I appreciate the last vestiges of autumn: curled beech leaves in barren woods; uneaten grapes still hanging from tangled vines; oak leaves that refuse to fall. They hold on until the bitter end. And why not? Why not go for one last day of warm sunshine; one final chance at glorious existence before letting go. Wouldn’t you?
I take the beauty of fall for granted. That’s not to say that I don’t appreciate it or that I am not awed by its glory. Only that I take for granted that it will be so, year after year. For those of us who live in the Northeast, it is a given that winters will be cold and long, that spring will burst forth in birdsong and flowers, that summer will be prized for its heat and fullness, and that autumn will complete the year with a cloak of gold.
I painted this page on location with a fellow sketcher who grew up in the Middle East. She marveled at leaves the way people who live in warm places marvel at snow when they see it for the first time. It surprised me; I had never given it thought. So here’s to a fine afternoon sketching and a valuable reminder to be grateful for things I take for granted.
About the technique– This sketchbook page was done with a watercolor technique known as “negative painting.”
- I first painted a wet-in-wet wash of primary colors (ultramarine blue, alizarin crimson, and Hansa yellow medium).
- When dry, I sketched an outline of the main leaves and began to paint around them with graded washes using combinations of the same three colors to create additional leaf shapes and patterns. Using a simple palette helps to ensure that the layers don’t get muddy.
- I continued to add more layers of paint, creating additional detail and a greater sense of depth. It’s kind of a dizzying process and you can easily get lost in it. The trick is stopping before tinkering too much and losing the spontaneous effects of the wet washes.
Watercolor, Strathmore- 400 series sketchbook
There is something really satisfying about going out with the most basic of sketch tools: paper and pen. I love the flow of lines, of ink on the page, of forms taking shape. These magnificent old beech trees were perfect subjects. I found the first one late Sunday afternoon on the banks of a river and the second two days later in a cemetery. It took me about an hour working on site to make each drawing. Back at home, I couldn’t resist adding a touch of color to to the page. What about you? What are your go-to artist tools?
I anticipate spring’s arrival for most of February, March and April, eager for its fresh greens, new life, and abundant sketching opportunities. It arrives slowly at first, with skunk cabbage, red-winged blackbirds, and daffodils. But by mid-May, it takes off like a rocket and I can’t keep up. I’ve been sketching and painting in snatches of time—10 minutes here, half hour there—due to an especially hectic work and family schedule this month. Here are a few of those snatches:
Like many artists, I want my paintings to turn out well. But that typically means that I sacrifice experimentation for tried and true techniques. Risk vs. Return. At some point, though, I start to feel stale and uninspired, and then I know that it’s time to change the line up and go for risk. Such was the case with painting these birches.
Here, I cast off my usual careful drawing and painting style and tested a variety of watercolor techniques. To achieve background depth, I built up layers of color behind the birches and used plastic wrap and masking fluid to add texture and variety. Here’s what I learned:
- It’s time to buy new masking fluid when there’s a glob of congealed goop in the bottle.
- Good paper makes a big difference! This is Fabriano soft press 140lb watercolor paper. The layers of paint went on beautifully.
- I like precise drawing – and it would have made for better results here. But a less careful drawing freed me to experiment more with painting techniques.
- Once is not enough…but it’s a start.
Sharp spines, thick shells, noxious odors — the lengths a tree will go to protect its seed! I found these while exploring a local cemetery in my new hometown.
Alive among the dead, the American chestnut really caught my attention. Once the predominant tree of Eastern forests, they are a rare find today. A fungus nearly killed off the entire species by 1940. In contrast, the ginkgo is an ancient survivor. Native to China, but planted widely in cities, ginkgoes have been on Earth since the days of the dinosaurs. I had never seen the nut before and, as it turns out, for good reason. The female, seed-bearing trees are not planted frequently because of the noxious odor given off when the nut drops to the ground and is crushed. Hickories are widespread in the mid-west and eastern U.S., so they are not hard to come by. The thick husk and hard nut protect an edible seed inside.
This page was done a piece at a time, starting with the chestnuts. I drew them directly in pen on location because the spines were so sharp I could not carry them home. I collected the ginkgo and hickory nuts and sketched them at home. Much of the watercolor was done with a very dry brush to get the detail. I added the text last with a micron 02 pen. (Stillman & Birn Zeta journal)