Category: Little Giant crane

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Checking my drawings

Even the most traditional painter can check his drawings against the photo evidence. Itā€™s a great use for Adobe Photoshop.

Mary Day (unfinished) by Carol L. Douglas

 As I mentioned in an earlier post, tracing from a projection is no guarantee youā€™ll get the drawing right. It was cold and wet yesterday. Instead of going to the North End Shipyard to finish my painting of the Mary Day, I stayed in my studio and fixed the bowsprit on my painting of the American Eagle.

That got me wondering whether I could check the accuracy of my field drawing. After all, the tools are crude: a pencil or brush, used as both ruler and protractor. The circumstances in which we draw are often difficult, too. The studio has the great advantage of being physically comfortable.
Mary Day in drydock.
I decided to compare my half-finished painting of the Mary Day to a reference photo I took of it. Since I have Adobe Photoshop, I used its ā€˜poster edgesā€™ filter on the reference photo. I then superimposed it on my painting. (If you donā€™t have Photoshop, you can superimpose photos using the freeware GIMP.)
Clearly, Iā€™ve taken significant license in raising the angle of the bow in my painting.  Within the structure of the hull itself, the volume relationships are pretty accurate. Of course, thatā€™s easy enough to check on site, by comparing the shapes of all the interstices within the cradle.
Superimposing the photo over my painting shows how far off the masts and booms are.
Where I went off the beam was in the rakeof the masts. The forward one is too vertical for the angle of the hull. Furthermore, multiple masts should tend to ‘toe in’ at the top, which mine definitely don’t do. This problem was then compounded in the booms. Since I set them relative to the horizon line, they ended up too high. That won’t do, and fixing them is now a high priority.
Iā€™m also making a note to myself to make sure I do my measurements from the boat, not the background.
Little Giant (North End Ship Yard), 16X12, oil on canvas, Carol L. Douglas
Note the pickup truck pulled in alongside the cradle. It was only there for a few minutes, but thatā€™s a subject for a painting of its own. Pickup trucks go with boats like cheese goes with apple pie, and theyā€™re often pretty close to actually being in the water.
I seldom take photos of things Iā€™ve painted. This isnā€™t a conscious choice; Iā€™m just finished and I move on. But I did find a picture of the Little Giant crane I painted last month. In this case, Iā€™d made a decision to angle the bed of the truck slightly to avoid a strong diagonal pointing toward the corner of my canvas. Iā€™d also raised the hook. But the photo tells me that the space relationships between the crane and the masts of the Heritage are very different in my painting and in the photo.
Superimposing the photo over my painting shows that I exaggerated the distance between the crane and the Heritage.
The camera distorts reality as assuredly as does the human eye, so in no case would I assume that one or the other is objectively more accurate. But, lightly applied, comparing oneā€™s paintings to photographs is a useful exercise.
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Prairie madness

Little Giant (North End Ship Yard), 16X12, oil on canvas, Carol L. Douglas

 As I write this, the temperature is 9Ā° F. Thatā€™s not exactly balmy, end-of-March weather. The wind blew steadily yesterday and into the night. It was a cutting wind, and it roared and thrummed in the woods behind my house. ā€œItā€™s driving me nuts,ā€ I told my husband.

ā€œAn alarming amount of insanity occurs in the new prairie States among farmers and their wives,ā€ wrote EV Smalley in 1893. He blamed the isolation.
An unexpected snow squall cut visibility in the morning, Photo courtesy of Sarah Wardman.
Novelist Willa Cather blamed the wind. ā€œInsanity and suicide are very common things on the Divide,ā€ she wrote. ā€œThey come on like an epidemic in the hot wind season. Those scorching dusty winds that blow up over the bluffs from Kansas seem to dry up the blood in menā€™s veins as they do the sap in the corn leavesā€¦ It causes no great sensation there when a Dane is found swinging to his own windmill tower, and most of the Poles when they have become too careless and discouraged to shave themselves keep their razors to cut their throats with.ā€
This phenomenon, called ā€œprairie feverā€ or ā€œprairie madnessā€ lasted throughout the late 19th century. Bitter cold winters combined with short hot summers to make life exceedingly difficult on the northern Plains. Sociologists say prairie madness vanished when settlements became more populous and the barriers of language no longer divided immigrants. But since more than one in ten Americans take anti-depressants, methinks prairie madness just moved indoors.
American writers often used the ocean as a metaphor to describe the prairies. Both are enormous, seemingly empty, and yet bountiful. Having painted both, I see and feel the similarities.
Winch (American Eagle), Carol L. Douglas. Same site, warmer day.
In either place, windā€”on a practical levelā€”makes my work difficult. Thatā€™s why I jumped at the opportunity to paint from the shipyard office. Iā€™ve never done that before; it seems unsporting, somehow, to be warm and comfortable while painting snow.
Schooners attract a kind of romantic, well-read crew, and their patter is unlike most shop talk. It is larded with history and geography, and firmly grounded in sailing.
There were frequent references to The Shipping News, which I first took to mean Annie Proulxā€™ Pulitzer-winning novel. Soon I realized that they were talking about the literal shipping news: the 1907 lists of boats with their hauls of pineapples, animal hides and other perishable crops, moving up and down the Americas.
Little Giant, on a sunnier day.
An unpredicted snow squall rose, scuppering the captainsā€™ plansto work on the marine railroad. The schooners themselves are still shrouded in their winter framework of plastic and plywood. For the romantic fancier of boats, a crane might seem a strange subject. However, this painting does record a true relationship, that between cranes and boats with masts. At any rate, my two-year-old grandson will think itā€™s the best thing Iā€™ve ever painted.