Leave the Light On

While its customary to leave an outside light on at night for family or guests who are arriving late, I have taken to leaving a light on for an entirely different sort of guest. Each morning I am eager to discover who has come in the night to hang out on our back porch. We have had some exceptional visitors this week and I’ve thoroughly enjoyed getting to know who else lives in my neck of the woods.

Tips and Techniques– One of my goals with these moths was not to fuss too much, which is easy to do when faced with such detailed markings. I try to capture each moth with about three passes:

  1. I lay in the shape and “ground” color first with a wet wash, typically using two colors to get some variation. I begin directly with paint, rather than drawing first. I find that I can capture the basic shape this way with much greater speed. While one moth is drying, I start another and rotate among them.
  2. Next, I start to delineate the wings from the body and add the primary pattern of markings. The paint is less wet on this pass.
  3. On the third go around, I use a very dry brush to add remaining details. The antennae are last, as is identifying and labeling each one. This technique worked for all but the Polyphemus moth, which is ridiculously complex and took far more time than the others.

Transition

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.

Island Inspiration, Part 3- So Much to Paint

“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.

Along the Roadside in June

Last year I made several sketching forays out along the country road where I live. I’m curious to discover what’s in bloom and find that almost nothing is native to the Northeastern U.S. Still, I have to give these invaders credit. They have traveled across continents and persisted in harsh conditions, yet still offer beauty and color where few other species would survive.

Tips and Techniques– When I head out along the road, I typically bring only my sketchbook and a pen. There isn’t much traffic, but what comes along is moving fast, so I have to be ready to move quickly. I walk along until I find something in bloom, sketch it, and move on to find the next roadside flower, filling the page as I go. I make mental notes about color and sometimes snap a photo for reference as well. When I come home to paint, I’m not just coloring in spaces, I’m also thinking about the mood and feeling of the day. This walk was sunny and warm; hence the overlay of yellow to tie everything together.

In the Woods

I headed into the woods last weekend to find mayapples in bloom. The flowers are hidden underneath large leaves, so sketching them required squatting at ground level. Within a few minutes, my knees sent me packing, which is, in part, why I only filled half the page with mayapples. I also wanted the white space as a place to rest the eyes and contemplate this thought on painting:

In painting, as in any art, persistent practice is not working on the object or the image or the performance alone, but rather, working on yourself, which is the constant behind all the “product” of your art. (From Learning to Look Carefully; the Art of John Morra by Ned Depew.)

 

Tips and Techniques– I painted this using negative painting techniques, and in trying to get deep darks to bring out the white flowers, I lost much of the light and transparency that I like to have in a painting. I would have preferred to convey a more dappled light, like that in the woods where mayapples grow. One way to avoid this is to select just a few colors — 3 or 4 — to work with for the entire painting. I started with just three, but they were too light to give me deep darks when mixed at full strength. So, I experimented with adding some dark staining colors, which gave me good darks, but began to muddy the page when added on top of the previous washes. In the process, however, I discovered why many artists have Phthalo Green (PG7) on their palette. It’s garish on its own, but when mixed with Transparent Pyrrole Orange (PO71) (and other reds) it produces a range of very nice dark greens. I plan to add these to my palette and continue seeing how they perform.

The Inside Scoop

Monitoring birdhouses gives you a rare glimpse into the often hidden world of nesting birds. It allows an up-close look at nest materials, delicate eggs, and birds at work.  I have just two boxes on my property; bluebirds occupy one and tree swallows have taken up the other. In the week ahead, the bluebird eggs will hatch and, hopefully, the swallows will begin laying eggs; and I will have a chance to watch it all unfold.nestbox2019

Tips and Techniques– I experimented this week with using watercolor loaded into a dip pen to write the text. Watercolor doesn’t perform as well as ink, but it certainly works, and it opens up a whole host of color options. If you want to try it, use a brush to create a pool of the color you want and then brush the watercolor onto the nib. You’ll have to reload frequently. Try starting with one color and then altering it with another to create color variation in the letters.

Find information on Nest Box Monitoring at NestWatch.

Fast and Fleeting

The glory days of springtime come fast and fleeting. Miss the trillium, and you have to wait a whole year to see it again. Migrating birds come, feed, and leave again while we sleep or work or are otherwise distracted. There never seems to be enough time in my spring; no way to capture it all before the symphony of greens gives way to summer. Still, I’ve managed some quick sketches in the woods and I was fortunate to be home when a pair of rose-breasted grosbeaks showed up at the feeder.