Two Swallows

No turtle doves here this Christmas, and no partridge in a pear tree. Just two tree swallows and a bird house I’m giving as a gift. I started the first painting on traditional watercolor paper and then decided to paint a second to test drive the new Nova series toned paper from Stillman & Birn. Doing the paintings side by side gave me a perfect opportunity to compare papers while painting the same subject using the same materials and techniques. Which do you like for the gift?

Tips & Techniques: The toned paper is 150gsm and labeled suitable for dry media, light wash, and ink. I used white gouache for the breast and regular transparent watercolor for the rest and was surprised at how well the paper took the paint. It buckled only slightly, so I kept the watercolors on the dry side. In contrast, the painting on watercolor paper (Strathmore 400 series 140lb) enabled me to work a little wetter. Here, I let the white of the paper serve as my white and added only pale shadows on the breast. Though the colors are cleaner on the white paper, I like toned paper for the impact of subjects like this that have strong whites. I wish the Nova paper was a little heavier, but I like it enough that I may do a series of birds on it.

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Winter Blues

“The woods are lovely, dark and deep…”

Inspired by Robert Frost’s famous poem, I set out to capture a few favorite trees and darkening skies. I loved playing with the complexity of branches and shapes using the simplest of colors. There’s something about these deep blues that brings out the mystery and beauty of this time of year.

Tips & Techniques– These pieces started with at least six failed attempts to paint trees at night. I began by doing numerous small “test” paintings of silhouetted trees against various skies, but none proved evocative or beautiful. I was ready to throw in the towel when I hit on trying negative painting techniques and finally saw something interesting evolve. So, my tip this week: before investing a lot of time in a big painting, try a few small samples to work out the kinks and test colors. It’s also worth remembering—and I am especially in need of this – sometimes it takes a few failures to get to success. Keep painting!

Hanging On

There are many reasons to appreciate stately, solid oaks. Raking their late-dropping leaves in December is not one of them. Persistent and tenacious, they hang on despite autumn gusts and rain storms that shake other trees bare by October’s end. And yet, as I rake pile after pile, I think: maybe we should be more like oak leaves, resolved to hang on as long as we can. Savoring each day of sun, knowing that the dark and silent winter will come all too soon.

Tips & Techniques– I’m testing a new box of Schmincke watercolors, so I decided to use “negative” painting techniques with this journal page as a way to figure out the range of colors I could get with a triad of Ultramarine Blue, English Venetian Red, and Yellow Ochre. I began with a very loose wet-in-wet wash of those three colors. Once it dried, I began to pick out the shapes of the leaves with smaller, but still very wet washes. You can lay lots of layers on top of one another with this technique to build values, depth and interest. The trick is to stop before overworking it or losing the spontaneity of the original wash.

Here’s how it looked along the way (sorry I didn’t take more photos toward the end; I got absorbed and forgot)…

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Get to know your paints! I haven’t used English Venetian Red before, and though it looks similar to Burnt Sienna, it is less transparent and mixes very differently. Look how it becomes more purple when mixed with Ultramarine Blue. Burnt Sienna creates beautiful browns and grays with Ultramarine, a mix I use all the time. The purple toned darks worked nicely for the oak leaves, creating a lively triad with the Yellow Ochre.