The sun fades quickly on December afternoons, dipping below the horizon not long after 4pm. Even after a lifetime of Decembers, it still surprises me how short these days are. But the silver lining comes once the sky begins to darken. Then, in the clarity of cold winter air, the bare branches of trees silhouetted against the backdrop of blue and pink, deep purple, and inky black create a singular beauty. These darkest days will soon pass, but while they last, I’ll cherish this silent and remarkable view.
Tips and Techniques– To achieve the deep colors of this painting, I used indathrone blue and Winsor violet, a bit of indigo and ultramarine, and a dash of aureolin yellow on the tree. I drew the maple first to map out the structure of the painting and then spattered masking fluid. After a wet-in-wet wash of the main colors, I added a bit more spatter and then began to pick out the trunk and branches. Starting with the branches that are in front and adding more and more with successive layers, the painting slowly gained depth. I added the details on the tree trunk and a final spatter of white gouache to finish the piece.
GOOD NEWS: The Nature Explorer’s Sketchbook is back in stock! Take 25% off any purchase at Tumblehome Books until December 15th with code ty25. Thank you!
MORE GOOD NEWS: I am doing a free workshop Sketching Through the Winter on Friday, December 18, 1-2:30pm (PST) / 4-5:30pm (EST) as part of a series of free holiday events and paint-alongs at the Winslow Art Center. Check out the lineup of great programs and sign up!
Among the things I love about teaching is getting to know workshop participants. I enjoy helping them learn new techniques and challenge themselves in order to grow as artists. And I love seeing the artwork they produce. But the exchange isn’t just one-way. My students push me to grow, too. This month, I’m teaching a four-week course focused on bird eggs, nests, and feathers, and it’s definitely forcing me to up my game. Here are two recent paintings I did, based on class assignments and with thanks to an exceptionally talented group of “Art of the Bird” participants.
Tips & Techniques– Both of these paintings benefitted from a slow buildup of layers of watercolor. It’s especially important to have a delicate touch with eggs so that they remain translucent. I usually do a lot of experimenting to find the colors I want. For these paintings, I used combinations of raw sienna with phthalo blue as the main duo for the greens. You can see that I also carried raw sienna into the hummingbird nest, while mixing grays with combinations of raw and burnt sienna with cobalt and ultramarine blue. You might find doing a small mixing chart like this a handy reference for comparing color combinations.
Hummingbirds continue to be my muse this week, with a focus on living birds, instead of trying to bring dead ones to life (Bringing Hummingbirds to Life). Since these little gems won’t return to the northeast for another two-and-a-half months, I watched a video on Explore.org for reference. I also swapped my usual set of watercolor paints here for gouache, which is an opaque watercolor paint that can be layered light on dark.
Tips and Techniques– I wanted to try gouache without a big investment, so I bought Windsor & Newton’s Primary Color Set (primary red, yellow, and blue, black, and white). This meant lots of color mixing, which was good. I don’t have much experience with gouache, so it took a lot of trial and error to figure out how to get the right consistency, as well as how to use white and black (something I never do with transparent watercolor). Although the new medium tested me, it also stretched my thinking. I’ve started a second hummingbird nest painting and I’m eager to keep learning.
A single lime. So simple, yet so many decisions. I had made an artist’s first decision: subject matter, but next came choices about style, composition, materials. I knew that once begun, each line or stroke would narrow some possibilities and open others. More decisions would follow: color, value, precision. At long last, I chose two paths—one botanical, the other more abstract. I worked on both at the same time, alternating between them as paint dried, until finally, I had only one final decision: when to stop.
And now, you decide: which appeals to you more?
Tips and Techniques– I did the botanical lime using a combination of colored pencil and watercolor, building up many layers to tone the lime and achieve subtly in the greens. I used negative painting techniques for the other, using mainly phthalo blue and nickel azo yellow. Both paints are fairly intense, transparent, and staining, so the blue did not overwhelm the yellow, as it might have with weaker yellows. This technique works well when there are layered shapes, so I added the suggestion of leaves, stems, and fruit to give it more dimension.
I love the way you can be drawn to something for one reason and end up some place completely different. In this case, I simply liked the detailed pattern of a friend’s blue and white porcelain teacup. I ended up not only with a painting, but transported to 18th century Germany. The “Blue Onion” pattern was introduced by Europe’s oldest porcelain manufacturer, Meissen, in 1740, and inspired by blue and white patterns from China. From there, I researched further to learn that the distinctive blue glaze used in Chinese porcelain for centuries came from cobalt ores imported from Persia. It turns out that cobalt oxide can withstand the highest firing temperatures required for porcelain. I like to think of this enduring color passing through centuries, from glaze makers to artists around the world, to a single teacup painted in cobalt from my small watercolor paint box.
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”)
Warblers: those ever elusive, but much beloved sprites of the tree tops; flitting about, dashing out and then back again, catching insects on the fly or just daring you to find them amidst the greenery. Capturing the yellow warbler on paper proved challenging, too. Perhaps it is because these perky little birds rarely sit still, so making them pose on paper seemed unnatural. Or maybe it’s that paint pales in comparison with the stunningly bright yellow of this warbler in sunshine. Nonetheless, #4 in my perching bird series is complete and, after several weeks of painting birds, I’m planning to turn my attention to other subjects for a while. (Click image to view larger.)
Tips and Techniques– Yellow can be a devilish color! It seems so light, yet, like other colors, there is a whole range of values from light to dark. Shadows on yellow are also tricky. They sometimes appear greenish or purple or gray. It’s easy to get murky laying shadows on yellow in watercolor. My advice when painting yellow (think daffodils, or lemons, or warblers), is to start lighter than you think. Leave the white of the paper for the brightest areas. Do a few washes to deepen values as needed. Experiment with different shadow tones on a separate test sheet– again, you may not need to go too dark to achieve variety and form.
Sketchers place a lot of emphasis on being about to work fast to quickly capture what they are seeing. I work with the same time pressures when working outside or when sketching on the go. However, I find the exact opposite is needed when I sit down to do a detailed painting. Then, there is no substitute for taking my time and working slowly and carefully. Here’s the third painting in my perching bird series. It took me several days of drawing in fits and starts to get the bird’s position the way I wanted it, and then I painted it over the course of a week, stopping to breath, observe, think through color choices, and take things one step at a time.
Tips and Techniques– Here are two images of the American robin in progress. You can see the underlying loose wash on the robin that helps make the colors interesting and lively. The initial wash on the gray back and head is a mix of ultramarine blue and burnt sienna. Second washes included more of the same mix, as well as washes of ultramarine with alizarin crimson to create purple tones. The breast began with burnt sienna, but later washes included a mix of aureolin yellow and pyrol scarlet, which gave it a warmer orange color. My choice to paint the word Robin in yellow ochre came after taking a hiatus in order to think through possibilities. I made some color swatches of other contenders before settling on ochre, but I think it makes a perfect complement to the eggs and the bird. (Click to view larger; sorry the image quality isn’t better)
This has been a week of little painting and much preparation for an upcoming art exhibit and workshop at the Art School of Columbia County, located near the New York/ Massachusetts border. I’m thrilled to report that I’ve recently been invited to join the faculty of the Art School, which will give me a “home base” for offering workshops throughout the year. Though the school is small, it casts a wide net, and is situated in a place that is steeped with art, artists, and plenty of rural beauty and inspiration. If you live nearby, drop in or sign up!
Simple Gifts Opening Reception, February 9, 5-7pm
Art School of Columbia County
1198 Rt 21 C Ghent, NY 12075
(30 min from Lee, MA; 40 min from Albany, NY; 1 hour from Poughkeepsie, NY)
Bird eggs are full of potential. In the most elegant and simple form, they remind us of new beginnings, of possibilities. Surrounding them, of course, is the tangled mess. Sometimes, great things hatch, sometimes not. In this case, the adult robins disappeared, leaving these three eggs behind. In discovering them, I suppose, the untapped potential passed to me. If not in life, then in art, the birds’ legacy lives on.