Here is the prop set-up, arranged so that it has interesting light and shadows. I refurbished the creel and purchased other items to compliment the space. You might notice the two thin pieces of paper, pinned to the top of two of the pears. They are there to give me some indication as to how the shadows would fall if there were two fishermen standing there (and there will be!)

Here is a close-up of the 'fly box' with it's collection of bugs.

I'm using a couple of very old 'Field & Stream' magazines that featured 'flyfishing' on the cover. The reel is a Pfleuger 'Sal Trout' from the 1950's attached to an old bamboo rod.

Here's a better look at my 'paper people'.

This 1930-40's Bartlett pear crate label will be the wallpaper background for this painting. It was also the inspiration for the painting.

This is my nephew Keith, looking natural as he tries to hook up a steak from the Bar-B-Que.

This is my brother-in-law Paul, not only posing for my painting, but taking major insults from Keith on the sidelines. Now I have all the components to start the painting process. Just need to stretch the linen on the stretcher bars and have at it! Stay tuned...

Beginning to block in the image with oil thinned down with turpentine.

The background is blocked in and I am beginning to block in the foreground, beginning with the bamboo fly rod.

I've just given the 'initial washes' to the magazines and the fishing pole and reel.

Here's where I am to this point. I'm working on the creel, defining the detail from the very beginning.

All that's left are my two fishermen.

Here is "Flyfishing In Pears" completely blocked in. Check out the next photo. It's a detail of the two fishermen, my focal point in the painting.

As I get ready to begin applying the final, thicker coat of paint, I need to determine the final hues and values. I study the light on my focal point, my two fishermen. I want them to stand out from the background (which is very busy) and the only way I can do that is to make sure that the overall value of the background is dark enough to make the sunlit areas of the two fishermen 'pop'. In other words, if there is a value in the background that is brighter than the highlights on the fishermen, then it will battle for attention with my focal point. This next 'final' layer of paint will sharpen up the detail as I adjust all the color. This step will take about a month to complete.

I've completed the final paint on the fisherman (minus his fishing rod), the background sky, mountains and one layer of hills. You can see how the greenery behind the fisherman, from his waist down now looks too light in comparison to those objects that are now getting a darker layer of paint.

Although this photo has considerable glare on the wet paint, you can begin to see the change as I work from top to bottom on the painting. The next photo will have the rest of the background painted and you will see how the 'blanket' of darker values behind the men on the pears begins to make the light shine on the sunlit areas of their clothing.

Even though the lower portion of the background is not completed, you can begin to see the upper portions of each fisherman begin to brighten, as the background darkens. Compare this photo to the photo of the two fishermen above. (three images above this image)

Now, with the background finished, you can really see the difference in contrast between it and the foreground figures and objects. I can now use this overall value of the background to choose the final values for the foreground. Finished foreground photos will be next...

The fishermen are done! Compare them with the photo just two above to see the difference between the 'blocked in' thin oil wash and the heavier unthinned oil application. I've chosen some darker values, as well as changed the hue in a couple of areas.

Well, the painting is finished and here is a detail of the flies in the fly box.

Here's a close-up of the creel, made of wicker and leather.

A pair of pears...

My pair of fishermen...and...

"Flyfishing In Pears"