The large and small of it

Big skies, sweeping vistas, far horizons. So much to see, too much to record. As an artist accustomed to rendering the details of small things—birds, butterflies, plants and such—I struggle when it comes to simplifying and capturing large landscapes or streetscapes in watercolor. So, I’m experimenting. My idea is to try working small on the premise that it will not allow me the space to get lost in detail. My goal is to get good in advance of an upcoming trip to Ireland, where I’ll have fantastic scenery and limited painting time. Here are my initial attempts, a few from the salt marshes of Westport, Massachusetts and two from Harbor Island and Franklin Light, Maine. (Click to view larger.)
westport_minilandscapes.jpg

Granite Cliffs, Harbor Island: 4″ x 2.5″, Franklin Light: 5″ x 2″, Egret: 4″ x 2.5″; Salt Marsh and Osprey Nest: 2.5″ x 1.25

Tips & Techniques– You tell me! What works for you in translating complex landscapes to paper? How do you decide what’s important and what to leave out? How do you scale from small to large without getting too fussy?

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Essentials

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.

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Registration for Arts and Birding 2019 opens in October; the session often fills quickly. Stay tuned here.

Seeking Spring

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.

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The Naturalist Sketchbook

Workshop Opportunity!
I’m excited to be offering a one-day workshop hosted by the Maine Audubon Society this winter. Though its months away, it’s filling fast.

The Naturalist’s Sketchbook: Sketching Nature in Pencil, Pen, and Paint
February 3, 2018, 10am-4pm; Snow date February 10
Maine Audubon Society, Gilsland Farm, Falmouth, Maine
Maine Audubon Members: $68, Nonmembers: $85
Get inspired to explore the rich diversity of life around you in pencil, pen, and paint. This 6-hour workshop will help you prepare to sketch outdoors, cover drawing and watercolor painting techniques, and explore ways to capture a sense of place on paper. Whether you are looking for renewed inspiration, seeking to nurture your creative spark, or hoping to build your artistic skills, The Naturalist Sketchbook will set you on a journey of discovery that is much more than just an illustrated record of what you see. Sketch after sketch, year after year, you’ll cultivate a sense of wonder and deepen your understanding and appreciation of the world around you. Some experience with drawing is helpful, but instruction will be tailored to various skill levels. Materials suggestions provided upon registration, please bring lunch.
Limit 12 students. Age 16 and up.

Drawn to the Coast

It’s thrilling to see my artwork in print this week in an article I wrote and illustrated for Passagemaker Magazine (a magazine for boaters). Drawn to the Coast is an illustrated essay about being inspired by the Maine Coast. Going from concept sketches to full size watercolors to seeing how the magazine’s designer put it all together was one of the most exciting aspects of this assignment.

We made several revisions before finalizing the article. Then came waiting for the magazine to hit the stands, and getting a copy this week.

Let me take you behind the scenes to share some of that process. Click on the artwork to see the sequence full size.

An assignment like this stretches you as an artist and working through challenges definitely advances your skills. Some of you may remember my struggle a few months ago to paint clouds for the title spread, which was perhaps my greatest challenge. I drew upon years of journal sketches to do this piece, but painted everything in my studio over the course of about a month. Now, I can’t wait to get back to the real thing!

Hour by Hour

How do you capture a day? In hours? In moments? The premise of the Hour by Hour sketch challenge is to put pen to paper every hour of a single day on one journal page, with no sketch taking more than five minutes. I introduced this challenge during a week of teaching at the Hog Island Audubon Camp, where the days are busy and intense. The challenge forces you to work fast and loose, while helping you capture small things that together convey a sense of the day. It’s a good challenge to try when traveling or when you are too busy to take time for a longer sketch. But it’s also a worthwhile exercise if you want to practice being less fussy with your sketching.

I did these 1-5 minute sketches with a Micron 02 pen and added watercolor later to finish the page.

Puffins!

Downeast Maine is known its rocky coast line, cold waters, abundant lobsters, and maritime heritage. Enter any tourist shop and you’ll also see key chains, mugs, and bags decorated with the colorful Atlantic puffin, which breeds on a handful of offshore islands. The fact that puffins are so well associated with the Maine coast is thanks to the dreams and persistence of ornithologist Dr. Steven Kress. With backing from the National Audubon Society and help from a cadre of student interns, Kress has been restoring puffins to the Maine coast since the 1980s. Absent for more than a century due to extensive hunting and predation, puffins are once again breeding in Maine. (Visit Project Puffin to learn more.)

Click to view larger

The Hog Island Audubon Camp is home base for Project Puffin. During Arts and Birding, the week long workshop that I direct at Hog Island, we take participants to see the puffin nesting colony on Eastern Egg Rock, a small island at the outer edge of Muscongus Bay. From the boat, we photograph, sketch, and delight in watching these “clowns of the sea,” along with a host of other seabirds. Though I made some quick sketches from the boat (a first—thanks to extremely calm seas), I did this page back on land. Three cheers for puffins, seabird restoration, and a week in Maine!

Tips & Techniques– Throw out the black paint in your watercolor set. Instead, try combinations of blue and brown to mix a more interesting dark. Ultramarine blue and burnt sienna, or indigo (which contains some black pigment) and burnt umber produce rich results.