“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.
When I left Hog Island Audubon Camp, I stopped along the winding road that leads away from the coast and back into town. There is a glorious field of lupine along the roadside that I never have time to stop at when I am arriving. Even though the flowers had faded, I didn’t want to let them go. The seedpods and grasses shone in the morning sun. I wasn’t yet ready to leave. This page marks the transition from Maine to New York, from two weeks of immersion on the coast to the longing for it that always comes afterward.
“Who can imagine my dear country’s dark woods, it’s vast Atlantic bays, it’s thousands of streams, lakes, and magnificent rivers? I wish that I could draw it all.” –John James Audubon
I couldn’t agree more. During my art retreat on Hog Island in Maine I felt like I was hiking in the Cathedral of Nature. I was in awe of the island’s moss-carpeted forests, its milkweed fields alight with monarchs, and its waist-high ferns growing wherever storms had created openings to allow in more light. Osprey circled above the spruce spires, while hermit thrush, northern parula and black-throated green warblers echoed in the shadowy woods. I wished that I could draw it all.
Click any image to view larger.
Tips and Techniques– The greatest challenge to these paintings was undoubtedly mosquitoes. They own the Maine woods and bogs in summer. I stuck to sketching on trails close to the shore and had to skip drawing in the forest interior. The exception I made was to sketch in the bog. There, I worked directly in ink to capture the flowers and a few plants. Then I snapped a couple of photos and retreated to paint later in the comfort of my cabin. Some challenges are worth it.
The rocky coast of Maine is a place shaped by granite and water. It is a landscape of quiet salt marshes, tidal bays, dark spruce forests, and hundreds of islands. It’s a place where the cries of seabirds overhead meet the ethereal songs of forest birds hidden in deep shade; and where people have made a living fishing for cod, haddock, lobsters, and shellfish for thousands of years. I have had the privilege of spending the last two weeks there at the Hog Island Audubon Camp, located on a 330-acre island nature preserve near Bremen. I spent the first week teaching and directing a five-day workshop called Arts & Birding; and stayed a second week for an art sabbatical.
“Use what talents you have, the woods would have little music if no birds sang their song except those who sang best.” – Oliver Wilson
It was a pleasure to have such enthusiastic and talented participants for Arts and Birding. Every day brought new adventures: island hikes, boat cruises to see puffins and other seabirds, intertidal exploration, studies of bird anatomy, osprey banding, and sessions focused on drawing, painting and photography skills. A daily salon gave everyone a chance to share their artwork and photographs in a relaxed and supportive setting.
What follows are my sketch-journal pages from Arts and Birding, with brief comments in the captions (click any image to view larger). Watch for subsequent posts from my arts retreat week.
Live action sketching, watercolor added later.
We practiced using a grid with a combination of scenes and closeups to capture a sense of place.
Moving boat, moving birds! Yikes!
Exploring tidal creatures. Thankfully, they don’t move as quickly as birds.
It’s a treat to eat dessert every night!
I like to give daily sketch prompts to provide additional challenges. Here’s my favorite: do one sketch every hour that takes no more than 5 minutes.
If this tempts you to attend Arts & Birding or other workshops at Hog Island in 2020, mark your calendar now! Arts & Birding is tentatively scheduled for July 19-24 (registration opens October 21, 2019).
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.)
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?
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.
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.
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.
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 Coastis 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.
After discussing ideas with the magazine’s editors, I made concept sketches for three page spreads and had them approved prior to working on full scale artwork.
I painted each piece separately, wrote the text, and sent it all to the magazine’s designer for layout.
We made several revisions before finalizing the article. Then came waiting for the magazine to hit the stands, and getting a copy this week!
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!
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.