I found this nest in the collection of the Pember Museum of Natural History in Granville, NY, where I spent the better part of a day sketching nests that have outlived their builders by more than a century. Somewhere in the weave of stems lies the faint echoes of a grassy wetland, the calls of birds and frogs, the mix of cool air and warm sunshine, of another springtime. I’ve never seen a sedge wren (also called the short-billed marsh wren), and this is as close as I may come. Can you imagine how such a small bird weaves a ball of a nest with nothing more than a beak?
Tips & Techniques– Include field notes in your journal to make it a good reference for what you discover and learn. When I first saw the label on this nest I didn’t know that there were two distinct marsh wren species: a short-billed and a long-billed. I had seen marsh wren nests that didn’t look quite like this, and a quick Google search explained why—the ones I’d seen were made by the long-billed marsh wren. These two species have different colored eggs, too: white versus mottled purplish brown. Art, discovery, and learning fit together beautifully for me in the pages of my journal. I hope you have opportunities to do the same!
The blackbirds returned two weeks ago– a huge flock of red-winged blackbirds and grackles. They hang out in nearby fields and wetlands, and every few days turn up squawking in the tall trees surrounding our yard, then scatter in a great mass of beating wings. But today, amidst a foot of new snow, they stay. Hunkered down at our feeders, they clean us out twice over. And what could be better: The birds or knowing that, despite the snow, we’re on the other side of winter?
Tips & Techniques: Since these birds were never still for more than a few seconds, I decided to skip the pencil and go direct to watercolor, using a size 5 DaVinci travel brush. If you have a feeder, give it a try: it’s a good way to work quickly, focusing on the general shape of birds in different postures without getting caught up with details.
It was like a crime scene: the beauty lay on the floor, mangled and broken; a mess of soil and tangle of roots lay about her. Alas, it was the amaryllis’s own radiance that did her in. Her blossoms grown so heavy atop the three-foot stalk that she tumbled off the table to the floor just two days after opening. Stricken in her prime— and while having her portrait painted!— I salvaged what I could, dissected one flower for study, and finished these pages.
I have spent the last month astonished by this plant, and now, am so grateful that I made time for these journal paintings before the fall (see the first painting here
Tips and Techniques– Here are two very different approaches to painting flowers. In the first carefully-rendered ink drawing, I used a Micron pen (size 02), and then added a few layers of watercolor. I love the pen drawing for capturing the unfurling blossoms and twisted sepals. Once the flowers opened, I wanted a more exuberant approach, so I used layers of very loose washes, combining negative and positive painting techniques to bring out the flowers. I wish I had left more white or masked some white areas at the start, particularly for the stamens…notice how much more light-filled the tight drawing is, simply because I left more white. It’s good reminder for next time: let the paper play its part in the piece.
What better time than the dead of winter to play with color? I recently bought a new paint tin from Schmincke (I really just wanted the tin, but decided to get it full instead of empty) and I also received six tubes of QoR watercolors from Golden to try. But before adding any new colors to my palette, I took time this week to test them. What follows is not a brand review, as much as a glimpse into the practice of being a painter.
I set about playing with various triads of primary colors with the goal of figuring out which ones looked promising for future paintings. This may sound simple, but given the huge range of colors that you can make from various reds, yellow, and blues, it quickly becomes a complex proposition. I tend to use a limited palette to create color harmonies, so it’s critical for me to have a sense of which combinations work best. After creating a huge mess of test sheets, I recorded the winning triads in my journal.
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I also needed a refresher on greens, so I created a green page, along with experiments using raw umber (a color I need to get to know better) with cobalt and ultramarine blue (nice blue-grays there, eh?).
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Finally, inspired by Mimi Robinson’s book Local Color, I decided to create a color palette to capture the landscape colors outside my window this morning. After the week’s riot of color mixing, I was quickly back to subdued hues—but at least I felt confident finding them in my paint box.
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Tips and Techniques– The important takeaway here is not to run out and buy a bunch of new paints or even to copy down the combinations I found most promising. Rather, it is to get to know the paints in your own palette. Taking the time to mix colors and figure out which combinations work best will pay huge dividends when you launch into a painting. You’ll gain confidence with color mixing, figure out your favorites, and take out little used paints that clutter your box or result in murky mixes. Start with red, yellow and blue mixes. But also try combinations of blues and browns, which will give you lots of lively and interesting grays.
What began as a simple search for interesting props for my upcoming Sketching Nature workshop, led to a great illustration of how much there is to discover if we only look more closely. Among the things I collected were the dried stems of goldenrod, many of which had classic round goldenrod galls. But I soon discovered other deformities that I hadn’t noticed before: stunted stems with tufts of leaves at the tops, and elliptical-shaped growths on stems.
It turns out that more than 50 species of insects—mostly flies, midges, and wasps– lay their eggs on goldenrod stems. When the larvae hatch, they borrow into the stem, causing the plant to form a protective chamber around the growing grub. When the larvae transforms into an adult, it emerges from its hideaway and flies off. Sometimes woodpeckers drill into the gall for a meal, in which case, you’ll find a small hole in the gall. For the most part, the insects don’t harm the plant; though in the case of the bunch gall, they do stunt the growth of the stem, causing leaves to sprout at the top and curtailing the growth of flowers.
So, there you have it…a bit of natural history for your day and an invitation to go out and see what you can discover.
Tips & Techniques– Keep it simple! I wanted this page to illustrate how much you can do with a few simple things on a page and a limited amount of time. I drew everything directly in pen and shaded only the darkest areas. I added watercolor in three loose layers, using combinations of yellow ochre, burnt sienna, and ultramarine blue. A bit of spatter near the dried flowers and the “goldenrod galls” text were my finishing touches.
Owls are master’s of silence, darkness and shadow, so spotting one is not easy. Painting one is not especially easy either. Still, I wanted to play with the idea of pulling an owl out of shadowy woods using a limited palette of blues and browns– though you’ll see that I added yellow ochre midway through to warm things up. I didn’t set out to paint every detail, but rather to strive for an overall impression. Here’s the finished piece– I took a series of photos along the way to give you a sense how the painting progressed.
I started with a very loose wet-in-wet wash. This stage adds an element of unpredictability to the painting, but also creates some cohesion. As the painting progresses, I’m working background and foreground, adding many subtle washes to develop the forms.
Painted on Arches 140lb paper, 8×10″