Elenor Glee and TNL (the nice lady) are characters I have created to tell the story of process. They are imaginary. The process is real.
Episode One: January Rocky Mountain National Park
Elenor Glee worked from 11 to three. And sometimes she worked from 3 to we’ll see. Elenor Glee had just been hired by the nice lady who lived in the big house. Today was her first shift and somehow, she knew she was in for an adventure.
Elenor Glee looked in the mirror as she began the day and decided that being a personal assistant was like being a muse. “I am going to keep that nice lady organized” she said to herself as she looked at her hair “but more importantly, I am going to be optimistic.”
Elenor Glee had ordinary brown curls that frizzed in the rain and seemed to need constant attention. Today, she would keep her hair long. At least that’s what she told herself while she studied the possibilities in the mirror. If her hair did not behave she would put it up with twists and swirls then clip off the stray ends too dry to inspire. Elenor Glee liked the challenge. What would her hair do today? She began carefully combing her hair despite the knarlies left behind in the night. She spritzed conditioner over her lock mess and carefully untangled and wondered what people with straight hair did with all their extra time.
Her hair was the reason for her good sense of humor. After all, it was a stand up routine every morning and it played out differently every day. She would make every reasonable attempt but if frustration wrinkled her brow, she put on a hat. She had a lot of hats. With her arms cramping, she twisted the last lock into place and commenced to the closet. A walk just short of a strut, Elenor Glee was comfortable, even in her underwear, proof that super-modeling was between the ears. Elenor Glee stood in front of her closet and contemplated her choice for her first day.
“What does a muse wear?” she thought. Elenor Glee was about as relaxed in snow gear as a hula dancer at a dinner party. Layers were part of the routine in Colorado, in January.
TNL (the nice lady) said they would be outdoors for part of the day.
Elenor Glee dressed and checked her hair in the 3 way mirror. If the back of her head looked good she was ready to meet the day.
Elenor Glee arrived and waited in the kitchen. What would the day, the job bring?
TNL entered the kitchen with a smile on her face and looked up from the map she was carrying. “Come with me!” She folded the map. "We are going to Rocky Mountain National Park!” Elenor Glee collected her warm layers.
The road to Rocky Mountain National Park rolled over gentle foothills and open meadows, now the color of caramel under a clear blue January sky. Silent ranches, regal and stubborn stood with companions of ancient gnarled cottonwoods and weathered wood horse corals. An occasional solitude-loving retirement home reflected the sun in their south facing windows, revealing their hiding spots among the curves of dry grass and ponderosa pines. TNL and Elenor Glee chatted about polite bits and pieces of their lives as they made their way to Estes Park, now a sleepy town, resting through the winter.
At the Estes Park entrance of Rocky Mountain National Park, TNL swiped her pass at the gate and the arm of the guardrail lifted. Once inside the park, everything took on a magical quality. No cottages. No gift shops. Just trees older than a lifetime. When a tree fell here, it rested for as long as it took to return it to earth. Pinecones, over beds of fallen needles lined up like a current in the river, showing the way of the wind. Some trees grew branches only on one side, indicating prevailing winds. Snow, bright white remained in waves across the dried grass and silhouetted the shapes of trees, shadows in the cold. The quiet two lane road curved and turned and passed great groves of aspen until they arrived at an open valley, flat as a golf course with a view of granite mountains covered in snow that blew off the tops. Ponderosa covered hills, as massive as a fleet of cruise ships, bordered the mountains before it flattened out into a meadow of caramel colored grass and red stemmed willows that lined a river of ice.
TNL pulled over on the side of the road and turned off the ignition. She looked quietly and intently at the view. A crow caught her eye from beyond the front window. “I want you to document this year in the park.”
Elenor Glee secretly imploded. Her mind raced. How? Why me? Elenor Glee secretly took the job so she could practice typing, but this was more than she imagined. Stalling for composure, Elenor Glee said “Wow! What an interesting idea!”
TNL said nothing but proceeded to layer on warm clothes from the pile of gear in the back seat. Tourists wandered about on the far side of the road taking photos of mule deer in the distance. Another car stopped in the middle of the road and someone held their camera out the side window. Elenor Glee found a pair of gloves and a ridiculous looking hat she imagined was meant for Elmer Fudd. TNL held out her hand with her keys jangling as if to indicate that Elenor Glee was absolutely in charge of not loosing the keys. “Keys.” TNL handed them to Elenor Glee.
Elenor Glee was the kind of person to focus on the upside. TNL knew this. TNL also knew this idea needed to settle in, so she opened the door to the cold wind and Moraine Park as if it was a place of worship.
Elenor Glee focused on moving beyond panic. She knew, if she agreed to do this that it would be up to her to tell the tale of how a paintbrush made time stand still. She put on her Elmer Fudd hat and walked into the cold.
They both stood silently in the wind and the view. TNL moved from spot to spot, looked at the direction of the sun and moved again, then fumbled a dog-eared 5x7 matt frame from a pocket of her coat. She closed one eye, squinted and looked at several spots through the little rectangle.
The wind, filled with the air of ancient glaciers, blew through the valley. TNL walked down a gentle slope, deliberately giving Elenor Glee more space and time to ponder. In that space, Elenor Glee acknowledged her intuition. An intuition that told her that TNL would only follow through with this idea if it was fun. With this optimistic possibility in mind, Elenor Glee relaxed into that place where she could hear solutions. It arrived as quick as a flash. She knew what to do.
Elenor Glee and TNL stood in the cold with a view of Moraine Park and talked as the wind blew. Optimism seemed to grow from the view and they agreed to become partners. They would give this idea until January 1, 2022. TNL would share her process and together they would figure out how to work on the project and trust the inspiration as if struck by lightening.
Elenor would have this year to ponder, take notes, make observations and let this idea linger like so many months of the year as if the idea needed to greet each and every day and make it’s acquaintance. As if this idea needed to explain itself to the spring and summer and again in fall. To politely ask each day for permission to move forward, to cavalier around with an artist, documenting the process, finding the words to describe what it feels like to mix color, to tint, to shade. What does it feel like to dance with doubt? What does it feel like to ruminate about why horizon line matters or how to see blue and purple in the shadows?
"So," TNL looked intently. “Are you ready? This is how I will share my process, from the beginning."
“How do I pick a location?” TNL tucked the dog-eared 5x7 matt frame into her coat. "I am 57 and I have, well, a health condition so I like to be close to amenities, like my car." She shrugged her shoulders. "It's not something I dwell on, it's just a fact. Safety. Logistics."
TNL looked at the expanse before them and moved her arms up and out, like an absurd game show host. “Let’s look at the contestants for a masterful image." She pointed "Do you see that group of cottonwoods in the middle of the park?” Elenor Glee learned on the drive over that a park was a specific land formation. "Moraine Park is iconic for it's mysterious remnants of the Ice Age and that group of cottonwoods is an interesting focal point, a boxy element in contrast to the long horizontal parts of the landscape.” She went on to describe the possible compositional charms for several views and then stopped and pulled up the collar of her coat. "Will you warm up the car? I will be just a moment."
On the drive home TNL continued. "I began research for this project last fall. I researched locations online and then spoke with a Ranger." She nodded towards the map of Rocky Mountain National Park. It was folded up and tucked beside the seat. TNL instructed Elenor Glee to open the map. Hand written notes in black marker covered parts of it. "I spent some time talking with a Ranger about possible spots that would be good for the view."
Elenor Glee studied the map as TNL spoke. "When I paint on location, I carry quite a bit of stuff and I need to stay for at least 3 hours, so hiking in a long ways is not realistic. Not that I am against it, but this works for me."
The late January sun was beginning to warm the colors of the foothills and the eastern sky was more purple than blue. "I want find a painting location from Trail Ridge Road but that wont be open until late May so for now, I am picking spots I can get to easily and paint from my car if I need to."
Elenor Glee put the map away. TNL watched the road as much as she watched the sky turn the color of jewels and the shadows lengthen then disappear. Was she always painting in her head? How many locations could she have picked along the way?
Episode Two: January In the Studio
Elenor Glee worked from 11 to three and sometimes she worked from 3 to we'll see. It was a new day. Once again, she pondered her hair in the mirror and reminded herself that she was a muse. She checked the back of her head in the 3 way mirror and was ready for the day.
Elenor Glee arrived at TNL's home.
“I am in the studio” TNL's voice was barely audible over loud and familiar classical music. Elenor Glee silently followed it beyond the front door to the studio.
Both music and light filled the studio and a cat slept by the fireplace, seemingly deaf. TNL waved her hand for Elenor Glee to come in and then quickly put a shhh finger to her mouth to indicate silence. TNL pointed to a seat at a long table in the middle of the room. Elenor Glee quietly sat and opened her laptop, besieged by the proclamations of heaven itself.
The studio, lined with windows, looked like a museum of oddities and artifacts. The window sills were topped with cactus of every kind, fossils, shells, geodes, figurines. A long counter topped with marble encrusted the studio walls on all sides, with shelves below, some opened, some closed, some with glass, tempered and lit from within. Bouquets of fresh flowers and pine branches filled the air. Elenor Glee was not the first muse. The studio was a deliberate sanctuary.
“That’s Bach. Toccata and Fugue in D minor.” The last note echoed from the pipe organ it was played on. TNL looked at Elenor Glee as the cat looked at her. “Have you heard it?” The cat licked her calico paw. “My grandfather played it. I listen to it occasionally. It was one of about 300 pieces he knew by memory. I think he must have been amazing.”
TNL picked the cat up from the floor. “When I was a little girl....actually, when I was a secretly awkward, painfully secretly awkward teenager, I used to long for a mentor. My grandfather died when I was 10, but I imagined him a thousand times, encouraging me as I learned to draw and paint" TNL made a funny face "and dream about being a great artist."
TNL let the cat jump down from her extended arms and looked at Elenor Glee intently. “Are you ready Elenor Glee?"
TNL began rhetorically "How do I pick a location?" She repeated. “Safety first." She shrugged at Elenor Glee and with a smile said. "I am a 57 year old woman with a health condition so I like to be close to amenities, like my car. Then of course, drive time. It takes, well you know how long it takes."
Elenor Glee remembered the drive and the cold January wind at Rocky Mountain National Park.
"Logistics - weather, time of day. Road conditions - I need to be realistic. And I like to be comfortable." TNL stood and carried a stack of 8x10" photos to the long table where Elenor Glee had begun typing.
"Next, I take lots of photos. The eye needs a little time to adjust to the charms of a location. I begin to see, you know, really see, about 5 shots in." These are the shots I took, in order. The last one is the keeper."
Elenor Glee looked at the photos, each better than the last. TNL walked back to her drawing table and rifled through drawers and vintage boxes for supplies.
TNL continued. "It was the best spot of the day - picked it because of its natural view. It needs almost no compositional change and I liked the lighting in the middle of the day. Realistically it's when I will be at the park, the warmest part of the day."
TNL moved about the studio, distracted by a plant that needed watering "Ultimately, I picked this spot" she nodded at the photo "because we can park close to get out of the weather, it is far enough away from other people but still close to the road with a restroom a few minutes drive and above all, I can be outside, paint outside, in the sun but blocked by the wind.
Elenor Glee slowed her typing down to a place where she could relax into less misspelled words, then gave up the perfection and just tried to keep up.
TNL picked up the photograph and placed it on her drawing table. She studied it for several minutes, looking for focal points, leading lines and awkward objects that could be shifted without changing the authenticity of the landscape. She got out a sheet of tracing paper and in about a minute she traced what she thought would ultimately be the foundation of the composition. The top of the mountain range and one just behind it with almost the same edge, looking like twin heartbeats. The edge of the valley, flattening out as if to sigh in relief. A clump of trees. Rocks in the foreground.
“Look Elenor Glee." TNL pointed to the traced image "This is the basic idea of the landscape. Drawing it will come later. For now, I need to consider how to make the most of atmospheric perspective.”
She went on to describe what the term meant. Elenor Glee typed as quickly as she could. 'Atmospheric perspective is the way that things vanish into the distance...overlap, become smaller, duller, have less detail, less saturation, less contrast, even the outlines become fuzzy and everything becomes more the color of the sky.'
"Artists have been using atmospheric perspective since the Renaissance" TNL concluded.
Elenor Glee wanted to know more but moved on.
TNL looked at the traced drawing. “There are a few key objects that can help me and if I shift them a bit left or right or slightly change scale, I can make space cues convincing.”
TNL put a new piece of tracing paper on the drawing and began making small changes. Then again. TNL stopped and held her hand around her chin, thinking.
“…if I shift these lines….I wonder….”
TNL got out another sheet of tracing paper. She drew out the first line at the top of the mountain range. She drew out the second line, the top of the valley. Then she did something unexpected. She shifted the paper diagonally about a half inch and drew the next horizontal line at an angle. And the next. Elenor Glee watched as she ever-so-slightly shifted the horizontal lines of the snow ribbons and grassy plains in a way that skewed them more dramatically into a vanishing point. In doing so, the space between foreground, mid-ground and background became more dramatic.
TNL repeated the process again and again as the cat fell asleep by the fire and Elenor Glee reviewed for typos. After many quiet minutes the cat stretched and moved away from the heat, to the view from a window.
"Too much and the illusion is given away.” TNL didn’t explain why it worked. Elenor Glee could see that it did.
TNL took the final sheet of tracing paper and placed key objects on the page: A small tree in the front. A few large rocks. 3, 4 clusters of unidentified bare shrubs and a group of ancient cottonwood trees separating the mid-ground from the background. It was about an hour of tracing, moving, tracing, moving and placing her hand on her chin.
"Lunch?" TNL clipped the group of tracing papers together and with a clothes pin she hung them on a jute rope that hung across the back of the studio as if she was drying a fresh laundry load of ideas, literally up in the air.
"I will be there in a minute." Elenor Glee pretended to scroll up to find and fix typos, but she really need a bit of time to...
Elenor Glee could see how composition mattered more than mountains that looked snow capped and clouds that held the color of the sunset. She studied the sketches and felt the precipice.
“Dare to be the muse.” Elenor Glee took a deep breath and picked up a drawing. She swallowed and felt her heart bubble. “This is why I am here.”
Determined to see the xray, the magic of the composition, Elenor Glee squinted at the drawing. Then, on impulse, she turned the drawing upside-down. Clarity sparked within her and instantly she could see past the delightful details of the landscape. It simplified like a cartoon scene, like the one with the Roadrunner and the Coyote. The mountains became simple wavy horizontals. The ancient ponderosa pines became raggedy triangles, decreasing in size as they disappeared into the distance. Other significant elements, like boulders and bushes became irregular circles and ovals, disappearing into dots. The cluster of cottonwoods stood as simplified rectangle close to the middle.
Carefully and with a sense of trembling Elenor Glee placed another sheet of tracing paper on top of TNL’s drawing. She drew in the simplified shapes. It felt good to see the structure of the composition, like finding firm footing on a boat. Elenor Glee wondered again. She got out another piece of tracing paper. She simplified more. The jagged horizontal lines simplified into one straight line at the top of the mountain range and another for the top of the moraine, a third horizontal line, the edge of the valley. The grove of cottonwoods became a simple rectangle. The pine trees became triangles. The bushes and rocks were now insignificant. She left them out. Now it was clear: the xray of the composition revealed one long, steady horizon.
“Be the muse.” Elenor Glee made a choice. This landscape story was about the long horizon. She redrew the composition last time. Three horizontal stripes from edge to edge and one small rectangle, just off center.
“That’s it.” She said out loud.
Elenor Glee put her hand over her chin. “This is what the composition is about. Loose this and the magic is gone.”
The composition was one long line from edge to edge. A line so steady you could feel the eternity of it.
It was time for lunch. Elenor Glee took her wise little drawings, folded them up and stuffed them her pocket. The cat looked at her from perch in the sun.
Episode Three: February Rocky Mountain National Park
Elenor Glee worked from 11 to three. And sometimes she worked from 3 to we’ll see. Elenor Glee trucked her hair in a hat and made her way to TNL’s house.
“We are going to Rocky Mountain National Park!” TNL spoke with vigilant optimism.
Elenor Glee and TNL drove, gently hypnotized by rolling hills. Ranchland dotted with black cows jumped off caramel colored winter grass like targets. Fluffy beige sheep, almost invisible, filled another. An occasional die-hard winter cyclist in bright clothes filled them with the awareness of speed and asphalt. The silent ranches marked time.
Inside Rocky Mountain National Park, TNL got out of the car, the same spot as before. She turned off the ignition. “I will be right back. I need to check to see if this is really the best spot.” She got out of the car and began carefully walking over and around the piles of pinecones and patches of snow that had gathered around boulders taller than a bus. She stopped and looked at the view, walked to another vantage point and looked again. She moved down the slope of the hill and looked through her hands, held up like a viewfinder. Elenor Glee found her gloves and began wresting with her coat. TNL returned to the car. The wind howled through the car as she slid in. She quickly closed the door and said “I am going to draw today…from inside the car.” She awkwardly fussed for her drawing supplies, stacked in a large basket on the back seat.
TNL looked out the side window. “The spot I picked last time has a fatal flaw.” She pointed at a singular group of old narrow-leafed cottonwoods in the middle of Moraine Park. “See those tall trees?” TNL raised a brow as she began to sharpen a pencil. “… a great focal point within this amazing view, right?” she shrugged “…but they screw with the scale. I drew them out, again and again but they continued to look like tall bushes. It’s because there are no cottonwoods in the distance or close up. There are no opportunities for perspective cues.”
TNL opened her sketchbook and turned to a page with a simple black and white drawing.
“See this drawing? If it doesn’t work small and in black and white, it most likely will not work large and in color. Not every idea works. The impulse I had to pick this spot did not work in the drawing.” She turned the page, and then again. “I tried it several times, slightly changing scale and placement. But it always ended up looking like tall, I don’t know, grass? Bushes?”