather paintings I do have been written about in over 40 countries, collected on five continents, and have been collected by many, even a few  politicians and royalty.

The purpose of this post, or moral, if you will?  Actually there are three.  First and foremost, never ever let someone else's opinion define you.  That determination is yours and yours alone.  If what you do happens to be a bit unusual, don't let that stop you from putting it out there.  Uniqueness is a good thing, and if it is your passion and your heart's work, that authenticity comes through and you will find your audience.  Keep at it.  Lastly, when you engage with someone new to the circle, choose your words carefully, don't ever discourage a hopeful new person.  You don't want to run new folks off with an ill-considered thought, and you sure don't want to be remembered for an ugly opinion.  First impressions really do last.

2015's Word of the Year

With the recent writing challenge, I'm striving to post to this blog twice weekly; Tuesdays and Fridays.  Let's see how that goes.

Those of you who read me fairly regularly, either here or on Facebook, know that I've been using Christine Kane's 'Word of the Year' angle of designing and developing focus for the year at hand, instead of doing the old tired New Year's resolutions.  It has transformed how a 12-month period manifests itself for me, and what I learn along the way.

Climbing Sulphur Mtn. in Banff to leave a stone
 in memory of  my brother

Last year's word was 'Adventure!' and I certainly had a few of those. One of the things that word taught me is that no matter the significant situation, even when it's a bad situation, positive things can be had from it. Memorable things. Even a grim matter can be  turned, at least in small part, into a positive thing, and yes, even into a bit of an adventure.

This year begins with many things on my radar, things that must be carefully planned for, and potential things that absolutely cannot be planned for but instead will require enough mental agility for them to be met head-on.  I need to learn many things, develop new skills, brush up on old skills and train physically in order to achieve all that can be achieved in this summer's adventure.

At the end of last year, all this was written down and attentively examined in order to come up with a good focus word for 2015. It didn't take long before a potential word stood out clearly from the other candidates.  Vitality!  That's the one.  Here are a few definitions that really ring out for me - exuberant strength and mental vigor; the state of being strong or active, energy; a lively or energetic

One of the easier climbs here in Washington. I'll be
hitting many hikes and overnighters in the coming
months to increase my strength and stamina.

quality; the capacity to live or develop, also physical or mental vigor; the quality or state of abundant or intense activity; power of enduring.

Many of the synonyms are even more appealing than mere definition:  buoyancy, brightness, cheer, pizazz, sparkle, zest, verve, vivacity, drive, spiritedness, keenness, ebullience, enthusiasm, fire, passion, mettle, power, stamina, fitness, hardiness, health, wellness.

Vitality needs to be present in the work I produce, as well - in imagery and in writing. So, with thoughts on all the matters that lie ahead this summer, much of it quite physical and other aspects involving significant learning and a certain amount of agility in attitude and direction, 'vitality' is certainly a good word to embrace in all its aspects.

of Water and Water Media

7-Day Blogging Challenge, day 3.  I failed.  A post did not get completed in time to post last night.   That's okay though, because the important thing is, it got me writing again.

A Gathering of Gulls on Oregon's Coast

It is fascinating when a small pebble of an idea, once it is set into motion, develops legs and grows.  I'm getting more comfortable with the colored pencils, graphite, and watercolor pencils obtained for plein aire sketching.  Discoveries along the way have been rewarding, as I learn to mix it up, layer, and experiment.  This image is a result of the ongoing learning, and was produced in studio from photographs taken during a recent trip to Oregon's coast.

Ideas have a way of growing legs though, and now as I wish I had produced this while in Oregon, or at least collected sea water while there, I need to take the idea and try it out locally to see how feasible it might be.

Imagine if when producing the plein aire sketches, paintings and illustrations created in the west highlands and islands, I use a bit of water from local sources in the depiction of places and subject matter, and did so with focused intention and identify it as such.  Examples would be Liathach painted with water from the burn that tumbles down that mountain's side or from Loch Torridon if painted from a distance; Eilean Donan castle at dusk, sketched and painted with water from Loch Duich; other locations from the rivers Ness and Clyde, or depending on the scene and the location, a bit of collected rain water.

The idea has me stewing on all sorts of possibilities.

First things first though, I need to experiment with this locally here in the Pacific Northwest, just to determine if this is something I could do.  How will sea water affect a watercolor painting?  I'm eager to find out.  Roll on Spring, there is a list of things I'd love to try!

Think Differently

Seven-Day blogging challenge, Day 2.

Early last week I acted upon an idea. I went into Walmart, picked up two large 100-count bags of wooden clothespins and took them to the express checkout line. The clerk's eyebrows shot up when she saw my purchase, and she laughed.

"Now are you going to use all those to do your laundry, or are you doing something else?"

I could not resist. "No, these are for craft items which will help me financially with expenses during an overseas trip this summer. "  she asked me to repeat that. Then she laughed again.

All she saw was an enormous quantity of wooden clothespins. An end product in a retail environment, and one of limited use or value.   She did not and could not see their potential. What I saw was something far greater.  What I saw were handy and attractive clothespin magnets, all neatly painted with custom-requested tartan sett patterns, made to order. What I saw beyond those very unique magnets included things like food purchased from Tesco and Morrison's, cooked outdoors in Scotland's wild country. Cans of fuel purchased at Tiso in Inverness, to cook those meals. A cold-press watercolour tablet, to replace the one I'll inevitably fill up while trekking through the West Highlands. And possibly a replacement bottle of Skin So Soft, to keep the voracious midges at bay.

You have to be willing to think differently, and be bold enough to act upon those ideas.  Don't think

about things as they are as though that is all they can be and nothing more.  Dare to innovate.  That is what I am doing here.  By the way, I am taking orders for these magnet clothespins in any tartan sett. I'll paint a set of eight for $20, shipped anywhere in the world.

The clerk's mockery in her laugh was unmistakable, but I really didn't mind.  After all, she only saw a pile of clothespins and thought it ridiculous that someone would purchase so many.  Where will she be in July? Very likely here, doing the same thing she was doing this day.  As for myself though, I've got my sights set at something much bigger - because I'm not just accepting things as they are as though that is all they ever will be, but instead looking forward with eager anticipation at all the great things they can be.

Late to the party (but starting anyway)

An interesting and timely challenge came across my screen today as I browsed blogs while between layers of freshly applied paint.  It was the blogging for seven days challenge put out by Seth Godin. That official challenge ends tomorrow. Yes, I'm late to the party, but I'm not letting that stop me.

I only very recently began listening to Seth Godin's videos through Youtube, he happened to be on one of Dave Ramsey's videos. Dave Ramsey is someone I listen to fairly often, along with Zig Ziglar, Brian Tracy, and a few others, but it was the first time I'd listened to Seth while I worked away in the studio. Yes, that's me, late to the party again.

I'm late, but present nonetheless, and that is what matters. So much of what I heard in his videos this week really resonated with me... more than that, much of his material really switched on some lights.

Even though I am late to the party and the official party concludes tomorrow, I'm using this prompt nonetheless, but I shall apply it only in this blog and not on the official platform. Why? It's a matter of personal growth and development. I need to quit waiting for the perfect draft and just. Simply. Blog.  My story-telling needs to grow, as does my writing style, especially in the face of all that I plan to achieve this coming year.

My hope is this will provide the kick-start to get the gray matter and writing muscles moving. Consider this the first of a seven-day daily writing challenge.

Become.

How do you attempt something that is far bigger than anything you've done before?  This is where I am now, in the throes of learning, practicing, planning, and taking on physical training in order to meet this upcoming adventure with as much preparation and readiness as I can muster.  I have a bit over six months remaining before I'm on that plane with backpack checked and bound for Scotland - and in order to meet that challenge with the best success, I must become the person who can pull it off.

Some of the preparations have been pretty straightforward and clear, but with others I have chosen more creative avenues in order to achieve them.  In the case of fitness for the strength and endurance required of lugging a 50-lb. backpack for days at a time over rugged country, I looked at options. I could hike as often as time, weather, and studio work would allow, which I do as often as I can. I could pay money to go to a gym... that one really didn't set well with me, as I don't want to spend any money unnecessarily while I'm saving for this.  Then, as I worked away in the studio, an ad came over the radio - UPS driver helper!  Perfect!!  I can go through hours of intensive physical work on these remaining days leading up to Christmas and get paid for it! Who could ask for better?

This was a 2nd-hire UPS was doing as they found themselves short-staffed just before Christmas, with not enough helpers. The work was very intense with long hours. I came home exhausted each night.  It's definitely been a jump-start in fitness during these cold dark winter days though, and the driver's route and schedule provided plenty of motivation to keep moving at a rapid pace.  The wide variety of terrain on our semi-rural route was great for increasing stamina, balance, and agility. Happily, I am still on call - so I may get some more fitness training out of this yet!

More growth underway - this involves various art media for field sketching.  I've been gradually gathering a variety of graphite, charcoal pencils ink pens, colored pencils and watercolor pencils - and I am experimenting and exploring which combinations of these will do well for me.  As I become comfortable with them, I'll begin paring down their quantities and colors to see what will be adequate in the field, providing color array and versatility without being too burdensome.  When your home is on your back for two months, every ounce saved really does matter!  As Spring approaches, I'll be using my pared-down plein aire sketching kit in a variety of circumstances and terrain.  Expect a lot of camping trips and field sketches from me in the future as July draws ever nearer.

There will be other areas of growth in the coming months. These will include training hikes with elevation gain and a full pack, brushing up my skills with map and compass, testing all gear in bad weather, drawing out-of-studio and on location whenever I can, indoors and out.  I will also be immersing in more studies in the Scots Gaelic language.

The graphic at the top of this post really sets 2015's tone for me. I've printed it and pinned it to the wall above my art table to remind me daily of everything that I need to become.

Until next week!

Scotland Adventure 2015 - Limited Edition Certificate

It needed to have quality. It needed to be unique. It needed to be something that folks would want to display.  I went with what is arguably one of the most iconic structures in the country, and it happens to lie near the end of the big east-to-west walk I plan to tackle - Eilean Donan Castle.

Relying on past training and experience in archaeological illustration, the tedious work in pen-and-ink stipple began.  The illustration is in acid-free ink, applied with a .01 pen, and wound up being many more hours than I ever intended to invest!  This was one of those "ooo, that would look cool!" situations, which typically conclude with great results but also typically put a pinch on time constraints.

I'm told that my technique in application is... ahem, unique. Most folks do the major outlines of the

structure and then tackle the details, but I started at one end, fully rendering that part of the structure, and then continued to build from left to right, fully rendering as I went.

Eilean Donan is the most recognized and most photographed castle in all of Scotland.  Gaelic for Donan's Isle, it stands sturdily on a tiny island on the edge of Loch Duich, a sea loch on Scotland's northwest coast, west of Kintail  and very near the Isle of Skye.  It may surprise many to know that it is of 20th century construction.  The castle was razed nearly to the ground and lay in ruin for a very long time.  The castle ruin was purchased by a MacRae in the early 20th century, and through research and very old plans and schematics, he was able to rebuild the old castle

very close to its original grandeur.  This castle has appeared in many major films - "Highlander", a James Bond film, and "Made of Honor", to name a few.

After several days, crossed eyes, and hundreds of thousands of ink dots later, a castle emerged.  The original will be matted and framed and hung in exhibition along with the miniatures and the other works that come from this project, but for now its image makes a fine feature on the supporter certificates.

The certificates are printed on a nice heavy parchment paper, which shows off an ink illustration

quite nicely.  To show the print number, my husband had the ingenious idea of using a compass graphic - so I set about creating an image with a blank center for such numbering.  Official certificates often have a nice foil seal. I thought that I would instead use a hand-painted thistle remarque on each, which seemed more appropriate.  Penning each supporter's name on his/her certificate was the next item. I tried a brush pen but it was sorely inadequate.  Mars black acrylic, thinned to ink consistency and applied with a quill shaped brush, has done the job quite nicely.  The certificate has been further enhanced with antique gold acrylic on the 'T' and the 'L' in 'Tapadh Leat, to produce an effect much like manuscript illumination in times long gone. Tapadh leat, by the way, is Scots-Gaelic for Thank you.

A certificate, soon to be on its way to its owner.  I'm using two
protective papers, four corner-mounts, and corrugated cardboard
to see each certificate safely to its new home.

With so much invested in the certificate's creation, I didn't want to leave delivery to chance.  I am hand-cutting corrugated cardboard for each mailing, to prevent creases and folds. The certificate is further protected by white printer paper, both on top and underneath.  I have also fashioned archival corner-mounts out of strips of paper, to securely anchor each certificate to its corrugated cardboard mount. Two probably would have sufficed, but I wanted to make extra certain and used such mounts on all four corners.

So far eight of these have been shipped, with no

certificate, with two of its four corner mounts.  two protective
papers yet to be included.

problems whatsoever upon delivery.  It is my hope that I may continue to send many more, including folks on what is shaping up to be an amazing adventure!  At this point I am looking at a full eight weeks wandering some magnificent country and gathering a tremendous amount of imagery and writing for the body of work and for the book.  Scotland's great northwest continues to grow as a focus, and Torridon is very much on the radar.  I'll tell you more about areas I dearly hope to visit with next week's post.

 Until next Tuesday!

Packaged up, fully protected and ready for shipping!

The Dreaded Art Block

Most artists experience these, and we dread them.  An art block can occur in one of a couple of forms.  At times the well simply dries up and we find ourselves with a complete lack of creativity or ideas. At other times (this is the one I have most often), the ideas are there but no matter how hard we try, what we produce never measures up to what we had envisioned.  I think this incarnation is the most frustrating of all.

When I hit the brick wall that is the second sort, I've learned to have patience - because ultimately

'Laird of Lochaber" Red stag in Glencoe, on
three turkey feathers. Lochaber District tartan
painted on the quills.

there is an advantage to it.  It is an evolution - you are experiencing growth in your particular art form and skill. It's a tough slog, but when you finally emerge on the other side of that block, you will find that something has changed.  You might not approach your art in quite the same way as before. You notice that you don't see quite the same way as before - you see and notice things you probably did not before - and in this, you will find your approach has changed, as well as your execution. Your technique has grown.  I have not experienced a block yet where I did not experience some level of growth.

While creative growth is great and we look forward to improving, what typically brings about a creative block?
Stagnation. When we produce, we often get into a routine.  What we produce becomes routine.  Maybe a particular style has become what is expected of us, and we eventually find ourselves bored. We might not recognize that at first, only that we are not as fired up to create as we once were.
Busyness. Raising my hand here - guilty!  We pile so much on to our schedule, we feel pressed to keep moving or else we'll fall behind.  Too much of this will promptly lead to burnout. You will run out of steam, as well as inspiration! Make time for personal time.
Health. No one can perform well after a period of poor diet or insufficient rest.  Likewise with lack of exercise.  Illness, stress, and bad things happening in your personal life also contribute as causes for a creative block.

So how on earth do you work through a block?  Once you've recognized and addressed the cause that put you there, break away from the work. Shake it up a bit, go do something different. Visit places that inspire you, go see the works of someone who inspires you and whom you admire.  Galleries, museums, and exhibitions are great for this.  Get out into nature and simply experience all that is around you, and let your senses take over. Does music inspire you?  Seek that.  Try a new style, a new medium, a new art form.

This Spring I had the mother of all creative blocks. It set in like a ton on my shoulders and no matter what I did I could not get past it. There was no guessing at the cause, the cause was grief. I had lost my brother very suddenly, very unexpectedly.  There was no getting past this very extreme matter until I addressed the grief I was suffering and said what I felt was a proper good bye to my brother. I will not go into detail in this post, but will probably make that its own blog article in the future on grief and healing and how I went about it. I will say that my approach was huge, but so was the relief and the healing that occurred. When I did what I needed to do and recovered from the pain of loss, I couldn't wait to get back to my brushes and paints. The inspiration was as great as the block that preceded it. And yes, I do believe the work that came from it saw an increase in quality.

"Power and Grace" - humpback whales on turkey feather

Your turn - what are some of the things that have given you a bad case of creative block?  What are some of the ways you worked through it?

Scotland Adventure 2015 - project launch!

The first trip over in 2009 had me mesmerized. I swore I would go back - probably multiple times.  There's just something about this magnificent country - its rich history, splendid music, wonderful people - I knew I had to go back.

Plans were made. Life went sideways. More plans were made. At last it is concrete - I will return in the summer of 2015.

While the last trip was quite the adventure, the next one will be even more so.  I will spend at least six weeks wandering Scotland with even greater opportunities for adventure - and I do so love a good adventure.  I have intentions of going about it in ways that most tourists would never try though, and indeed in ways that probably most Scots might not.  I'll be backpacking and will likely be spending most of my time out-of-doors, and possibly half my nights camping.  I did this last time, but next time will be for a considerably longer duration and quite a bit more wild.  One route I am planning

on, for instance, is walking from Cannich, which is just west of Loch Ness, to Broadford, which is on the Isle of Skye.  I estimate that should be about 4 days' walking where compass and map will be needed things. It might take a bit more, depending on how often I stop to sketch or take side trips to see other features along the way.

Such activities are necessary, as an illustrated artist's travel journal will be published in the wake of this adventure.  I will also be gathering an enormous amount of photographs, from which to produce a large body of work when I return home again.  Total immersion is key. I want to absorb as much of this experience as I can, as fully as is possible.  I want to learn more about the history and the culture, to study the wildlife, to hear the music, to meet the people.  There is just so much to it - the last journey of 22 days barely scratched the surface.

Along with all the planning and reading and map study and research, there is another side of this adventure that I've been building upon that would give you folks the ability to have a unique piece of it.  I'll be producing miniature feather paintings from this adventure, on top of the larger works and the book. The miniatures are for you who wish to participate.  You would also receive a signed certificate with a thistle remarque, as well as one of my paintings printed in postcard format, mailed to you from somewhere in Scotland.  Sound interesting?  Rather than repeat all this information within the blog post, please do have a look at the webpage I have built on my website just for this purpose.

In the coming weeks and months, I'll periodically talk about hopes, plans, and areas of focus here on the blog.  It will be quite the amazing adventure indeed!  See you again on Tuesday!

The Most Complicated and Thoroughly Researched Feather I have Ever Done

Upon seeing the Robert Burns portrait I painted upon returning from adventures in Scotland, an acquaintance in Scotland asked me if I would create a portrait of Bonnie Prince Charlie for him.  Now this gentleman is also a Jacobite reenactor, so I knew if I attempted this it had to be as right as I could make it in every way.

This one painting required more of me than any ever has before. First and foremost, I had to push my skill set and technique higher than they were at the time, otherwise what came out the end of my brush would not measure up to what I could envision in my head.  Fortunately, this commissioner is quite patient and did not mind me working away to improve what I could do.  There were several failed attempts at the portrait as my ability was not yet up to the challenge.

There was much more to it than mere growth in skills. Also required was an enormous amount of research.  Many historic portraits of the prince exist, but as I read and studied, it became apparent that not all are as they claim. A number of these portraits of Prince Charles Edward Stuart are actually of his brother, Henry Benedict Stuart. At this point I had to learn to look through the artists' styles and recognize one brother from the other.

Further difficulties. I chose the setting for the Prince to be Edinburgh.  Prince Charlie's residence in Edinburgh was a very brief window in time, the winter of 1745-46, so my representation of him needed to be very age-specific. The problem with that is, existing portraits that were truly of himself portrayed him as a youth and as an older man. None at this time existed that were painted in Scotland when he was there.

I fussed about with every bit of detail in this portrait, down to every symbol and every minutia - except for the Prince's face. I was sketching and guessing at what he may have looked like at age 24, and was afraid to commit that concept to paint.  Great fortune in timing struck, however, when the discovery of a fantastic little Ramsay portrait painted from life of Prince Charles Edward Stuart hit the news earlier this year. This one was found hidden away in Edinburgh, and was indeed painted when the Prince was in Scotland.  Although anything I could ever hope to produce could never in a million years come close to a Ramsay, at last I have an image of the Prince at 24 in Scotland from which to go by!  In an odd coincidence, I had already painted the Prince's coat a pale blue and based it on the riding coat he wears in a statue depiction of him astride a horse.

With all the reading and research done in preparation for this commission, I had a lot of material from

which to pull together a lot of symbolism within the painting.  Look out the window, and you will see Arthur's Seat, as well as a bit of St Giles Cathedral. This places the Prince in Edinburgh.  He places his hand upon an 18th century French polished marble and hardwood inlaid table, which represents his Parisian ties. Above him is an 18th century Italian wall sconce, representing his Italian origins. Within that sconce, with lit candle, is a cameo of his father, King James. This represents the rise of 1715, his father lighting the way for the rise of the 45.  Upon the French table is a cut glass vase, containing three white roses - two in the bud and one in full bloom. This is a well-known Jacobite symbol, and represents King James and his two sons, Charles and Henry.

 I wanted this portrait not to have a dull expression as so many portraits do, but to be full of life and

maybe a little bit of mischief. Hopefully that was achieved on the Prince's face.

The candle's flame is only 7mm

I'll include some closeup shots from this feather painting, so that you may see the details in these elements.













Very happy with the way the table came out. It's not easy to paint over the feather's quill.






There are far more hours invested in the painting of this feather than I care to count. I stopped counting after forty.

The list - Getting It Done!

The single most effective time management tool I have ever utilized is a hand-written list.  Any time I go for a period without working from to-do lists, I do notice a drop in efficiency and productivity. Far more gets accomplished with a list to guide me than without.

I do prefer the tactile feel of applying pen to paper. It's more carefully executed and more permanent than a list produced on a digital platform. There's just something about the act of writing that is more thoughtful and more deliberate.

Many recommend that one create lists on daily, weekly, and monthly levels, and some say annual and five-year lists should be considered.  Although I do write down longer-range goals, I think that for now, I'm doing pretty well with just a weekly list to help guide me along.  It allows me to focus on the week ahead, plan and prioritize, and make commitments on execution without feeling trapped by the restrictions of daily lists, or overwhelmed by a detailed monthly list.  Flexibility is nice.  If you've got a good head of steam and you're really sailing through projects, you can knock out even more on that week list than you originally intended for the day.

As your projects and priorities get accomplished, there are further benefits.  The act of making check-marks and drawing lines through items is ridiculously satisfying. That satisfaction goads you on to complete more so that you can make even more check-marks and lines.  At the end of the week, you may not realize how much you accomplished, but then you pick up that messy list and have a look - and with a sense of accomplishment you realize that yes - you actually did get a lot done!!  That finished list is now also like a checkpoint on a map.   It shows your progress on longer range projects so far, which will help you chart your course for the coming week.

I've put an awful lot on myself for upcoming projects, goals, and aspirations and even adventures in the next twelve months lying before me.  With all that daunting stuff ahead, using lists has gone from handy to essential - or maybe even mandatory. It's the only way I can keep everything straight.  Without goals you don't have a destination - but if you have a goal and are without planning and lists, you have a destination without a map or compass, or a solid idea of how to get to there from here!

Well, back to my own list for the week ahead - let's see how much of that I can get accomplished!

Painted Feathers - price increase, but not just yet!

Every visual artist faces this inevitable situation - with the cost of framing supplies and art supplies continually going up, as well as a substantial increase in requests for commissioned work,  so too must the price of those finished works follow suit.

I've held off on this decision as long as I possibly could.  I'm only making a modest raise this year, to help compensate for the higher quality frames purchased from Lucas Art Gallery, a quality investment whose difference in cost I have simply absorbed over the past couple of years.

The value of the work has gone up as well, I do think.  For the past couple of years I've put a lot of focus into improving what I do, seeing the light and portraying the details to the best of my ability.  Each painting teaches me things that I apply to the next, and with each painting I try to push the quality a little past that point of the preceding painting.  The result is growth.  The result also is much more time spent on each piece.  That means fewer paintings overall but it also means a higher standard of quality.

The price of each custom framed single-feather painting, whether it is a completed work from studio inventory or is a privately commissioned specific piece, will go from $275 to $295, effective November 1st 2013.  If you have already requested work from me, don't worry your price will not go up.  Likewise, if you send me a request for a commissioned piece before the November 1st deadline, your price will hold at $275.  Setting this date as such, I think, will allow sufficient time to discuss, design, complete and ship requested paintings intended for Christmas gifts.

In the meantime, I continue working through this queue of commissions that shall remain firm at $275.  I love the variety of subjects and ideas that have found their way to my work table, and with so many purposes too! Most have been requested as gifts - Scouting, birthdays, weddings, anniversaries, and those that are most delightful, 'just because'!  I thank you for these opportunities, it is such a treat to work with each commissioner individually and through telephone or email conversation come up with the most appropriate image for each recipient.

Asil Arabian horse, details of the painting completed and ready for framing. Privately commissioned

Asil Arabian horse, now fully matted and framed at 8" x 18", ready for shipment to a private collector in Birmingham England.

Creative Outlets

If you're a creative sort who is always thinking about making stuff, any stuff, chances are you'll find a way or simply fall into an opportunity no matter what it is you're involved with.

I've been involved with the Clan MacLeod Society since the year before my solo trip to Scotland in 2009.  Each year I get a bit more busy and active, attending all the Highland Games in this part of the state (and we are blessed with several events here) and becoming increasingly involved in volunteering.  

I don't like to simply show up, it's much better and more meaningful to find a way to be useful, and find some way to benefit a group or organization along the way. It's a nice feeling, and an addictive one at that, to do something and know you've added some small bit of value somehow.

Our clan booth has seen a little transformation over the past couple of years, as I have been adding to it.  My art show grid panels have been utilized in providing us much more display space by making use of vertical space.  We hang Penny's collection of tea towels - with wooden clothespins at first, but that seemed rather boring so I painted 24 clothespins with the Lewis and Harris tartans of MacLeod.  That was a small thing but their color sure added to the Fun factor.  I have paintings inspired from 2009's Scotland backpacking adventure,and since they are locations that are either in or near MacLeod territory they too hang in the tent.   

At one point 2 years ago, Penny handed me two cotton tartans from which to make banners. She'd had them for a while but never found enough time to do something with them.  Now, how on earth do I make a banner?? Ooh, creative challenge!  That right there was enough to inspire many hours of Googling various clan banners, taking photos of other clan banners at events, and trying to decide just how to go about it.  I had no experience in making such a thing but I had hand-sewn a fair amount of  PNW Native regalia because of involvement with Order of the Arrow (Boy Scouts) and out of pure interest (another case of 'oh this is cool! I wanna learn!). One art form feeds another, so equipped with a simple needle and thread I took what I learned in making regalia and applied it to clan banners.  Funny thing - there is a parallel between the two.  Button blankets display the wearer's family crest, and a banner does exactly the same thing!  No buttons on those banners though, but I did applique a whole lot of seed beads into their designs to add sparkle and pizzazz.  

My husband got involved too, with his woodworking interest, and created some very nice upright poles for carrying these banners. He woodburned crisscrossing ribbons into the wood, and then carefully painted in 2 shades of wood stain to make them really stand out.  Neither one of us is done with them yet.  We just keep adding to them. Matt is going to tool leather to cover the PVC joints on the poles, and I am going to add a crossbar to each for added stability in wind.  Lewis is not yet done, but Harris has been marched in all the clan parades last year and this year.

This last weekend Clan MacLeod was honored and privileged to be chosen as the host clan at the Skagit Valley Highland Games.   What an overwhelming treat it was for us to lead the clan parade right behind Northwest Junior Pipe Band onto the field!  Penny opened the Games both days from the stage - what an honor!  I worked until 2 in the morning the day we departed for the event, hand-sewing a heavy backing to the MacLeod Harris banner, which made a big difference in its presentation and behavior on the field.  Now - if I can get Lewis to the same state of completion for next year's events, all will be golden.  It's good to have a variety of creative outlets that are ongoing. 

Just Start

Start. It's difficult to push yourself into beginning a task, particularly one that is in addition to those many that you already do. It's easier to convince yourself that you should be putting your time elsewhere, or to ease your conscience by telling yourself "I'll begin that next week, when I don't have quite so much on."

The painful fact is you will always have plenty going on. You're not going to find a week where you have nothing to do.  Blogging. Website updates. You know they are important for your creative business but telling yourself you'll get on that next week is a guarantee that these important bits won't get done.

Begin.  Allot yourself ten to fifteen minutes today to work on what you know you must. Procrastination is not an option.  It doesn't have to be perfect, heck it doesn't have to be huge.  Close the door, close your email, put on some nice music if that helps you get into the flow (it does for me) and simply begin.  Chances are you will lose track of time and work a bit longer than those ten or fifteen minutes. Perhaps you'll accomplish more than you thought you would - like finishing a blog post - for a blog that has been neglected for many months.  You'll find it's not as daunting as you feared.

So let's start.

Old Man of the Woods - fully framed and available at Artisans of the World, St. Michaels, Maryland.   http://artisansoftheworld.net/

Seeing the Light

How long will it take to produce this current painting from start to finish?  The answer to that keeps changing.   I put a lot more time into these than I used to.  As nature teaches me more in how to see, I try more and more to take those lessons and apply them with paint. The more I see, the more detail I want to portray.  I want to learn to paint faster, but for now I am content with learning to interpret the light I see

More time with a point-and-click camera in the Pacific Northwest's majestic wilderness.  Wake up in the middle of the night, hurry, must be at Reflection Lake before dawn. That hour before dawn in the summer comes very early indeed.  Being there before dawn means we are treated with the first rays of sunlight brushing the face of Mount Rainier.  An entire day wandering this vast national park yields so many lessons, so many opportunities to see natural light illuminating nature's beauty. The best times, of course, are when those rays of light are at a low angle... early morning and late in the evening.

I am not a photographer by any stretch, I am just a painter armed with a point-and-click determined to capture what I see, to preserve it, to help me remember the colors, the light, the details.

The following images are collected from a couple of trips up Rainier, my favorite mountain. A 3rd-degree ankle sprain had kept me away from the mountain for far too long, but I was fortunate in capturing many photos (despite the sprain!).  This year I will get back up there. Roll on Spring, I'm ready for another mountain trek.