Ranunculus blooms in a riot of paint box reds and pinks. Brightening the countertop, they are perfect for April, when the Northeast is slowly greening, but I am impatient for more.
Tips and Techniques: Here’s a look at my basic kit:
- 2 Micron archival pens, black, 02 and 005
- 3 Escota Versatil travel watercolor brushes, sizes 2, 6, 12
- 2 Staedtler Mars Lumograph pencils, F and 2B
- pencil sharpener
- Watercolors (Winsor Newton and Daniel Smith) in an altered Schmincke tin: cobalt blue, phthalo blue, ultramarine blue, indanthrone blue, phthalo green*, sap green, carmine red*, quin rose, alizarin crimson, pyrol orange, burnt umber, burnt sienna, raw umber, yellow ochre, quin gold, aureolin yellow, lemon yellow*, Hansa yellow medium (*these colors are fairly new to me, so they’re still in the testing phase.)
- Small spray bottle for pre-wetting my paints, small jar with a lid for water
- Scrap piece of paper for testing colors
- Extra: Princeton Neptune 1/4-inch dagger brush (nice for the fine foliage of this flower)
No bigger than a small lemon, and with an equally yellow cap, the golden crowned kinglet is a tiny harbinger of spring. Never still for more than a few seconds, it flits busily among the trees, its high-pitched song easier to hear than the bird itself is to find. So I sit quietly, binoculars in hand, and wait. Soon enough, several appear—and disappear, and appear again, in a game of hide and seek that goes on for most of the afternoon. I can’t capture the movement, so I go for the lemon and the bird and the quiet instead, happy to keep this reminder of the day between these pages.
“Best of any song
is bird song
in the quiet
but first you must have the quiet.
— Wendell Berry
Is April the new March? Or am I too impatiently, too desperately, seeking spring? I go in search of greenery each week—into woods and wetlands, along meadow paths—and I can say with confidence, and disappointment, that my palette remains largely ochre and brown and overcast blue. Still, there are a few buds, and the Eastern phoebe wagging its tail in the still-bare maple, a hint of green under last year’s grass, and daylight past seven. Hold on and wait, they remind me, just around the corner is renewal.
(click the image to view larger)
Tips and Techniques: I’ve done a few posts about using a grid and, here again, this format proved adaptable and well suited for a hike at the Gilsland Farm Audubon Center in Falmouth, Maine. In advance of the hike, I divided this 2-page spread into 12 equal squares, using light pencil outlines for each box. Once in the field, I combined boxes based on the subjects at hand. It was just warm enough to draw and paint in the field, and I added the lettering and outlined each box when back inside. I like the way these small vignettes add up to covey my overall experience, much more so than had I done a single sketch.