Category Archives: Watercolor

New Neighbors

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I’ve been watching our newest neighbors as they take up residence in our yard. Bluebirds recently fledged from one of our nest boxes and a brief battle for the box was won by a pair of house wrens. There are not really four birds, as depicted, but I wanted to capture the pattern of the pair’s activities during the nest building stage. These poses were repeated over and over as I sketched. You’d think that would have made it easier, but wrens aren’t known for standing still. I switched between using binoculars and picking up the pencil to make the initial drawing, then added color later. I like the way the poses capture the some of the story of the wrens setting up house.

Tips and Techniques– I used a pale non-photo-blue pencil to make my initial sketches of the wrens. This gave me a chance to work on the postures before committing to ink. A regular pencil would have been fine, too, but the blue pencil is easy to erase and cover over with paint. It’s a handy tool for birds and other tricky subjects.

My second tip is for those of you who have nest boxes: be sure to monitor them. Open the box quickly about once a week to check on the nest, eggs, or young. This will give you a good idea of what species are using your boxes, whether they fledge successfully, and whether there are any problems. My bluebird nest became infested with ants and I was able to remove it once the birds fledged so that the box was clean for the next inhabitant. There’s good information about nest box monitoring and a code of conduct here: https://nestwatch.org/

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High Chroma

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I am frequently a painter of subtlety: of small things that might be overlooked, of browns and blues and layers of green. Not today. Drawn in by the vivid, bold color of these poppies at the Berkshire Botanical Garden, I pulled out a whole new palette from a set of six high chroma colors from QoR to paint them. I have never used any of these colors before and it felt a little like driving a car for the first time– a little nerve wracking and reckless, but also liberating and fun.

Like the poppies, the set of six colors are pure, intense, and saturated. What’s nice is that the colors in the set were chosen to work well together and to produce a full range of colors. I found the only thing missing for this painting was a way to get a good deep green. I added some sap green, but ended up with stems and leaves that are inconsistent and murky. In retrospect, phthalo green might have been a better choice. Here’s the color test I did after the poppies (I know, testing before would make more sense.)

Tips and Techniques– The quality of a color is described by words like hue, value and chroma. Hue is the color itself, as represented on the spectrum of all colors. Value is the relative lightness or darkness of the color, and chroma refers to the quality of the color’s purity, intensity, or saturation. They all make a difference, but what’s really important is to get to know the colors you have in your palette. If you haven’t already, do some color tests of different combinations of primary and secondary colors to see what combinations mix best. If your paintings tend to look flat, it’s likely you need to expand your value range by leaving more lights and pushing the darks.

Among Dogwoods

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Standing among sunlit dogwood blossoms is a treat: white petals bright against a backdrop of dappled greens, blue sky, and bird song. The moment would be perfect but for the gnats that bite the back of my neck while sketching. They force me to draw fast and loose and then retreat to the house. Still, when I look at this painting months or years from now, it will not be the insects I remember, but the long-awaited spring day and the blank sheet of paper bright with promise.
Among Dogwoods, 5×7″, watercolor on Fabriano 300lb cold press watercolor paper.

Tips and Techniques– I took advantage of negative painting techniques for this, starting with a wet in wet wash of phthalo blue, Hansa yellow medium, and quin rose over my pencil drawing. I left a lot of white for the flowers, but you can see that I wasn’t exact with every edge. Once dry, I proceeded to do a long series of varied washes to define to foliage and create a sense of depth. I find that this type of painting takes a while to develop, and doesn’t fully take shape until I add the darkest layers and final details (e.g., the moth, shadows, and red highlights on the flowers). I worked on it over the course of a week. Stepping away is not only important for letting the paint dry between layers, but helps me come back and see it fresh.

Here’s a second painting that I started that will give you a sense of what this looks like in the early stages. You can see where I’m just beginning to pick out the shapes from the pencil drawing. Patience is key!

 

At Last

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Each year we wait. We count the days, watch the weather, complain, wait longer. Our patience stretched thin by the cold and by gray skies that are slow to yield to clear blue. Then suddenly, at last, we are surrounded by green. I can never keep up; never find time enough sketch or paint it all. Still, this year as in the past, it is a pleasure to try.

Tips & Techniques– The window for capturing spring ephemeral wildflowers is very short– miss it and you have to wait a year. This page records some of what I saw during hikes on April 29 and May 6. The second walk was challenging because it was raining. Determined, I discovered that I could hold an umbrella and sketchbook in one hand and my pen in the other. It’s a new technique for me — not bad, but I’m not quite sure I’d recommend it.

Spring Gallery- It’s fun to look back at prior years and compare sketches and dates.

 

Paint Box Colors

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Ranunculus blooms in a riot of paint box reds and pinks. Brightening the countertop, they are perfect for April, when the Northeast is slowly greening, but I am impatient for more.

Ranunculus / Watercolor
Tips and Techniques: Here’s a look at my basic kit:

  • 2 Micron archival pens, black, 02 and 005
  • 3 Escota Versatil travel watercolor brushes, sizes 2, 6, 12
  • 2 Staedtler Mars Lumograph pencils, F and 2B
  • pencil sharpener
  • Watercolors (Winsor Newton and Daniel Smith) in an altered Schmincke tin: cobalt blue, phthalo blue, ultramarine blue, indanthrone blue, phthalo green*, sap green, carmine red*, quin rose, alizarin crimson, pyrol orange, burnt umber, burnt sienna, raw umber, yellow ochre, quin gold, aureolin yellow, lemon yellow*, Hansa yellow medium (*these colors are fairly new to me, so they’re still in the testing phase.)
  • Small spray bottle for pre-wetting my paints, small jar with a lid for water
  • Scrap piece of paper for testing colors
  • Extra: Princeton Neptune 1/4-inch dagger brush (nice for the fine foliage of this flower)

In the Quiet

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No bigger than a small lemon, and with an equally yellow cap, the golden crowned kinglet is a tiny harbinger of spring. Never still for more than a few seconds, it flits busily among the trees, its high-pitched song easier to hear than the bird itself is to find. So I sit quietly, binoculars in hand, and wait. Soon enough, several appear—and disappear, and appear again, in a game of hide and seek that goes on for most of the afternoon. I can’t capture the movement, so I go for the lemon and the bird and the quiet instead, happy to keep this reminder of the day between these pages.

“Best of any song
is bird song
in the quiet
but first you must have the quiet.
— Wendell Berry