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)…
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.
I was recently invited by Liz and Nigel at the blog Exploring Colour to provide a guest post for their series Where and What is Beauty? The blog hails from New Zealand, which is, incidentally, 9,000 miles from my home in New York State. I traveled to that extraordinary country way back in 1986 searching for adventure, beauty and local color but, as my post reveals, I am now Finding Beauty Close to Home.
How does a naturalist-artist find herself painting Victorian dresses? I’m not sure, except that I found the fantastic fabrics and fine details of the new exhibit Well Dressed in Victorian Albany quite irresistible. The gowns in the collection of the Albany Institute of History & Art are so exquisite, they make perfect artistic subjects. Unfortunately, the museum didn’t allow watercolor in the gallery, so I was restricted to pencil and pen, and had to paint later…which took away a bit of the fun. Nevertheless, this was a valuable exercise. Painting drapery requires mastery of line, volume, form, and value. I went for a fairly graphic look, with bolder blacks for the darkest areas. Had I been able to paint initially, I probably would have skipped the bold lines in favor of more subtle watercolor.
I was particularly drawn to the incredible details of collars and cuffs. I wanted to see what I could suggest without painting every stitch of lace or embroidery.
Seasons unfold, pages evolve. That’s what happened here as I sketched a variety of fall fruits and seeds from the trees in our yard over the last few weeks. It’s all part of learning what’s here on the rural property we moved to in July. There are nice old sugar maples, red and white oaks, black walnuts, cottonwoods, birches, and white pines, with well-placed dogwood, pin cherry, and apple trees. There are many year’s worth of sketches in the trees alone…and you’ll see more in the future, I’m sure.
Tips & Techniques– Just as seasons evolve, your pages can too. While it can be nice to finish a page all at once, sometimes that just doesn’t work. Be patient. Do a little at a time, leave it, come back, and do more. Your most important decision is probably where to place the first object. Avoid the middle of the page, which tends to lead to a dull design and leaves only tight spaces around the center to fill. If you know you have a larger item (e.g., black walnuts vs. acorns), place it sooner than later. You can always find room for small things after the big ones are in place.
The bird lay dead in my hand, a small and precious jewel given to me by a friend. Fully intact and still dressed in glittering green, it was a rare gift. I’d never held a hummingbird; never studied one so closely. An opportunity like this meant one thing: break out the magnifying glass, ruler, and pencil and get to work.
As an artist, I find observing dead birds enormously helpful when trying to bring them to life on paper. I love the ability to look closely at various features, to study proportions, and to look at feather patterns and feet. A bird in hand lets you see details that a photo and even live birds cannot— like the iridescent feathers on a hummingbird’s throat that appear black unless reflecting light or the length of the primary feathers. As you can see, I didn’t try to enliven my first sketches— these are strictly studies. The birds on the right take flight thanks to the motionless birds on the left (click to view larger).
The Hummingbird Gallery
About Hummingbirds– Hummingbirds are pretty incredible creatures— they can fly forward, backward, and straight up and down, and buzz around at speeds up to 30 mph. Weighing in at just 3-4 grams, they never-the-less manage to fly more than 500 miles across the Gulf of Mexico each year on their annual migrations from the US and Canada to Central America. There are more than 300 species in the world, twelve in the US, and only one, the ruby-throated hummingbird, in the eastern US. Journey North tracks its annual trek (as well as monarch butterflies and other creatures)…check out the journey.
I’ve had a paint brush in my hand every day for the last few weeks. It just hasn’t been the kind of brush I most prefer. Still, I can’t complain: my to-do list has grown considerably shorter and our house is much improved. But now that this round of projects is complete, I am eager to get back to a regular routine of journaling and adventures with watercolor.
Tips and Techniques– Do you struggle with finding subject matter for your sketchbook? There are lots of online sketch challenges that provide daily suggestions, and they may be a good option for you. My preference, however, is to pick subjects that relate directly to what I’m doing or what’s happening around me…even if it’s old paint brushes. When you choose subjects that relate to your day-to-day experiences, your journal will reflect more of your life and tell more of a story about what you see and what is important to you.
Arts and Birding- For Photographers and Artists
July 8-13, 2018
Hog Island Audubon Camp in Maine
Join me next summer for a fabulous week on the Maine Coast! Registration opened yesterday and there are just a few spots left. Find details and images on the Workshops page or at the Hog Island website.