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!
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)
Sketching Nature in Pencil, Pen and Paint
Saturday, March 2, 2019 (snow date March 3)
Art School of Columbia County
1198 Rt 21 C Ghent, NY 12075
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.
I discovered this American redstart nest back in May. The birds laid four chestnut speckled eggs and by July they were gone. Now, with leaves falling and foliage dying back, I returned to the nest for another view. Still protected by thorns and a tangle of leaves, and a bit weather worn, the nest remains a thing of beauty: perfectly woven with bark and pine needles and threaded with strips of birch and spider webs. What better treasure could there be in the brambles?
Tips and Techniques: In the spirit of Inktober, I sketched this nest directly in ink using a dip pen and Calli jet black India waterproof ink. I added a lot of detail to the drawing before adding watercolor. To create a fully saturated variety of gold, green, and russet leaves, I painted four or five (or more) transparent layers of color, going from light to dark and finally to shadow tones. The moral of the story is not to stop too soon. You don’t want to overwork it, but if your layers are transparent, you can really build up rich and subtle color.
Dragonfly wings. Striped antennae. Subtle grays. A size 0 brush. There is beauty in these small things. But also in the thoughtfulness of a student entomologist who sent me part of her insect collection because she knew I would enjoy painting it. And I hope there is a measure of beauty returned when I send her the finished painting. (Click to view larger)
Tips and Techniques– If you are painting something very small like butterflies, moths, dragonflies and the like, pay attention to the edges of the wings and body. The cleaner and more precise you can be, the more realistic the finished painting will be, especially if you do not plan to add a shadow. Second, get yourself some very tiny brushes. I begin with loose washes to let the watercolor merge on the page, but I build up subtle layers and finish off with very dry brush details using size 0 and 1 brushes. Here’s a bit of the progression from start to finish:
ALSO: Registration for Arts and Birding at the Hog Island Audubon Camp in Maine, July 7-12, 2019 opens tomorrow! Spaces tend to fill quickly, so don’t delay if you are hoping to attend (plus, there is an early bird discount)!