Snowmass Lake Backpacking Trip

It has been two years since my first backpacking experience into the Maroon Bells Snowmass Wilderness area. It was time to go again. In my backpack I carried our tent, extra clothing, my paint box, brushes, acrylic paints, water and then some "essentials": hot cocoa mix, graham crackers, marshmallows and dark chocolate. All together it was about 27 pounds. My husband, Robert, carried about twice that weight.

During the second half of the journey, there was a scary log jam to cross. It seemed harmless enough but as I picked my way across, the thought of slipping, falling and hurting myself crossed my mind many times. Getting wet was the least of my fears. Some of the logs held steady, others moved and dipped under my weight. My trekking poles came in very handy. Plant and step. I can live happily the rest of my life if I never have to cross another log jam - though I am quite pleased with myself that I did it. Twice. Coming and going. 

My reward was at the other side, a breathtaking path through wildflowers. I love Colorado!

After 6 1/2 hours of climbing over 3,000 feet, (with several breaks along the way), we arrived at the lake. 

Besides taking tons of reference photos my other goal was to paint a color study. (The next day while Robert fished, I painted.)  Snowmass Mountain loomed over our campground, so surreal in its majesty, it could not be ignored. I will use this study as a reference when I paint a larger, more accurate version.

Upcoming Solo Exhibition: North Yorkshire England

When most people here in the States think of England they think of London. When I think of England, I think of  rich, green rolling hills, sheep grazing in the pastures, the River Nidd, and miles of idyllic walking paths leading to quaint, picturesque villages. My love for North Yorkshire England and its timeless beauty was the inspiration for my first series of landscape paintings.

 And now, this series is framed and ready to exhibit!

It is my pleasure to invite you to G44 Gallery, 1785 S. 8th Street, Ste A, here in Colorado Springs for the opening reception and solo exhibition of this new series. Please join me if you can, Friday, August 9, 6 - 9 p.m. The show runs through October 10th.

Max and Tilly: Stage 4

Max and Tilly

11 x 14", Oil on canvas

Rita Salazar Dickerson 2013

Stage 4: Completing the painting - the background, her hand and their clothing. Signing a painting has become a mere formality for me because even though it is signed I know the chances are high that after a painting "rests" it is likely that I will go back in and make adjustments and corrections. Its easier to sign it that way. I don't pressure myself into thinking that this is it, there is no going back. I also keep notes regarding the combinations of colors I used then its easier to rework an area if necessary.

Max and Tilly were such a pleasure to paint.

Max and Tilly: Stage 3

Stage 3: Painting Tilly's face. For this stage, I focused on the continuity of my strokes and the amount of paint I used so that each figure would appear seamless with the other. For Tilly's hand you can see the under painting I have done in preparation for the final layer. I applied this same under painting for both heads.

Max and Tilly: Stage 2

Stage 2: Painting the face. I started with Max's face. For the skin color I mixed Yellow Ochre and Transparent Earth Red, lightened with Titanium White. And then for the pink tones I mixed in Cadmium Red.

I painted in blocks of color looking for the general shapes of color and value, blending as I went.

Then it was time to go over the entire face and hair with completion in mind, checking edges and colors, blending here and there - and then finally stopping before I ruined it. 

Painting always entertains and amazes me.

Max and Tilly: Stage 1

Time for a new commission!

This portrait has an endearing quality to it, a loving brother gently kissing his baby sister.

Stage 1: Painting in the drawing freehand with a thin wash of Burnt Umber. I started with the figure on the left first and then used him as a reference point to paint in the baby girl. As I drew with a thin brush, I had a soft cloth in my other hand to erase the lines I didn't want. And then, when I couldn't see it objectively anymore, I turned the canvas and the photo upside down and looked at it again with a fresh perspective, comparing the features, angles, sizes and overall proportions.
Tomorrow I paint.

Portrait Of A Little Girl: "Clio" Stage 5

Clio

16 x 20", oil on canvas

Rita Salazar Dickerson 2013

Stage 5: The arms, hands, background...completing the painting. I began this stage by painting in Clio's arms and hands and did not get very far before I realized I had to paint in the background (as well as the white plastic covers of the chains on her swing)so that I could have a better idea of colors and values. The green background started out very light green; the minute I finished it I realized it had to go darker and warmer. There are more colors in the background than it looks like at first glance. Yellows, pinks, blues along with the various shades of green...at times I wondered if I would ever be happy with it. After the background it was time to revisit each section of the painting. Painting wet on wet, the edges of her hair had to be reworked into the background as well as the edges of her skin and dress. Small but important adjustments were made throughout the painting. Now, its time to let it rest and hopefully see it with fresh eyes in a week or two.

This painting reminds me of one of my favorite children's poems, The Swing, by Robert Louis Stevenson. Do you know it?