#1471 "White Canoe"

#1471  "White Canoe"
11 x 14 (inches) oils on canvas.
Started 2:00 pm Monday, September 22nd, 2014.

Science is the search for the truth - at least an ever-improving understanding of what is real. Art is a personal version of that truth from the perspective of a creator. Together, art and science have been a wonderful life full of curiosity and discovery. Being an eternal student makes existence exciting and worthwhile - even though I still do not grasp dark matter, dark energy or even how gravity works. For me, "spooky action at a distance", "spukhafte fernwirkung" in German,  Einstein's famous phrase for quantum entanglement, should also apply to gravity. Gravity and entanglement might not even be forces at all, but the result of perspective and mass warping time-space. So much left to discover!  

Every painting in my 3000 portfolio is a search for the truth. After some reflection, I thought that #1471 "White Canoe", about halfway along my journey, best summed up the story. That painting was a totally plein air effort in northern Killarney while standing in front of the Whitefish River Cottages. 

I turned around after completing #1470 “Whitefish River Cottages” pictured to the right, and was struck by the white canoe pulled up on the beach. That canoe was on loan to me as I had left "Margaritaville" at home. I had paddled that craft many miles by then, so knew it well. 

The canoe didn’t actually hit me, but I instantly saw my next painting. I liked the curve of the gunwales and the reflections and colours in the water. Just like snow, a white canoe is not white. Over the next hour or so, the paint just flowed, and I tried very hard not to get in its way. I was on the verge of wrecking some of the accidental strokes that really sparkled. I stopped and did not touch the canvas again. It is what it is.

The bright water on the far side of the canoe is due to the sunlight reflecting from the high albedo, white hull. If you paint what you observe, it can never be wrong, even if you may not know the full explanation.

I was blessed to be at the Charlton Lake Camp in Willisville to paint and deliver presentations on climate change and the art and science of Tom Thomson. 

Some old and new friends were also there ... Jim Waddington attended the same high school in Brockville, graduating from BCIVS in 1959.  Jim became a professor of physics at McMaster University, specializing in nuclear physics. Jim even married Sue, his high school sweetheart, as did I. We share much in common. Jim and Sue have a passion for canoeing and art, and wrote the beautiful "In the Footsteps of the Group of Seven". I treasure an autographed copy. 

Artists Mary and Ed Bartram were also at Charlton Lake Camp. Ed Bartram is considered one of Canada's foremost painters and printmakers. We exchanged books on Tower Mountain while hiking. Mary and Ed were planning to study "The Weather of Ontario" while I prize my autographed copy of "Rockscapes". Sadly, Ed would pass away in 2019. 

Jon and Kerry Butler hosted a terrific dinner at their lakeside home and introduced us to some of the local painting places of the Group of Seven. I also painted all around Tower Mountain, Grace, Charlton, and Frood Lakes. The autumn of 2014 was beautiful and inspirational. 

For me, art and science have never been about commerce. The focus was always about learning, making something good and then trying to make that something even better. It is easy to make friends with kindred souls along the way. The days, months, years and decades have passed way too quickly, but there is not much, if anything, I would change, even if I could. The hope is that my best work will be found in the future.

Life is good, and remember, you gotta laugh! 

May health and happiness bless you in 2026. 

For this and much more art, you can proceed straight to the Collections. Here is the new Wet Paint 2024 Collection. Thank you for reading, and stay well!

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2985 "October First Ice 2014"

#2985 "October First Ice 2014"
11 x 14 Inches oils on stretched canvas. 
Started at 9:00 am Sunday, November 9th, 2025.

I photographed this inspiration at 4 pm on Saturday, October 4th, 2014. What caught my eye back then was certainly the clouds and the subtle crepuscular rays cast by the setting sun. What seized my eye more than a decade later was quite different. I was searching for inspiration during the first snowfall of the winter of 2025-2026. Heavy snow and freezing rain encouraged me to remain in the Studio in front of the wood stove, listening to tunes. 

The contrasts in the climate were glaringly obvious. I was quite taken aback by the high water levels and the extent of the ice over the western basin of Singleton Lake in 2014, as seen in early October. There was fresh snow on that ice, contrasting strongly with the dark, backlit colours of the far shore. The 2025 water levels were near record low values, and the first snowflakes of the year had just arrived. There was no hint of any ice anywhere on the lake in November, a month after that image in 2014. 

The fossil fuel corporations would rightly claim that a single weather event does not constitute climate change. The summation of weather over a few decades does constitute climate, and both have been changing. I have written about these issues for years. See "The Weather Makers by Tim Flannery - Become Informed and Involved in a Good Way" and "Big carbon's strategic response to global warming, 1950-2020" among many such blogs.

Tim Flannery in "The Weather Makers" investigates “the corrupt relationship between government and industry." David R. Boyd exposes the simple game plan of Big Oil in “The Optimistic Environmentalist”: 

•  Deny the existence of any problems. 
•  Pay charlatan scientists to lie and claim that their products or emissions are safe. 
•  Finance scientific journals with official-sounding titles to publish bogus articles based on junk science. 
•  Buy the support or acquiescence of politicians and bureaucrats. 

For me, this painting will serve as a reminder of what once was. Climate is a very delicate balance between many immense physical forces, and human activities have upset those precarious equilibria. Corrective measures are already too late, even in 2025. 

 For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. Thank you for reading, and stay well!

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2984 "October 25th Singleton Sunset"

#2984 "October 25th Singleton Sunset" 
16 x 20 (inches) oils on stretched canvas.
 Started 9:30 am on Monday, November 3rd, 2025

The western shore of Singleton Lake was in darkness at 6 pm on Saturday, October 25, 2025. If you look closely, the details of the homes can still be seen in the dim. The west basin of the lake was rippled by the northwesterly breeze and thus reflected the sky overhead. The eastern basin in the lee of the Singleton forest was calm and mirrored the sunset hues. The stratocumulus clouds were shaped by the brisk upper winds. The low water levels had recovered a bit, and only the head of the "swimming bear" could be seen adjacent to the second "Turtle Island". I never tire of the natural beauty of the Frontenac Arch Biosphere. 

Now for some interesting science. 

Everything in the atmosphere ocean can be described as either lines or swirls. The two are intrinsically connected through the Deformation Zone Conceptual Model. The interactive connections between lines and swirls are explained within the three-dimensional fluid. Every sky is an opportunity to apply these basic principles. You can start with either a line or a swirl. They both lead you to a better understanding of what is actually occurring in the world around you. In sharp contrast, I find it is best to never try to understand politics; nature actually makes sense. 

The following satellite images summarize most everything that you need to know. Every line and swirl tells a story. Singleton is located at the yellow star. The large occluding low was well to the southwest.

The deformation zone conceptual model can be applied to my ground-based painting location. Singleton, located at the yellow star, was actually under the small cyclonic swirl on the opposite side of the large deformation zone that was controlling the larger weather pattern. 

The col in the deformation zone can be found along the divergent edge of the relative cloud-free delta-shaped zone; the green triangle labelled "D" in the above graphic. Neither companion of the warm conveyor belt can effectively deliver moisture into this "Bermuda Triangle" of the atmosphere. The rising anticyclonic circulation on the warm, right side of the jet stream carries high, cirrus clouds. The descending dry and cold conveyor belts spin up the cyclonic swirl, especially at mid and lower levels of the atmosphere.  Lower layers of cloud get caught up in that cyclonic swirl but are not directed into the green triangle. 

Young and developing systems will typically not have the high-level cirrus flow wrapped cyclonically around the low/X swirl. I have grey-stippled out the cyclonic branch of the high-level cirrus flow in the following graphic to illustrate this point. That cirrus, cyclonic branch is only seen in older and mature weather systems referred to as cut-off or occluded lows.   

The relative intensity of the swirls, as diagnosed from their size and shape, can reveal much about the age, strength and motion of the storm.  The low/X swirl in the storm of October 25th was more pronounced than the high/N and actually included the high-level, cyclonic cirrus flow. The occluded low was mature, strong and slow-moving. 

As a brief refresher, it is important to remember that the atmospheric patterns are churned within the atmospheric frame of reference, moving with the mean flow. My easel is affixed to the rotating Earth, which is a very non-inertial, or accelerating, frame of reference. This means that an object in this Earth frame will have an acceleration even if no real forces are acting on it.

Because of the Earth's rotation, objects appear to move in ways not explained by real forces alone, requiring the introduction of fictitious forces like the Coriolis force and centrifugal force. The Coriolis force deflects moving objects, causing them to veer right in the Northern Hemisphere and left in the Southern Hemisphere. This is the essence of the Coriolis Hand approach I use to describe the resulting horizontal and vertical motions in the atmosphere. It is most appropriate that your right hand is your Coriolis Hand if you live in the Northern Hemisphere, and your left hand should you live south of the equator. The rotation of the Earth greatly impacts large-scale movements of air and water, and the effects are explained by the Coriolis Force for the sake of convenience.  

A previous painting, #2982 "Singleton Sunset on the Ides of October", goes into some details on the important conceptual models and their application. You can also find more information in The Art and Science of Phil the Forecaster Blog. 

This time, let's just appreciate the peace and quiet of a sunset created by the small cyclonic swirl well ahead of the storm. The weather does not need to be big to be beautiful. 

For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. Thank you for reading!

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2983 "October Sunrise Thunderstorm"

 #2983 "October Sunrise Thunderstorm"
16 x 20 oils on canvas. 
Started 9 am on Sunday, November 2nd, 2025

Distant flashes from a cold frontal October thunderstorm were visible in the night sky, which was still very dark at 6 am. There had been no mention in the forecast, but the lightning was clear. The light was enough to wake me up, so I decided to get up and enjoy the show. It was then that I decided that the unusual sunrise colours and clouds needed to be interpreted in oils. Those rich rose, and golden hues would not last long - just minutes...

I charged right into the oils on these thunderstorms. Paintings #2981 "Singleton October Sunset on Summer" and #2982 "Singleton Sunset on the Ides of October" were not nearly completed and still very wet. But I needed to get these new colours down on a canvas.  I also needed to write down the many memories that flowed while I painted.

Meteorological overview from 6:40 am, Wednesday, October 22nd, 2025

Some very thoughtful people, like physicist Richard Feynman have some very refined techniques they employ to thoroughly learn about a subject. In summary, that approach goes something like the following.

"If you want to learn something, read about it. If you want to understand something, write about it. If you want to master something, teach it". 

One can add "paint it" to that quote. The swirl of the brush with the accurate colours I witnessed revealed dynamics and structures that were not immediately obvious. I really got to know those October sunrise thunderstorms during this exercise. My goal was to communicate and share those insights through the textures and colours on the canvas. 

Richard Feynman also believed that “the world is much more interesting than any one discipline.” There is a big difference between knowing the name of something like "thunderstorm" and knowing the dynamics of a "cumulonimbus". That summarized my approach to meteorology in general, but also everything I experienced in nature. Understanding the physics of the structures in a conceptual model allows you to use that knowledge more broadly on another convective day. The process of immersing oneself in the environment allows one to sense and really appreciate what reality is, and maybe become a better plein air painter. 

I always strove to become a better teacher, too, even if that was not in my job description.  The goal was to learn about the heart and soul of science and the planet. So much so that I might be able to translate the complicated jargon and math of textbooks into simpler conceptual models that anyone with an interest might easily understand. This process takes much longer, but the effort is worthwhile.

One needs to quietly reflect to reach into those depths. The late sixties atmosphere in high school at the Brockville Collegiate and Vocational School, BCIVS, provided the luxury of time to do just that. BCIVS was a terrific opportunity to absorb knowledge and to participate in music and sports. I loved learning and excelled. 

The next opportunity for such reflection came during night shifts at the various weather centres across Canada, where I worked as a meteorologist. "Eureka" moments would often come after such contemplation. Thoughtful examination of the reality of hand-plotted weather maps and hard-copy satellite imagery was essential. The atmosphere could be understood and brought to life through imaginative mental conceptual models. I shared everything with my coworkers, and sometimes I was successful in lighting that flame in others. Good times. 

Thankfully, teaching and creating learning materials officially entered my job description after a 2004 competition and the ultimate educational opportunity at COMET in Boulder, Colorado. 

It was an absolutely wonderful and productive final decade for my official meteorological career - real science and service in the company of passionate professionals. Imagine creating 3D water vapour imagery and immersive virtual reality conceptual models that one could walk through! Many of my midnight-shift eureka moments were finally published, and I am blogging the rest as time permits. 

Richard Phillips Feynman 1918-1988

So there is the story of some unforecast, nocturnal cold frontal October thunderstorms and my simple philosophical foundation for a happy life. 

• Be voraciously curious, 
• Never stop learning,
• Remain passionately empathetically helpful,
• Surround yourself and family at all times with nature,
• Stand up strong and be counted for what is obviously right.
• Remain respectful, but always be cautiously skeptical of authority. Power can corrupt. 

Richard Feynman did all of these things and would be a wonderful role model for any generation. Feynman's quote to the right is intended with a positive slant to encourage the cultivation of the arts so that we might all better understand. The arts need to return to the educational system...

To be clear, the science that Richard Feynman exemplifies is under attack... and not just in the United States. Corporations profiting from fossil fuels are still very much in control. There has been no abatement of the release of greenhouse gases into the atmosphere. 

For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. 

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2982 "Singleton Sunset on the Ides of October"

#2982 "Singleton Sunset on the Ides of October"
16 x 20 oils on canvas
Started 9 am on Saturday, November 1st, 2025

The sunset colours were striking. One of the challenges would be to do those hues justice on canvas. The other trick would be to explain what the clouds were saying. Both the weather and the colours begged to be accurately depicted. 

The surface winds were light northerly in contrast to the southwesterly winds at the level of the altocumulus clouds. I watched the cloud masses drift toward the northeast, perpendicular to the leading edge. The virga precipitating from that deck of altocumulus clouds appeared to be heading northeast as well, but faster than the cloud! Can the wind below the cloud deck actually be faster than that moving the cloud? Strange! Meanwhile, the ice crystals wafting down from the cirrocumulus appeared to be drifting toward the south. How can we make any sense of this? I can explain.

I watched this sunset and can categorically confirm that the surface winds were light northerly. Singleton was within the cool northerly outflow of the ridge of high pressure on the cold side of an approaching warm front. 

Both layers of clouds were drifting toward me, propelled by southwesterly winds. The drift of the cloud masses toward the northeast confirms that a warm conveyor belt was approaching Singleton Lake. This was consistent with Singleton still being within the cold air. 

The following satellite images and the surface map summarize the meteorological situation. The water vapour imagery indicated that Singleton was under the anticyclonic companion of the warm conveyor belt.  This information is crucial to understanding the clouds.  That sunset sky was full of illusions. 

For those of you who are interested to learn a bit more meteorology, the following graphics will guide your journey, starting with a description of the Warm Conveyor Belt Conceptual Model. The explanations of the conceptual models can be skipped if you wish to jump to the final graphic that details the reason behind the drift of the virga and the observed winds. 

The next step is to employ your Coriolis Hand to decipher the Deformation Zone Conceptual Model. The deformation zone is a divergent flow stretching clouds outward from the col that marks the centre of the contrasting circulations. My favourite conceptual model!

With this information, you can deduce the probable weather by knowing which companion of the Warm Conveyor Belt is overhead. This information will not be on any exam, so no worries!

Now that you are familiar with the concepts, the following graphic summarizes all of the information. 

Now, back to the specific meteorology displayed in the October sunset sky and the painting. Remember that the clouds are always right. We just need to be careful how they are interpreted. 

All of the evidence confirms that Singleton was under the anticyclonic companion of the warm conveyor belt. That area, as described in more detail in the above graphic, is less likely to receive significant precipitation. Also note that the cirocumulus are organized into gravity waves perpendicular to the divergent flow in the atmospheric frame of reference. This could all be deduced without any of the satellite images, just by watching the drift of the cloud masses and individual cloud elements. Art and science actually do make sense. 

The virga illusions result from our non-inertial, rotating frame of reference. The clouds and virga are shaped by the relative winds solely within the atmospheric frame of reference.

How does one look at the relative winds and motions in the atmospheric frame of reference when we are stuck, spinning on the Earth? The average wind guiding a weather system will be in the same direction as the jet stream, only slower. Any motions perpendicular to the jet stream will certainly be the result of winds within the atmospheric frame of reference. These lateral motions will always be the result of a deformation zone. In this sunset, the altocumulus elements producing the virga had a pronounced motion to the left along the anticyclonic confluent asymptote of the deformation zone. 

Situational awareness is also a good place to start. For example, large Singleton storms typically form over the Gulf of Mexico and emerge from the southwest. Alberta Clippers approach from the west or northwest. Practice and ongoing weather watching will teach you everything you need to know?

Finally, here is the simpler, take-home message that anyone can apply. You just need to watch the clouds.

All lines are deformation zones. Deformation zones are typically perpendicular to the average wind. If the cloud along the deformation zone edge is shearing to the left as it approaches, the anticyclonic companion is approaching you. Cloud shearing to the right means that the cyclonic companion and more weather is on the way.  

The water level was probably as low as it would get. Autumn rains were due to arrive with synoptic-like weather systems similar to the one producing this sunset. The three rocky shoals, which are typically totally submerged, were still well-deserved islands. The swimming bear only surfaces in extreme drought. This was the first time in twenty years that we had seen that rock. We had witnessed numerous real swimming bears over the years, but not this boulder version. Every time we glance at the drought-stricken lake and that characteristic rock, we think it is a swimming bear. 

In a drought situation, any mention of precipitation will get everyone's attention. A meteorologist has to be very careful in using those terms. I recalled that we did not get much rain, if anything, from this system. That would be consistent with the anticyclonic companion of the warm conveyor belt passing overhead. Now you know why...

The sunset beaver was typically punctual, and I included my friend in this painting exactly the way it appeared. There are normally two sunset beavers that paddle at sunset to our shoreline to harvest trees. It is nature. I do not interfere.   

For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. 

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2981 "Singleton October Sunset on Summer"

#2981 "Singleton October Sunset on Summer"
20 x 16 oils on canvas.
Started at 10 am on Friday, October 31st, 2025

The chores were done, and it was time to enjoy the quiet of Singleton Lake on a summer-like evening. Sunset was fast approaching on Monday, October 6th. There was also a cold front on the way, and conditions would be very different in just 12 hours. 

The nearest point on Highway 15 was 7 kilometres away to the west, but the sounds of the traffic carried far under the developing radiational inversion. Cars and trucks were shifting gears in a frenzy to get to where they were going. The rumble of engines sometimes increased to a roar as they raced along. The speed limit is posted as 80 km/h, but apparently, motorists view that as merely a suggestion and not a law. Commuters typically whistle along at speeds in excess of 100 km/h. 

There were other sounds to hear. I much preferred the mooing cows and the "who cooks for you" question posed by the barred owls. The wail of the loons echoed across the lake. Mourning doves flocked to the shallow natural pool depression in the marble ridge for a bath. They would soon flock to their roost. The sunset beavers drew V-shaped wakes in the calm surface of the lake as they headed to harvest trees on our shoreline for midnight snacks. 

The wind picked up briefly just as the sun reached the western horizon and then quickly settled again. The redistribution of mass follows the sunset around the globe, but is probably noticed by very few. The last convective exhalation of the day rises weakly to be replaced by the strengthening cool downdraft gusts of night. The turbulence of the final gasps of a warm, sunny day, with the contrasting radiational cooling of sunset, can set the leaves rustling in a dizzy display for a few moments… then all is still and cool and calm. 

We refer to the last cool turbulence of the day as the "sunset whisper wind". We look for it daily. The trees on the waterfront and the rose bushes beside the sunroom are the best measuring devices. The rustling branches and leaves typically last only minutes. Even I can hear them.

The Hunter's full supermoon rose in the east as the sun set in the west. It was wonderful to see at least one bat darting around in the twilight, catching bugs. There were no bugs biting me as I sat quietly in the outside chairs. 

I had yet to touch a brush to canvas, but I needed to get this story down before I forgot all that I found inspiring. 

You might wonder why I go to such lengths to explain the motivation behind my art. Shouldn't you be spending more time painting? That is a very valid question, given the time and effort it requires to complete these blogs. I no longer have access to the rich, scientific data sources I enjoyed while with the Atmospheric Environment Service and then Environment Canada, so I must work with what I have time to find and cobble together. The answer is twofold. 

• Sharing the wonders of nature with others might prompt empathy for the beauties and mysteries of the world around us. Nature can be most beneficial for health and happiness in these crazy times. Caring could lead to action to help preserve nature and make us all better stewards of the land. 
• The effort also allows me to learn and relearn science that was once second nature for me when every day was filled with investigation into the wonders of weather and climate.  

These investigations could go deeper into the science with better data, but there is neither time nor need to turn these brush stroke exercises into rocket science. We can all learn from just watching the clouds. 

The patterns in the sunset sky told of one cold front. Those lines stretching perpendicular to their motion were deformation zones. Given that the October temperatures were in the mid-twenties Celsius, those lines in the sky had to be the portent of a cold front. Every line in the sky, including frontal boundaries are deformation zones - my favourite meteorological conceptual model. 

I had to look at the bigger picture of the water vapour image to discover the second and colder cold front. 

For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. 

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2980 "Singleton Sunset Golden Hour Before the Showers"

#2980 "Singleton Sunset Golden Hour Before the Showers" 
16 x 20 oils on canvas
started at 9:15 am on Thursday, October 30th, 2025

It is not vital to understand the meteorology behind the sky of every painting. However, I find it interesting and like to share a bit of science as well as art. 

A quasistationary frontal system was draped west to east across the Great Lakes within the cold trough mentioned in #2979 "Singleton Sunrise Sunday September 14th".  Such a weather system must be weak without any significant vertical depth. If the air mass is convectively unstable, the fronts can trigger showers, which are always welcomed in a drought situation. 

Singleton Lake was barely on the cold, baroclinic side of the front at sunset. The warm sector was clear of clouds. A deck of clouds stretched along and to the north of the front. That is the sky I painted. The rich and warm colours on the western horizon caught my eye at 5:45 pm on that Friday evening in late September (September 26th, 2025). 

As I recall, the showers passed just to our north. We received no relief from the drought at Singleton. The rain was expected to miss us, given the west-to-east orientation of the front. 

The record-low water levels revealed some structures we had never seen before. I could walk across Jim Day Rapids and just get my feet wet. The three rocky shoals were bona fide islands and large enough to support trees. Most notable was a singular rock labelled as "4" in the following graphic. It reminded un os a swimming bear. We actually see quite a few swimming bears. 

The red chairs on our waterfront are well used. There is always something interesting to see and talk about. Of course, being Canadian, there is always the weather to talk about. 

For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. 

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#2979 "Singleton Sunrise Sunday September 14th"

#2979 "Singleton Sunrise Sunday September 14th"
16 x 20 oils on canvas started at
9:15 am on Thursday, October 30th, 2025

John Verburg took this picture of a beautiful sunrise, probably from very close to where he was standing to take the image recorded in #2976 "September Singleton Sunset over Point Paradise". This sunrise sky was viewed on Sunday, September 14th, 2025, at approximately 6:36 AM. I would not have seen this panoramic vista had it not been for my friend John. 

Our place on the eastern shore of Singleton Lake was dark. We try to not contribute to light pollution, so that's the way home looks at night, pretty much all of the time. Battery-operated LED candles provide all the light and ambiance that we need. Motion sensor lights flick on as needed when we move around outside in the dark. 

A weak cold front was on the way. The disorganized lines of altocumulus were Langmuir streaks overrunning the departing warm frontal surface. The deformation zone leading the cirrostratus was already far to the northeast. The cold upper trough was just digging deeper over eastern Ontario. The entire weather pattern may have been fairly weak, but the sky and the reflection were too beautiful not to record. 

The following graphic puts the painting into the weather context. Note how the water vapour and even the visible image are not very excited about the clouds overhead the yellow star, which locates Singleton Lake. The sky is much more vivid from the ground!

I painted the Langmuir Streaks following the direction of the warm conveyor belt - the labelled block arrows in the following graphic.

That flow delivers heat and moisture toward the poles, helping to keep the Earth's atmosphere in balance. It occurs through the entire depth of the atmosphere as depicted in the following graphic. 

Warm Conveyor Belt Conceptual Model with Layered Cloud and Multiple Deformation Zones

The linear deformation zone (DZ) is the leading edge of the warm conveyor belt. The DZ stretches perpendicularly to the direction of the flow drawn between the swirls generated by the flow itself. The deformation zone is actually a three-dimensional skin that encapsulates the warm air. The physics of water and ice encourage moisture to form into layers of cloud, so that the DZ skin is seen as DZ lines where those cloud layers intersect it. Nature and physics can be really quite beautiful. 

Your right hand is the Coriolis Hand in the Northern  Hemisphere. With your fingers following the curvature of the swirls, your thumb must point upward on the left flank (looking with the flow) and down on the right side. Your Corilois Hand can follow the "Croquet Hoop" that encircles the flow. The lower portion of the warm conveyor belt, "Croquet Hoop" occurs in the turbulent layer of air adjacent to the surface.  Every puff of wind must generate these vortices exactly like smoke rings.   

The following graphic summarizes the straight-line deformation zone in the Northern Hemisphere using your Coriolis Hand. The lines and swirls that shape clouds/moisture in the atmospheric frame of reference are nestled together in this conceptual model. All of the swirls must be the same magnitude to create a straight-line deformation zone, and it is a good example to start with. All you need is your Coriolis Hand and some time to watch the clouds move. We can practice using these concepts on another satellite view of the sunrise of September 14th. 

The Nighttime Microphysics RGB satellite image reveals subtle features in this situation that are invisible in the typical water vapour and visible satellite images included above. The complete nature of the sunrise on Sunday, September 14th, can now be fully understood using this product. The convex deformation zone occurs with the flow of the warm conveyor belt is stronger than that on the other side of the deformation zone. The system must move in the direction of that flow. Animation of the satellite image makes these motions obvious as doens watching the actual clouds from the ground. 

The graphic above uses a stroke of my paddle in a surface filled with duckweed to illustrate the creation of swirls and lines. The physics is the same in the sunrise atmosphere that I painted below. 

Nature inspires and continues to make sense when not much else does. It might take a few re-readings for some of the more subtle points described above to become clear. That's OK and only natural... 

For this and much more art, click on Pixels or go straight to the Collections. Here is the new Wet Paint 2024 Collection. 

Warmest regards, and keep your paddle in the water,

Phil Chadwick 

#0879 "The Copse"

#0879  "The Copse"
11 x 14 (inches)
Started around 5 pm on Tuesday, March 27, 2007.
Painting Place N43.95376 W79.74567.

This painting originates from the era of Watershed Farm, located on the 12th Concession of King Township, just west of Schomberg. That was home between 1993 and 2009... I loved that time and the friends we made in the country. We still have those wonderful memories, but I miss the friends.

Watershed Farm was at the very crest of the Oak Ridges Moraine. The front yard, including Kennifick Lake, drained through the famous Holland Marsh and then Lake Simcoe. The pond and stream behind the farmhouse connected with the Humber River and Lake Ontario. It was a natural paradise and a wonderful place to raise both pets and children. We planted trees and built bird houses throughout the 25 acres. We were even founding members of Art Society King. Life was very good!

Times change, and the development pressures were and remain intense. Paradise was continually threatened. Political maneuvering for highways, houses and profit came yearly under different "leaders" and "parties". The latest iteration of the Conservatives has been particularly ruthless. See Bill 5, the "Protect Ontario by Unleashing our Economy Act, 2025". 

Any reader of this bill would benefit from understanding "doublespeak", "word-smithing", "gobbledygook", and "bureaucratese". Hypocritically, this act does not pass any smell test. It repeals the Endangered Species Act, significantly alters several other environmental and heritage laws, raising concerns about its impact on First Nations' rights, environmental protections, and public consultation while ignoring Indigenous rights. Bill 5 is all about greed when Climate Change demands an immediate end to the release of carbon into the environment. Shame! 

But looking back, for twenty-plus years (1985-2009), I was able to paint around Schomberg and the beautiful farm fields of King Township. This particular "thicket of small trees or shrubs; a coppice" was on the southern flank of Watershed Farm. Tuesday, March 27th, 2007, was warm at 18 Celsius, and I had to paint in the shade. The bluebird sky was absolutely clear. I can’t take the sun anymore, so I set up in the shade. I rarely paint looking into the sun, but I placed a large tree between the golden orb and my eyes so this view was possible.

This was one of my favourite places to paint. The copse of trees, shadows and fallen fence create lines that I enjoy. The copse was composed of basswood and maple trees, all intertwined on the slope of the hill. The family Chesapeake loved this place as well. I spoke to her when I finished painting - it was a simple, spontaneous reflex. She had passed three years previously. I missed her greatly, and this painting was in her honour.

The weather turned dramatically as I finished stroking. A cold north wind blew in with overcast skies. I finished just in time!

Just a very small selection of the paintings and memories inspired by the Oak Ridges Moraine is included in the following collage. There are 270 paintings in the Oak Ridges Moraine and Watershed Farm Collection on Pixels. 

But the story of "The Copse", building bird houses and planting trees, does not end there. My artist friend Herbert Pryke was putting together a book of art inspired by the Oak Ridges Moraine. I applied to be part of that very worthy conservation effort. 

"Congratulations on being selected for the Oak Ridges Moraine Book -I loved your work and I chose both the autumn scene (879-this one) and the winter fence (0610) scene ... the works really stood out, especially the colour in THE spring scene ... the use of brushstroke and composition in both with horizon line near top were very engaging. " Christine A. Lynett, Manager, Programs, McMichael Canadian Art Collection

"The Connecting with Nature, Oak Ridges Moraine" art book received the 2009 Moraine Hero Award for demonstrating remarkable efforts in protecting the Oak Ridges Moraine. Several other King artists were involved in this wonderful book that Herbert Pryke designed. Herbert had some of the paintings from the book at the ASK Soiree. There were also copies of the book available to buy. 

I recall that effort raised about $20k for conservation. Sadly, that is chump change for developers and politicians who routinely deal with millions or billions of dollars without blinking or seemingly thinking. Much, if not all, of that cash is Taxpayer money, but that is another sad story. 

The science and importance of the Oak Ridges Moraine are both well known and very clear. Unbridled greed and lack of empathy explain why the Earth and Nature have arrived at such a sorry and precariously existential state. Efforts to protect the Oak Ridges Moraine and countless other unique and vital landscapes continue around the globe. The same can be said for the Frontenac Arch Biosphere, which is our current and final home. We plant trees and build bird houses for that property as well. 

The pressures on unrestricted development and extraction of resources are high - apparently everywhere. We protect an important portion of the ecosystem right in the middle of the Frontenac  Arch. It is another natural paradise like Watershed Farm once was. 

For this and much more art, click on Pixels , go straight to the Oak Ridges Moraine Collection, or to all of the Collections. Here is the new Wet Paint Collection for recent art. 

Warmest regards, and keep your paddle in the water,

Phil Chadwick