It’s apple season here in New York; the time for picking apples and drinking cider and making pies. But for sketching, I prefer to leave the perfect apples for others and seek out wild and wind fallen fruit. Like Thoreau, I find almost all wild apples handsome. They are beautiful not in spite of their misshapen and knotted appearance, but because of it.
I recently had the honor of being interviewed by Bethan Burton for an episode of the Journaling with Nature podcast. We talk about my approach to sketching, my love of subjects that are often overlooked, and about my book, The Nature Explorer’s Sketchbook. Everyone should be interviewed by someone as sweet as Bethan. Her soft Australian accent and ability to put you at ease makes the conversation flow and leave you feeling like you’ve gained a friend.
Give a listen here: or search for Journaling With Nature wherever you listen to podcasts. You can find it on Apple, Google, and Spotify.
Bird feathers- wow! Form, function, and beauty in one perfect package. And so much variety and complexity of patterns that my head is spinning. I’ve been preparing for my upcoming class on The Art of the Bird by gathering resources and reference material and working out painting exercises. Painting these feathers gave me a whole new appreciation for the simplicity of the form and the challenge of rendering them well.
Tips and Techniques– If you’d like to make your head spin with a dizzying array of bird feathers, check out The Feather Atlas. The online image database is dedicated to the identification and study of the flight feathers of North American birds. The feathers illustrated are from the curated collection of the National Fish and Wildlife Forensics Laboratory. You can look up birds by species or browse the collection. Check out the owls or the nighthawks for starters- either one will leave you marveling.
Mark your calendar…I have two free Zoom chats coming up in November: Look, See, Sketch, 11/4, 5-5:45pm (EST) Art Chat, 11/5, 1pm (EST) / 10am (PST)
Fall is here, but the final blooms of zinnias and Mexican sunflowers continue in the garden, along with a tangle of scarlet runner bean and cypress vines. I’m hoping that the remaining tomatoes ripen before we get a hard frost. Perhaps there will be one more journal page to mark the end of the season. But just in case, the last of the show seems well deserving of a late season tribute.
Tips and Techniques– I could have selected only the finest remaining blooms for this sketch, but it wouldn’t have reflected the reality of the tangled mess or plants in various stages of bloom and decay that mark the October garden. So, while you may be tempted to paint a beautiful bouquet (and there’s nothing wrong with that), consider the value of marking the seasons and showing the imperfect reality that is inherent in a fall garden (and life itself).
At 5 o’clock, the sun was already low on the horizon, casting a golden light that would blaze for a short while more and then vanish. After eight hours at my desk, I quickly closed my laptop, picked up my sketchbook, and headed to a nearby preserve to immerse myself in what remained of a perfect fall day. I didn’t walk far before being surrounded by the colors of the season. Dark trunks of old sugar maples cloaked in a perfect glory of yellow, orange, green, and russet lined the old carriage road that marks the boundary of the preserve. I wish I could have taken you along to see the display, but this sketch will have to do.
Tips and Techniques—Sometimes you only have an hour (or less), a perfectly golden hour, in which to make a mark on a page. Tackling a big subject like a line of trees and fall foliage wouldn’t typically be my go-to subject for such a short time. But because it was truly THE subject of the moment, I decided to take the leap. Eliminating the more complicated branches of this scene made it more doable—though I wish I had included just a little more height. I sketched in the trees in pencil and painted the colorful leaves and ground with a waterbrush while on the path. The impression of color and light seemed like the most important element to capture in the moment. Back at home, I added the dark trunks and shadows. The thin border and text were important finishing elements, containing the sketch and anchoring it in time and place.
I’m thrilled to share the news that The Nature Explorer’s Sketchbook, due out November 1, received a starred review from Kirkus Reviews. This professional book reviewing service is a big player in the book world. Over the years, Kirkus has established a reputation for exacting, frank reviews. Earning a Kirkus star is coveted top honor. Like a Michelin guide for books, Kirkus Reviews helps good books get attention and offers booksellers and librarians a way to sort through all the new books published and select the ones they want on their shelves.
I thought you might like a glimpse behind the scenes to see how a book page takes shape from rough idea to final artwork. I wanted the book to have the look and feel of a sketchbook, so I started with thumbnail sketches to consider artwork possibilities, text, and layout. The best thumbnails became more detailed pencil sketches, and then full watercolor illustrations. (Click to view larger.)
Coming Soon! New online class: The Art of the Bird: Eggs, Feathers, and Nests offered at the Winslow Art Center; Tuesdays, Nov 10, 17, 24, Dec 1, 6-8pm (EST). Registration opens later today or tomorrow and will be limited to 12 participants. I’ll also be doing a FREE Art Chat on November 5 at 1pm (EST).
“I suppose wisdom is to know one’s necessities and not live without them. And this huge silence, with the woods and the ocean together, and the air full of kelp and the sound of the fish hawk and the seagulls and nothing else seems to be something I parish and parch without.” —Margaret Wise Brown, who summered on Vinalhaven from 1938-1952 and authored children’s classics including Goodnight Moon and Runaway Bunny
The Maine coast is, for many, about lighthouses and lobsters, quaint harbor towns and deep blue-green waters. I like those things, too, but I am drawn to Maine’s rocky coast—and to its islands in particular—for their silent and majestic spruce forests and intimate rocky tidal pools. Here, worlds beyond my own cares open, anchored in the solidity of granite and the rhythm of tides. The cry of the osprey circling overhead, the croak of a heron in the gathering dusk, the occasional rumble of lobster boats are welcome sounds in an otherwise quiet September.
We filled our days with exploration and several exhilarating quarry swims. I tried to paint boats and buildings in my sketchbook but found I could not muster enough interest to do either with satisfaction. So here is my week in sketches and in the particulars that will sustain me until I return.
It’s hard to believe that after six months of staying close to home a planned vacation to Maine is actually going to happen later this month. Yahoo! I’ll be stepping into the world of granite boulders and tide pools before you know it. In preparation for our trip, I did what I often do before leaving home and made a map to set the stage for the sketchbook pages to come. The island of Vinalhaven has a rich history of quarrying and lobster fishing, so I used a monochromatic map from 1859 as my inspiration. I look forward to filling in more of it and turning the page to record new adventures ahead.
Tips and Techniques– I love looking at old maps and thinking about how to use various elements, but I have never made one like this. If it appeals to you, I recommend trying it—it was surprisingly easy and fun. After making an outline of the coast in ink, I gave the entire page (except the buoy) a graded wash of raw umber and burnt umber. With the paint still wet, I placed plastic wrap onto the paper, which created subtle texture. Once the page was dry, I added another graded wash, this time yellow ochre, and again added the plastic wrap. Next, I painted the thick shadow along the coastline with a size 6 brush and then the thin contour lines using a size 2 brush. The text style is drawn from the historic map. After printing the letters with a Micron pen, I added a bit of white gouache to mimic the look of letterpress printing. The lower left is intentionally light so that I can write in it as the trip progresses.
If you were to draw a Venn diagram of Art, nature, and exploration, the intersection of the three is exactly where I like to be. The exploration doesn’t have to be dramatic—and in my case it rarely is—but I love going out and seeing what’s happening outside and trying to capture it in my sketchbook with watercolor and a few words. I’m not looking for grand vistas as much as simple, everyday subjects that mark the changing seasons and comings and goings of creatures that exist in a world of their own. These small things not only ground me, but also make the world larger and more grand. This page illustrates some of my favorite tools of the trade at the intersection of Art and nature.
Tips and Techniques– Painting art supplies or common household objects is valuable practice for capturing different types of textures. This painting presented the challenge of painting plastic, metal, and wood, as well as the texture of the nest and markings on the eggs. In this case, I found that a few simple strokes worked better than lot of fussing. Paying attention to the edges of your subjects is also important. A clean edge is key to the object taking shape.
Back in May, I wrote a post about Gardens Wild and Planted, where I wondered whether the home gardener could create anything as lovely as a spring meadow. Here I am again at the end of summer wondering the same once more. I visited this field (and started this journal page) back in July and revisited it last week to see it again (and finish the sketch). My own garden is a fine mix of annuals and perennials, and it has provided plenty of good subject matter for sketching. But it cannot compare with the wilder open fields where an annual mowing is all that is needed to create an entire season of beauty.
Tips and Techniques– This sketch is a composite of various flowers and grasses in the field. Rather than standing in one place where all of this was in view, I moved from flower to flower to fill the page. I often use this technique when outside because it allows me the freedom to roam freely, discovering and drawing as I go. I sketch directly with a black Micron 02 pen and I may or may not add watercolor on the spot. A small travel watercolor set and water brush work well, though I frequently add more layers of watercolor at home. The text and border come last. Hope you are enjoying some late summer wandering and sketching!
Despite the pandemic—and because of it—I’ve had a few recent opportunities to teach workshops. Whether masked and in person or via Zoom, I’m grateful to be able to spend quality time with people near and far who are eager to learn and grow. When I’m working with artists at all skill levels, I like to begin with some basic exercises and warm up sketches that get creative juices flowing and jump start a flow of pen on paper. We do blind contour drawing and very quick gestures and practice different ways to add watercolor to define spaces and make forms take shape. I love seeing what participants create with a few loose lines and a wash, and I love going back to basics myself. It’s a great reminder of the various elements that make for successful paintings, whether between the pages of a sketchbook or in a prestigious museum collection.