Posts Tagged ‘watercolor’

I probably should just stop telling people I’m a blogger, for crying out loud. Between being buried under deadlines since I came back from Asheville, and trying to dodge the media blitz lately, I’ve been avoiding the internet altogether for awhile. Sorry about that.

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All this week the radio, the blogs, the instant media, and I’m sure the television, too, have been blaring with recaps and riffs and reflections and rage, on repeat, about that day when we all learned a little more about the nature of fear. And it’s not that I’m avoiding thinking about it—it’s that I don’t need any help from the talking heads to process my thoughts. So while I’m mindful of that anniversary, there’s another, tangential one that’s closer to my heart. You see, it was ten years ago today that I moved to Rome.

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It was my third year of college, but it wasn’t your average study-abroad program. Because my school owned a (haunted!*) house in the middle of the city, I was able to experience true immersion in the culture and language.

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*Built around 1590, the place was home to Beatrice Cenci, who was infamously executed for the murder of her abusive father. I’m not the superstitious type, but all I’m sayin’ is … well, weird stuff happened in there.

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Even at the time, I was aware of just how dumb-lucky I was, not only to have arrived there safely from New York the day before the world turned upside-down—but to have nearly an entire year in which my only responsibility was to experience and absorb the world around me.

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That, and to get it down on paper—which proved to be the hard part.

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With flawless weather almost year-round, it was easy to spend every waking minute outside. And with cheap, frequent trains bound for nearly every town in the country, I had no shortage of freedom to roam (sorry). But I’m the obsessive type. I needed to see everything, and though I knew how impossible that was, it didn’t stop me from trying.

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It was maddening, in the best possible way.

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So I did my level best to commit as much of the place to memory as I could. For once, the camera went into storage (I think I shot a grand total of about three rolls of film in ten months), and the maps went in the trash. I stuck to paint-and-paper, and my own two feet—and as a result, my memories and mental map of the place are still the clearest, the most vivid of any other place or time in my life.

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Needless to say, it was awfully hard to leave. Instead of going home, it felt like I was leaving it. And when I arrived back in the States, thanks to the previous year’s tragedy, everything had changed.

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But then again, so had I. And that made all the difference.

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This might seem a little strange, coming from me, but the New Year’s resolution at the top of my “art” category is to draw more.

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I mean that I’d like to spend more time with my sketchbooks—with everything else that happened last year, there just didn’t seem to be a spare second for observing the moment and jotting it down.

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The daily book was about the only thing that received any attention, and even it spent the entire year on the back-back-back burner.

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I still have quite a bit of catching up to do there, though—

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so that’s where I’m going to start.

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It’s a daunting prospect; even just filling in half-finished sketches (maybe I should have shown you those instead!) amounts to a huge time investment, and a mountain of work.

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But I’ll get there. And besides, it’s those last two blank slots on every page that interest me the most.

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They stand for the future that’s unwritten, and I find I can’t imagine what could possibly complete the picture—nor could I ever have predicted what has ended up here thus far.

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When I first started this project, it seemed like a painfully slow undertaking.

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But now I’m surprised at how quickly the book is filling up,

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and I’m anxious to find out what will fill out this page—and the next, and the next.

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Well, today I flip the book back to the beginning, pencil in hand—and so I’ll find out soon enough.

Happy New Year!

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You know what? It’s pretty dark here in the winter.

No, I mean really dark. Not just a sunrise-at-eight-pitch-black-by-five dark, but a kind of silver pall that sets up a permanent residence, even at midday, and makes you forget about the sun. It’s absolutely beautiful when you’re taking a walk in the fog, or curling up with your trusty Rosie mug and a hank of yarn. Not so great when you really need a lot of natural light, though—like, say, for shooting photographs…

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…or mixing paint to fill in a huge stack of glorified coloring book pages.

So between the short daylight hours and a desperate need to reserve a little personal time, work on the book has slowed from a breakneck pace to a stately, clip-clopping trot. I still have so much to show you—so much to explain—but my head needs to catch up with my hands first (or is it the other way around?). I’m going, then, to break it up into a series of posts, and take a little extra time to gather my thoughts before I start. I don’t mean to string you along; because the process required working with a kind of tunnel vision for so long, I’m only just now seeing the “finished” product myself. So thanks for your patience—and for being interested enough to stick with me.

Thank you also for the huge outpouring of support you’ve shown since I posted this thing a couple of weeks ago. The comments, links, blog features, Tweets, emails, and amazing reviews are just overwhelming. I simply can’t find the words, except—thank you.

Part of what’s taking me so long is that at the same time, I’m working on a small series (like a baker’s dozen or so) of individual prints of images from the book (exhibit A above). There’s not a whole heap of rhyme or reason as to which illustrations I’ve chosen, except that these are some of my favorites. I’ll be posting them in the shop (believe me, they’ll be a lot more affordable than the book) as I finish them, and here on the blog (all at once) in a couple of weeks.

In the meantime, it’s time to light a few more lights, and keep the dark at bay so I can see what I’m doing.

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Which reminds me—Happy Hanukkah!

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Since I posted this drawing and some others this summer, people have been asking me what’s with the stamps in my sketchbook. I guess the short answer is that each one is a little piece of personal tradition.

But you know I don’t really do short answers.

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The long one, then.

I grew up in a nomadic family. Between the moves required by Dad’s job in the Air Force and a fierce wanderlust that runs in all the O’Leary veins, we had a lot of reasons to travel. Dad and I, especially, would spend hours poring over our dog-eared Rand McNally road atlas, plotting routes over the back-est of back roads (the squigglier the line on the map, the more scenic it could be depended upon to be) and stops at as many points of interests as we could cram into a journey from A to B.

When I was ten, we made a circuit of our then home state of Colorado, and devoted our time to exploring every national park and monument we could reach along the loop. At each park’s visitor center, we noticed a rubber stamp and ink pad stationed at the front desk. When we finally asked a ranger what they were for, she handed us a small blue notebook and proceeded to explain about the National Park Service’s Passport program.

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A stamp to collect at every NPS property in the country, and a tidy little book to hold them all? I was hooked.

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Dad and I found ways to sneak a national monument or two into every road trip and relocation—and even took impromptu vacations just to add a new park to the list. My favorite memory is when I was in high school, and Dad popped his head into my room:

“Have any plans this weekend?”

“Uh, no…”

“Wanna go to Montana?”

So we jumped in the car and drove 600 miles just to flip General Custer the bird at his place of death (I had just read Bury My Heart at Wounded Knee, so he wasn’t exactly stirring me to patriotism). I mean, if you’re going to do it, you might as well go all out, after all. And we had the stamp to commemorate the moment.

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The Passport program also includes collectible paper stamps, which can be purchased from afar (as opposed to the ink cancellations, which are free but can only be obtained in person). I’m pretty lukewarm about these, though; by the time I jumped on the bandwagon they had already phased out the super-cool  two-piece design pictured in the lower left corner above, in favor of the cheaper, lower-quality one-piece stamp in the upper right. Since those have been revamped yet again into a pressure-adhesive sticker—and who knows what heinously non-archival chemicals might be in the glue—I’m even less of a completist about them now.

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Anyway, I’ve burned through most of the regional sections in my Passport,

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and every inch of overflow space.

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So I’ve branched out a bit.

What I didn’t know as a kid was that my Passport helped me develop my interest in nearly everything I love most: traveling, design, archiving, printmaking, history, typography, bookmaking, and so on.

At some point along the way, I realized that what I really mattered to me (beyond the travel itself) was the act of adding to an ongoing work—and then looking back to see what I had accomplished. That what I had been doing all along, by compiling this little individual history, is creating some form of artist book. And that my frustrations over an imperfect format were really a desire to create my own.

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So now all of my sketchbooks are Passports, each custom-tailored—

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each infinitely flexible, ready for whatever adventures wait to be documented.

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Here it is, nearly twenty years later, and I’m as eager as ever. Moreover, it’s my goal to collect every last cancellation within the entire National Park System before I stamp the big passport book in the sky. I’m about a quarter of the way there.

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And I’ll probably have to build a library for all the sketchbooks I’ll fill between now and then.

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I’ve been sitting on this post for months now—it’s just that after spending so much time hunched over this project, I needed some time off from even thinking about it. But now I’m ready to talk birds again.

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From left: Cedar Waxwing; Steller’s Jay; American Avocet; Purple Martin; Tufted Puffin

Eighteen months, twenty-five birds, six hundred twenty-five individual prints and ten box sets later, my little Flock is finished.

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Mountain Quail; American Bittern; Long-billed Curlew; Hooded Merganser;
Laysan Albatross

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Barn Owl; American Kestrel; Eurasian Coot; Anna’s Hummingbird; Herring Gull

It’s a little crazy to see these all together, like, well, birds on a wire. Each one has been broken down into its own little assembly line for so long that I forget sometimes to see them as a set.

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Western Tanager; Lazuli Bunting; Northern Flicker; Bullock’s Oriole; Belted Kingfisher

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Common Loon; Marbled Murrelet; Northern Shoveler; Harlequin Duck; Brown Pelican

As you can see, what’s represented here is a pretty broad cross-section of Washington birds. There are so many bird species ’round these parts, in fact, that I almost didn’t know where to start—and narrowing the choices down to twenty-five was by far the most difficult task.

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Wait. I take that back. The hardest part was keeping the glue off of the pricey imported Japanese book cloth (glue plus cloth equals death—or at least wailing, gnashing of teeth, and starting all over from the beginning).

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You see, it seemed silly to have a set of prints with nothing to house it. My inner book artist took over (thanks to Jessica’s tricksy enabling), and insisted on encasing the first ten sets of the edition in handmade clamshell boxes.

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Even though the results are always worth it, I don’t have much love for making boxes—what I do love is printing the colophon, or production notes. A colophon (or in today’s hardbound novels, the “note on the text”) is an essential element in any artist’s book; this is where the artist steps outside the book’s content and talks about the making of the book itself. For this I decided to go back to my letterpress roots, and hand-set the text in metal type.

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While I’m rarely able to fit hand-setting into my projects these days (a drawback to all this D.I.Y. lettering I’ve been doing), it’s still my favorite method of getting a block of text onto a page. And this beloved Bembo, cast locally at Stern & Faye, is so beautifully spaced and balanced that it’s a dream to set and a pleasure to read.

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Here’s what it says:

The sheer variety of avian species here in the Pacific Northwest is staggering. Nurturing a fledgling love of birding was easy; the hard part was winnowing my list of favorites down to a couple dozen portraits. Here, then, is Flock, a motley kettle of songbirds, waterfowl, raptors, and shorebirds. While they’re not exactly birds of a feather, every member of this brood can be found either as a permanent resident or a passing traveler in Washington state—with just a wingtip of artistic license, that is.

Printed from October 2008 to December 2009 on a gaggle of presses, including Vandercook models SP15 and Universal One, a Craftsman 6.5 x 10 platen, and my little Kelsey 3 x 5—at the School of Visual Concepts in Seattle, Springtide Press in Tacoma, the University of Puget Sound, and here at Anagram Press, respectively. The colophon is hand-set in Bembo, and each hand-carved linocut print is hand-painted with Pelikan watercolor (no pun intended). Of a covey of 25 birds, a tweet of 25 prints each, and a parliament of ten box nests, this is number [2].

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Okay, so maybe I went a bit overboard on the avian puns. It’s just that the thought of getting my hands dirty on type drawers again had me all twitterpated.

The ten box “nests” are now sold out, as are several of the individual birds, but about a dozen or so bird designs are still available in the “Flock” section of the shop. And I have a fluttering feeling that there might be even more birds in my future—one of these days, anyway.

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The second part of my little holiday was a little more ambitious: a four-night camping trip with the Tailor in southern Oregon. It was just what the doctor ordered—the perfect prescription for recharging the soul.

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We camped in the Rogue River National Forest, in a grove of hemlocks and blooming dogwoods—

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just downstream from this.

The Rogue River is so beautiful that we could have spent the whole trip exploring its banks. Well, if we hadn’t had another destination in mind, that is:

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Crater Lake National Park. One of the deepest, clearest lakes in the world, Crater Lake was formed 7,700 years ago by the collapse of Mt. Mazama, after an explosion more than forty times the size of the 1980 eruption of Mt. St. Helens.

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When a group of prospectors stumbled upon it in 1853, and thus became the first white folks to lay eyes on it, they named it Deep Blue Lake. Heh. Imaginative. Well, at least it’s descriptive.

And accurate. The lake is so impossibly blue because of its depth; when the sun’s rays refract upon hitting the water, red and green light are absorbed in the depths, while only the blue light (which has a shorter wavelength) reflects back to the surface. So the lake is blue even on a cloudy day—as you can see.

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We were a week too early for the boat tours to open for the season, but we hiked down to the water anyway. The rangers like to say that the trail is “one mile down, ten miles back  up” (it’s funny because it’s true. Oy.), but the experience is well worth the huffing and puffing. Next time I’ll bring bug spray, though. Note to self.

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Did I mention that it’s blue? And deep? Maybe those prospectors were onto something.

The photo above doesn’t come close to doing it justice (none of my photos do), but the sheer depth and clarity of Crater Lake was mind-boggling. It’s impossible to tell how deep the rocks in the upper left corner of the photo are, but according to the topo map in front of me, it’s quite a ways down. Because there are no streams in or out of Crater Lake, there’s nothing to muddy or disturb the water—objects are visible nearly 150 feet down. Deep Blue indeed.

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The thing that really got to me was the fact that the lake was both a bottomless pit and a perfectly-flat mirror, depending on which way you looked at it. That’s probably why this is my favorite photo of the trip—somehow the camera managed to look at things both ways.

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I think I must have been trying for the same kind of perspective with this drawing—and with far less success, I’m afraid. My brain broke when I tried to analyze the thing graphically. Ah, well. (The ground squirrels were fun, though.)

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This one worked out a lot better—and it didn’t hurt that the figure and desert drawings were already there to help things along.

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Speaking of deserts, we also saw a whole lot of barren landscapes to balance out all this snow and water. For one thing, we drove down and back on the eastern (the arid leeward) side of the Cascades. For another, there are places where all this ancient volcanic destruction still looks like it happened last year. This is the Pumice Desert, on the north side of the National Park.

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And this is something else again. Now, I loved everything we’d seen at the Park, but my absolute favorite part of the trip was this place, which made for a side trip on the way home. This is just south of the Newberry Caldera, another collapsed volcano formed in precisely the same way as Crater Lake, but on a much smaller scale. A trail winds up and through the rock-pile hills—a landscape that seems plucked from the surface of the Moon.

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If you step closer, however, you’ll see the light glinting off of each rock and pooling in every crevice. In full sunlight the entire hillside sparkles like a gigantic, blinding treasure hoard.

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The rocks shine because they’re not rocks—they’re glass. This is obsidian, a natural glass formed when lava cools rapidly without crystallizing. Besides being gorgeous and just about the coolest thing ever, obsidian is extremely useful as a surgical tool. Obsidian scalpels can be sharpened to a near-microscopic edge (because of the not-forming-crystals thing), and the incisions they make produce narrower scars than steel scalpels do. Neat, huh? Anyway, obsidian flows of this size are quite rare, so if you get the chance to walk through one—take it.

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I could have stayed all day with the obsidian (which, by the way, is called the Big Obsidian Flow, a name that gives Deep Blue Lake a run for its money), but we were still several hours from home (we figured we’d have to spend the first hour stepping carefully around all the ground squirrels that had appeared at our feet), and we still had one more stop to make:

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Lava Butte, from which it was possible to see pretty much every darn volcano in Oregon, and even Mt. Adams in Washington. I won’t bore you with the 200 other photos I shot from up there, but let’s just say I was in suitable awe.

Oh, and for the record? All of these volcanoes are still active. How freaky is that? Or maybe it isn’t, and I just have volcanoes on the brain, but I think it’s freaky.

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I lost count of all the volcanoes we spied, but the rest of the numbers were easy to tally:

Five glorious days.

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Five breathtaking sunsets.

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Five thousand smiles.

The past couple of weeks have been an absolute whirlwind, and when I look in the mirror I see a walking, talking to-do list. The notes-to-self strewn all over the studio (among half-finished boxes, reference materials, pencil layouts, proof prints, watercolor pans, etc.) aren’t enough, so now I’ve taken to muttering little reminders under my breath—call this client, mail this order, drop off this pile of prints, invoice this subscriber, edit this illustration, proof these plates, cut this book cloth, list these cards, upload these photos, schedule these blog posts.

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As you can see, the latter has moved to the back burner while I line up the other ducks. Oh, there’s plenty to show and tell, but the new Broadside and tonight’s talk have completely taken over my brain (and my calendar). So instead of buckling down yesterday to sketch out the numerous future posts waiting in the queue, I bolted to Seattle to clear my head.

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Turns out one of my absolute favorite hobbies is wandering around the Market alone, especially on weekdays when it’s relatively empty. Losing myself among the fruit stalls and neon is as therapeutic as meditation.

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I wasn’t in the drawing mood this time, but the Market is also on my short list of all-time favorite sketching haunts. This is one from a year ago or so, on a completely packed, sunny Saturday, when I flattened myself against poles and ducked down onto the curb to draw without being trampled by tourists.

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I love it for the people-watching when it’s crowded, but there’s something special about having the place to myself. There is a downside, however (besides being heckled by bored fishmongers): it’s awfully hard not to splurge on sampling from the unbelievable smorgasbord of fresh goodies.

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Now how could I say no to that?

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After nearly a year, image-gathering for my Mt. Rainier artist book is finally coming to an end. I have a huge stack of sketches, scribbles and recorded data, and thousands upon thousands of photos to sift through. This month and next are scheduled for the all-important (and terrifying) process of Figuring Out How the Heck to Make It Work—physical mock-ups, final compositions, text-writing, etc. But before I could move on with a clear conscience, I had one last far-away location to cross off my research list: Portland. And for some reason, the stars just weren’t aligning for me.

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My first attempt this summer was also my first-ever trip to the city, so I had to location-scout with a blank mental map—and when I finally found what I was looking for, it was too hazy to see anything anyway (hence the dotted line where Rainier should be). Since Portland is 140 miles away, I couldn’t just try again any old time I pleased. As the months went by, I became increasingly frustrated—the location I visited over the summer (Larch Mountain) is inaccessible in the winter, and although I had another spot in mind, my schedule and the weather (which was way harder to pin down than an open travel day!) just couldn’t find anything in common; the last few months have been typically Northwestern, with plenty of rain, fog and drear for a volcano to hide behind. Finally, last Friday, it seemed I had my chance. T-town was socked in with pea-soup fog, but since the previous day had started the same way and ended in sunshine, I decided to go for it. As I cleared the Puget lowlands and the fog lifted, I caught crystal-clear glimpses of Rainier to the east as I went, and my confidence rose. I wouldn’t know for sure until I got there, but the sunny weather seemed like it would hold. I made good time to Portland, wound my way up to Council Crest Park, jogged up to the viewpoint and faced north—

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—and saw that Mt. Saint Helens didn’t get the memo. She was having her own private little weather system, blocking Rainier from view. It was a long drive home that night.

The last few days were torture. The weekend taunted me with sunny mornings and cloudy afternoons (good thing I didn’t take the bait), and the perfect weather went untested Monday and Tuesday while I taught class and kept appointments instead. By Tuesday night, I was sure I’d missed my last chance, and resigned myself to leaving Portland out of the book. But yesterday dawned cold and flawlessly clear, and I was astonished to find my calendar empty. I left the Tailor an incoherent voicemail at work (”I’m going right now! I’ll be back tonight!”) and jumped in the car. Exactly two hours and twenty-three minutes later, this is what I saw:

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That’s St. Helens in front, with Rainier just peeking around her left shoulder. And in case I had any doubts about one image being worth all this trouble, Portland offered me a little bonus for the illustration that will eventually come out of this research—a compositional jewel that I could never have dreamed up on my own:

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The City of Roses was still, impossibly, in bloom.

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When I was in high school I remember returning again and again to my mother’s bookshelf to peruse her copy of The Helga Pictures by Andrew Wyeth. The book (now, sadly, out of print) contains incredible reproductions of all 240 paintings and drawings Wyeth made—in secret, over the course of fifteen years—of his neighbor, Helga Testorf. At the time I wasn’t aware of the controversy behind these works (especially concerning rumors of his relationship with Helga); all I knew was that I wished I could paint like that.

Last week I had the chance to “meet” Helga in person: the Seattle Art Museum currently has seven Wyeth paintings (including five Helgas) on display in their Andrew Wyeth: Remembrance exhibition. It had been years since I last laid eyes on Mum’s book, but seeing Braids (above) on the wall was like watching my memories transform into a living, breathing person.

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I leaned way in, my nose an inch from the glass (I love museums that let you do that), getting lost in the details. I heard someone to my left use the term “hyperrealism,” but I hate assigning labels to a work of art—it seems to diminish the beauty, somehow. This wasn’t realism, or “illustration” (Wyeth was a kindred spirit, in that he was often accused of not being a “real” artist), or portraiture, or anything else but pure magic.

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Some find these images disturbing—their detail wanders way past Meticulous and into Obsessive. Helga is more Specimen than Model, like a butterfly pinned down in a shadow box.

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Speaking as an artist (or “non-artist,” as the case may be) myself, though, I know where that kind of obsession comes from. There’s an urge to Get It Right, to do justice to one’s subject, regardless of any personal connection. And Wyeth sure does Get It Right—look at what that man could do with watercolor. That’s watercolor!

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For me, it really doesn’t matter whether Helga was merely his model, or his long-time mistress; or whether Wyeth was a brilliant, driven painter or a controlling stalker. I think it’s necessary to separate the work from the author, at least to some extent (after all, Picasso was a terrible misogynist, and Gauguin impregnated half of Tahiti). We all have an ugly side, but not everyone can leave behind a legacy of great beauty.

But who am I to be the judge? Come make up your own mind. Remembrance is on view through October 18.

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As I’ve mentioned before, I’m currently in the process of researching Mt. Rainier for my next artist book. This involves drawing and photographing the Mountain over and over (and over and over) again, in as many different conditions and from as many different vantage points as possible. I’ll get into the whys and hows some other time, but for now, suffice to say this is a huge challenge. Not only do we have incredibly unpredictable weather here, but Rainier also tends to play by his own rules, appearing and disappearing regardless of any logical connection to the forecast (which, somewhat ironically, is the entire point of my book…).

I’ve done my best to even the odds by doing the bulk of my research during the summer and early fall—traditionally the dry season here. This summer, however, has proven to be about as nontraditional as possible, and has thrown a whole lot of monkey wrenches into the works. For weeks I had planned a long trip to various points east, where the landscape is drastically different than here in the west. But here’s the rub: not only did I require a flawlessly sunny day to view the Mountain from so far away, but the best time to view Rainier from the east is in the morning—I’d have to leave too early to see that day’s weather report. So I waited, and stalked the National Weather Service, and packed and unpacked my gear. During our ridiculous heatwave we had day after day of beautiful sun, but hot weather makes the atmosphere so hazy that even from here, just forty miles away, Rainier was just a faint silhouette. And then it was one excuse after another; either I had an appointment or deadline I couldn’t change, or it was raining, or it was hot and hazy east of the Cascades, or there was a forest fire blocking my path (no joke!). Over a month went by like this, and I could feel my window of opportunity shrinking—many of the roads included in my plans are closed from October through June.

And then, a couple of weeks ago now, it seemed I’d finally get my chance. Every weather report promised dry, cool, sunny weather, for one lovely day, before the gloom closed in again. I packed my drawing paraphernalia, both cold and hot weather gear, a picnic lunch, a pile of atlases and topographic maps (you didn’t think I’d be using GPS, did you? When a letterpress printer marries a geologist, topo maps become a permanent fixture of both studio and science lab!), my camera, and plenty of music in the car, set the alarm for 3:15 am, and went to bed early with my fingers crossed.

By 3:30 I was ready to go. I poked my head outdoors, saw stars overhead, and decided to make a break for it. Two hours later I arrived at my first stop: Tipsoo Lake, just off the road in an alpine meadow. To my immense surprise I wasn’t alone, even at that absurd pre-dawn, Wednesday hour, with the entire meadow blanketed with frost. A pair of photographers arrived just minutes after me and set up tripods nearby, and a friendly Slovak couple emerged from their tent to introduce themselves while we waited for the sun to rise. The biting cold made me question the sanity of this trip, but when the light finally spilled over the ridge to dye the Mountain pink, all my doubts disappeared.

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I stayed just long enough to block in a composition and shoot a few reference photos before the light changed and I lost the moment (I was on a tight timetable all day, so I finished all of these sketches back in the studio). I checked my watch and hit the road again (and waved to the Slovaks as I passed them again, thirty miles later).

From here onward I had to work entirely on conjecture. Tipsoo Lake is a famous, oft-photographed spot, so I knew what sort of composition I wanted. But I had no photo reference for the rest of my guesses that day, only an idea of what I was looking for and a lot of half-memorized topographic maps. I was hoping to capture a scene of Rainier through the iconic apple orchards of Yakima, but I knew (from all the neck-craning I’ve done on previous drives through the region) that for the most part Rainier isn’t visible from the Yakima Valley, where most of the fruit trees are. According to my maps, though, there were some flat, gridded regions at the top of the bluffs overlooking Yakima—I hoped the grid meant farms, and that the extra 600 feet in elevation would be enough for a glimpse of the Mountain. So I made for Selah Heights Road—a hairline even on my most detailed map.

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The road climbed past rows of poplars, trees laden with fruit and sweeping views of the valley; so far, so good.

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And then I found it: just the tip of Mt. Rainier visible between the apple trees. I couldn’t believe my luck. And just as I finished roughing out my drawing (I still had a lot of miles to cover before my next destination, so I worked fast and loose), I glanced to my left and discovered another treat:

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Mt. Adams, for a little extra credit.

After a quick, desperate and delicious coffee in Yakima, I turned south. My next stop was a place I’d never been: the Centerville Valley, a high-plains agricultural area just beyond Goldendale.

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I knew that Adams would be prominently visible from here, but I could only hope that Rainier was as well—it sure would make a pretty picture if it were, I thought.

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Nope, still Adams—although from this angle it tends to fool people (and cows).

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I looked behind me, and saw that the farmland sloped upward a bit, before giving way to the Columbia Hills. So I headed south along a dirt road for about a half mile, parked, and trudged a few yards into a field of wheat stubble.

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Bingo.

The alfalfa blossoms were sheer luck, just like so many other things that day. And that irrigation rig was moving—so I was never more thankful for digital photo technology than that moment (as a die-hard darkroom enthusiast, I never though I’d say that!).

Only one item remained on the itinerary: a narrow, winding goat track called the Dalles Mountain Road.

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The spectacular vista of Adams, Rainier and the valley was just the beginning.

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The road snakes over the top of the Columbia Hills, providing views of five volcanoes (that’s Hood there)…

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pockets of stunning wildflowers…

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and plenty of road-side snacks.

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On the southern slope of the Hills the landscape turns suddenly rocky,

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and the mighty Columbia River bursts into view.

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My research had gone off without a hitch, and right on schedule. It was only just noon: mission accomplished. So to celebrate I stopped for lunch at one of the most stunning picnic spots I’ve ever seen.

From that little patch of grass I could have chosen to go home the way I came, or finish the loop and return along the western side of the Cascades—it was almost perfectly equidistant. So as usual I chose the unknown road, and zipped home via the historic Columbia River Highway.

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Fifteen hours, 515 miles roundtrip. And perfect conditions every step of the way. I think that after a summer of total frustration (remember the airplane incident?), maybe the universe decided to give me a break.

I’ll be sure to send a thank-you note.