For two weeks now, poppies have been opening each day in our garden. Light and airy as ballet dancers, their moment center stage is short, but oh so lovely. I started this page when the first pink flower bloomed and added more as they opened— plant after plant, all pink. And then, a single red blossom opened. Outstanding in its singularity, it seemed the perfect punctuation to a page—and to a garden in need of a bit of diversity to really make it shine.
I did this second painting of poppies while visiting the garden at Olana State Historic Site. These bold, frilly-edged perennial poppies were in full late-day sun, which forced me to work quickly. I like the resulting freshness and fullness of this one.
Tips and Techniques– Notice the treatment of foliage in these two pieces. In the pink annual poppies, I decided to leave out the leaves to to showcase the simple grace of the stems and flowers. In contrast, putting in a suggestion of gray-green foliage offers a useful compliment to the red poppies at Olana. Remember that as an artist, you are also an editor. Just because it’s there, doesn’t mean you have to paint it. Make choices about what’s in front of you to simplify and hone in on what you want to convey.
The hardened frothy glob attached to a goldenrod stem has sat motionless in our garden since the day I found it and brought it home from the meadow back in January. No change. Nothing happening. I had nearly given up on it. And then, it happened. Hundreds of mini praying mantises emerged from the ootheca. They crowded around the opening, marched up and down the goldenrod stem, and one by one dropped from their home base and wandered into the garden. By evening, nearly all were gone.
This is the first time I’ve ever seen this phenomenon and it was pretty exciting. I hope they find the aphids that are feasting on my poppies and grow up to devour other insects in the garden. Come fall, I’d love to find an adult or two hiding among the sunflowers or laying a frothy glob of eggs for next spring.
Tips and Techniques– Don’t miss the moment! If ever there was a time to have a simple painting set up, this was it. I sat uncomfortably on the edge of a wooden raised garden bed in the noon-day sun, sketchbook and travel palette in hand. I painted as the nymphs emerged, which gave me a long time to watch them and to study the ootheca from different angles. My palette and paper dried too fast in the full sun and I found it challenging to get the right amount of water/paint ratio. Still, I have no regrets. Had I waited for a better set up or a better time of day or a better day, I would have missed it altogether.
It’s hard to imagine a lovelier “garden” in May than the meadow I stumbled upon while hiking at the Martin Van Buren Nature Trail in Kinderhook, New York. The preserve is mostly woodland, with stately oaks and maples that Van Buren himself would have seen more than 150 years ago. But a small clearing in the forest was gloriously golden this week, with masses of yellow flowers that any gardener would be hard pressed to recreate.
My own gardening efforts began in earnest several weeks ago. Unfortunately, I think I jumped the gun in a restless attempt to get things growing. Either from planting when it was still too cold or lack of regular watering, few of my seeds sprouted. So, I replanted last week and recruited my husband to do the watering. Fingers crossed, you’ll be seeing scenes from the Art Garden in the weeks and months to come.
Tips and Techniques– Gardens offer so much to artists! While flowers in full bloom are favorite subjects for many, consider the possibilities of sketching in the garden throughout the season. From seeds to seedlings to blossoms to faded foliage—challenge yourself to come up with creative ways to showcase what’s happening each month. This year especially, when so many of us are staying home instead of heading out to favored vacation spots, having a garden—or a few pots of flowers—may prove to be just the subject matter you need.
The November garden is as stark as the rest of the world. The vibrancy of the August palette has given way to browns and grays. A touch of green and ocher and russet remain. It isn’t much, but I’ll take it. A tangle of once-scarlet runner beans is all there is for a final garden painting.
Last weekend, I cut the last of the frost-wilted flowers, fed the compost pile, and left a few flower heads for the birds. I thought the garden was finished for the season, until I took a second look at the blackened seed heads. They became the perfect subject for testing my new Pilot Metropolitan fountain pen. I love the way the pen glides over the paper—smooth and fine, not scratchy, just a pleasure to use. The ink is not permanent, so I can’t add watercolor to it, but the line quality is lovely. I’m almost looking forward to sketching what’s left of the dried tangle of runner beans.
A pop of red amidst a tangle of greens, scarlet runner beans wind their way to the top of the garden trellis, sending flowers to the sun and beans drooping toward the ground. Just a few months ago, they were a mere handful of purple and black streaked seeds. Now, they dare you to imagine that they were ever anything other than extraordinary. And so, I think that writer Robert Brault is onto something: If you’ve never experienced the joy of accomplishing more than you can imagine, plant a garden.
(Click to view larger.)
Tips and Techniques: Sometimes, the composition of a piece is sitting right in front of you, and sometimes you have do a bit of rearranging to make it work. I saw the central elements of this piece—the three main dangling beans and the diagonal vine with red flowers on the left side of the page—right on the trellis. But I needed to add flowers, leaves, beans and tendrils from several different runner beans to complete the composition. As an artist, don’t feel that you need to draw exactly (or only) what is in front of you. Give yourself creative latitude to move things around or eliminate something to create a stronger composition.
These are the days we long for in the dead of winter: light-filled, warm, colorful, vibrant. Glorious.
This painting began last fall when I had the idea to build an Art Garden in our yard. I didn’t want a garden that I would spent a lot of time working in, as much as a place I would enjoy being in. My chief criteria for what goes in the ground is that it must be something I want to paint. This has turned out to be an eclectic mix of vegetables and flowers—beets, radishes, and tomatoes are at home with sweet peas, poppies, scarlet runner beans, and sunflowers. Something new unfolds each week. And as you can see, it’s a pretty colorful place right now.
Tips and Techniques– I started by drawing zinnias and a few sweet peas but, after adding color, I quickly decided that the page was much too sparse. After all, August is all about abundance. So I went back and added more and more until the page was crowded with flowers. The lesson here is not to be afraid to pause when sketching to consider what drew you in and whether you have captured it. It may be a something particular about your subject or it could be a mood or feeling. Once you’ve got that in mind, finishing the drawing, or adding color or text often flows with ease.
When peonies bloom, rain nearly always follows. And so it was that I lost my subject. Still, I am pleased to have June’s most elegant flower in the pages of my sketchbook, a few cut flowers on my table, and pink and white petals littering the garden.
Tips and Techniques-
What you don’t see on this page are all the test sheets of greens that I’ve been working on this week: blue and yellow combinations, “convenience” green combinations (sap green, phthalo green, green gold), greens with browns, and greens with reds. I’m looking for highly transparent mixes that offer a good range of light to dark values. The trick is that when I’m working on a negative painting like this, I want to let some of the colors mix right on the page—and some greens are just too garish for that. What I (mostly) ended up with here is phthalo blue, nickel azo yellow, and a touch of quin magenta. If you struggle with greens, I highly recommend doing color tests of your own. You’ll quickly discover lots of combinations that don’t work and many that do. And you’ll gain confidence in your colors that will serve you well in your future paintings.
If you have go-to green combinations that you especially like, leave a comment so we can learn from each other!
Leave behind the comfort of your home art space—whether kitchen table, corner desk, or complete studio— and you’ll soon find an immediacy and sense of discovery that come from working directly from nature. Granted, you’ll be trading comfortable seating, fixed light, and a full suite of art supplies for less certain conditions. But you’ll be able to observe details, see colors, and experience your subjects firsthand in ways that will make your artwork more vibrant and alive.
At least, that’s the ideal. This week, however, painting outdoors brought significant trials: bright sun dried my paint too fast in the garden and the most annoying and insidious bugs attacked me one evening while painting irises. Was it worth it? Of course. But I’ll forever look at these irises and see myself swatting bugs in vain with a paint brush.
Tips and Techniques- Try different approaches to painting. Here, I’ve used my go-to ink sketch followed by watercolor for In the Garden and then painted directly with watercolor with no initial sketch for the irises. The bugs forced me to work quickly and let the paint run freely, which led to some nice mixing on the paper. You can see that my session with the irises was cut short. This could use a bit more definition, but I wanted leave it alone and perhaps start over, without the bugs.
I could have titled this post: Ready for Color, or Envious of Those Experiencing the Desert Wildflower Bloom, or simply Tired of Brown. Rather than painting what’s outside this week, I decided to create my own poppy field. This piece is bigger and bolder than I typically paint. I’m still not sure what I think of it, but it has been nice to experiment with some brighter colors and assuage my wishful thinking.
Tips and Techniques– I created this piece using negative painting techniques, starting with a wet-in-wet wash of QoR Nickel Yellow Azo, Quinacridone Magenta, and Transparent Pyrrole Orange. I let the colors merge on the wet paper and, when dry, began adding graded washes of sap green (sometimes with Ultramarine Blue), painting around the flowers and picking out stems, buds, and seed pods. There are a number of layers here, each one adding depth. I could have kept going, adding more darks, but at some point, it was best to quit, rather than risk the piece getting too fussy and overworked. (The paper is Fabriano Artistico, extra white, cold press, 300lb/640 GSM, 11×14”)