The bird lay dead in my hand, a small and precious jewel given to me by a friend. Fully intact and still dressed in glittering green, it was a rare gift. I’d never held a hummingbird; never studied one so closely. An opportunity like this meant one thing: break out the magnifying glass, ruler, and pencil and get to work.
As an artist, I find observing dead birds enormously helpful when trying to bring them to life on paper. I love the ability to look closely at various features, to study proportions, and to look at feather patterns and feet. A bird in hand lets you see details that a photo and even live birds cannot— like the iridescent feathers on a hummingbird’s throat that appear black unless reflecting light or the length of the primary feathers. As you can see, I didn’t try to enliven my first sketches— these are strictly studies. The birds on the right take flight thanks to the motionless birds on the left (click to view larger).
The Hummingbird Gallery
About Hummingbirds– Hummingbirds are pretty incredible creatures— they can fly forward, backward, and straight up and down, and buzz around at speeds up to 30 mph. Weighing in at just 3-4 grams, they never-the-less manage to fly more than 500 miles across the Gulf of Mexico each year on their annual migrations from the US and Canada to Central America. There are more than 300 species in the world, twelve in the US, and only one, the ruby-throated hummingbird, in the eastern US. Journey North tracks its annual trek (as well as monarch butterflies and other creatures)…check out the journey.
This is just to say…buy some plums (or tomatoes, corn, or apples). Paint them. Eat them. And savor the moment.
Tips & Techniques- I realize that several of these plums look more like purple potatoes than plums, and you may have artwork that doesn’t quite turn out as you would like, too. One way to “save it” is with text that captures something of your experience. Another is to try again (this is my second attempt—my first had better plums but a less interesting layout). Another is to turn the page and be glad that you took the time to practice.
(Work in progress.) I started this page several weeks ago after we left our porch light on all night. In the morning, a treasure trove of moths clung to the walls of the house. Little by little, I’ve added to the collection. Cooler temperatures have slowed the show, but the giant crane fly was a nice find. There’s room for more…we’ll see what September brings. Click on the image to view larger.
Tips & Techniques– I started with a light pencil outline and then painted a miniature variegated wash on each moth to establish a ground color. Once that dried, I added several rounds of details, working from light to dark. The white moths needed a pale shadow to bring them out of the white paper. Although I started with a size 6 brush, it definitely helped to have some very small brushes in my arsenal. I finished these with a size 1 and 0.
I could paint the colorful planter of flowers on my porch or the stately trees in my yard, or the golden field nearby, and sometimes I wonder why I don’t. Instead, I’m drawn this week to what most people would consider far less beautiful—a mass of polypore fungus emerging from a red maple growing (and dying) along a stream. But a sense of discovery and curiosity has long been integral to my art. I love finding things and finding out about things, and then keeping those discoveries between the pages of my sketchbook.
Tips & Techniques– These fungi were strikingly white, but translating white objects onto white paper is tricky. Whites come to life when placed next to darks. I had to look at this group of fungi over and over to begin to see the subtle values and to pick out the mid-tones and darkest darks. When painting whites, keep looking at what’s next to your lightest areas; squint; and keep evaluating whether you’ve got a good range of values from light to dark on your paper.
I planted garlic for the first time last fall and it took me a while this spring to figure out where I had interspersed it among other bulbs and perennials. Then this! ….this fabulous showing of curling greenery in the garden! And although I am moving next week and will never see the harvest, at least I have this journal page – and the promise of next year in another garden.
On my recent boat excursion to Eastern Egg Rock in Maine, both luck and good timing were on my side. There, on this small, rocky island where puffins and terns nest, several razorbills sat on shore in full view. I have always wanted to see these sleek black and white puffin relatives, but because they breed on rocky cliffs in northeastern Canada, they are mostly spotted in winter or when migrating. The razorbill sighting alone would have made for a great day on the water, when we spied a common murre—another bird in the auk family that I had never seen—swimming nearby. Moments later, a fantastic northern gannet careened overhead, circled twice, and flew off out of view. The triple header made watching puffins seem almost ordinary. And, as you can see from my sketch, the poor black guillemot, the most common auk species in Maine, didn’t even make the page.