Sketchers place a lot of emphasis on being about to work fast to quickly capture what they are seeing. I work with the same time pressures when working outside or when sketching on the go. However, I find the exact opposite is needed when I sit down to do a detailed painting. Then, there is no substitute for taking my time and working slowly and carefully. Here’s the third painting in my perching bird series. It took me several days of drawing in fits and starts to get the bird’s position the way I wanted it, and then I painted it over the course of a week, stopping to breath, observe, think through color choices, and take things one step at a time.
Tips and Techniques– Here are two images of the American robin in progress. You can see the underlying loose wash on the robin that helps make the colors interesting and lively. The initial wash on the gray back and head is a mix of ultramarine blue and burnt sienna. Second washes included more of the same mix, as well as washes of ultramarine with alizarin crimson to create purple tones. The breast began with burnt sienna, but later washes included a mix of aureolin yellow and pyrol scarlet, which gave it a warmer orange color. My choice to paint the word Robin in yellow ochre came after taking a hiatus in order to think through possibilities. I made some color swatches of other contenders before settling on ochre, but I think it makes a perfect complement to the eggs and the bird. (Click to view larger; sorry the image quality isn’t better)
Letterforms and birds are subjects that frequently turn up in my journals. At first, I simply matched bold words with their subjects, but more recently, I’ve tried to get birds to perch on letters. It’s not always easy to do. You’ve got to know a bit about the anatomy of bird feet, and find the right placement to support the bird and balance the page. Here’s a fun one that I did today— the lovely winter wren.
Here are a few sketches and paintings that give a sense of my progression with this over the years.
Tips and Techniques– Don’t shy away from learning to draw birds’ feet. You know you’re guilty if you are prone to hide this part of a bird’s anatomy behind leaves and branches. A simple Google search for “bird feet anatomy” will turn up lots of good diagrams and drawings for you to study and practice. If you have an opportunity to look at bird skins or mounted birds at a nature center or museum, take the time to sketch feet. It’s a sure way to improve your bird art.
When I’m pressed for art time, I like to come up with a subject that I can work on in short takes over several days. Such has been the case lately, so I decided to revisit a sketchbook page that I did several years ago. In 2014, I painted a number of chickadees on a single journal page using pencil and watercolor. I’ve always liked that page, so I decided repeat it— this time on toned paper using only a pen and a bit of white colored pencil for highlights. This exercise is a good one for trying to capture different poses and for getting the basics of the bird down without too much fuss.
2014 Chickadee Study
Tips and Techniques– Chickadees are common songsters, but they don’t sit still for long. Practice drawing them quickly from photos and you’ll be better prepared for sketching them from life. Give yourself a time limit; see what you can do in 3 to 5 minutes per bird. Add a few more minutes for shading or finer details if needed. I used toned paper, but you could use drawing paper or watercolor paper with a touch of color for shading and dimension.
I have a workshop coming up hosted by the Vermont Watercolor Society that I am now able to open to the public! There are only a few spots left, so please e-mail me if you are interested in signing up.
Watercolor Journaling Vermont Watercolor Society, Westside Hub Class Saturday, December 8, 2018
10am-4pm Pawlet Public Library, 141 School St, Pawlet, VT 05761
Learn to keep your own artist journal to capture your creative journey and improve your skills as an artist. We’ll share subject ideas, test drive materials, and consider compositions for combining artwork and text to create engaging pages. You’ll also learn practical techniques for drawing and painting the subjects you encounter. This is a fun, stress-free workshop where there will be plenty of time to learn and practice. Fee: $65 Materials list provided upon registration.
Space is limited. Please e-mail me to register: firstname.lastname@example.org. Note: We will take a break for lunch and it will be potluck, so please bring something to share. A refrigerator is available.
And now the sketch…
I was wondering whether I might use similar loose sketching techniques for small round birds that I used last week when sketching small round bulbs. Wrens are certainly much more precise than daffodil bulbs, but there’s promise here worth pursuing further.
Bird eggs are full of potential. In the most elegant and simple form, they remind us of new beginnings, of possibilities. Surrounding them, of course, is the tangled mess. Sometimes, great things hatch, sometimes not. In this case, the adult robins disappeared, leaving these three eggs behind. In discovering them, I suppose, the untapped potential passed to me. If not in life, then in art, the birds’ legacy lives on.
I discovered this American redstart nest back in May. The birds laid four chestnut speckled eggs and by July they were gone. Now, with leaves falling and foliage dying back, I returned to the nest for another view. Still protected by thorns and a tangle of leaves, and a bit weather worn, the nest remains a thing of beauty: perfectly woven with bark and pine needles and threaded with strips of birch and spider webs. What better treasure could there be in the brambles?
Tips and Techniques: In the spirit of Inktober, I sketched this nest directly in ink using a dip pen and Calli jet black India waterproof ink. I added a lot of detail to the drawing before adding watercolor. To create a fully saturated variety of gold, green, and russet leaves, I painted four or five (or more) transparent layers of color, going from light to dark and finally to shadow tones. The moral of the story is not to stop too soon. You don’t want to overwork it, but if your layers are transparent, you can really build up rich and subtle color.
Imagine a week on an island off the coast of Maine. No cars, no stores, no streetlights…just good company, good food, starry skies, blue horizons, and long days spent almost entirely outside. These are the essentials for Arts and Birding, a week-long program I facilitate each year at the Hog Island Audubon Camp. Because I’m teaching, I don’t have time to complete much artwork of my own, but I did manage a few pages. And as always, I came away inspired to keep observing, sketching, and sharing my work with the wider world.
Notes:(Clockwise from top) It’s not all birds! We also explore and sketch coastal scenes, plants, and life in the watery realm between high and low tide; Hog Island has a great collection of bird specimens, including a drawer of bird eggs; Young osprey nesting on the island are banded by wildlife biologists each year. It makes for fast sketching, but it’s a thrill to see these birds up close; Just the essentials for a week of Arts and Birding.
Arts and Birding is open for both sketchers/painters and photographers. Here’s a few photos from the week taken by photography staff and participants.
Registration for Arts and Birding 2019 opens in October; the session often fills quickly. Stay tuned here.