Somewhere in the tangled mess that was 2020, I hope you found beauty. I hope you found goodness and light. For me, it was there along the roadside, in the white-throated sparrow feeding on sumac as blustery snow began to fall. It was there in the pandemic, when people cheered for healthcare workers and children sang of hope in unison on separate video screens. It was there in the tangled mess of politics when millions of Americans voted for change. It was there in family, friends, and colleagues who pulled together to pull through. It’s not always visible on first glance, but I like to think it’s always there, somewhere, in the tangled mess.
Wishing you a beautiful Holiday Season and New Beginnings in 2021.
Tips and Techniques– When you are sketching outside, try to capture enough information to enable you to finish the sketch, even if you must take it inside. For this journal page, I began with the shape and posture of the sparrow, which flew off shortly after I started. I sketched the tangled vines for a few more minutes before the wind picked up and snow began to blow. I was hoping the bird might reappear or that the snow would let up but, alas, that was not meant to be. Fortunately, I had enough to convey the feeling of the moment even after it passed.
Outdoors is where the action is when you are a nature sketcher. Yet when the last leaves drop and cold weather sets in, even the best outdoor sketching habits can begin to wane. In years past, my sketchbook often went untouched for weeks in winter. But for the last several years, I have resolved to sketch both inside and out all winter long, and I’ve learned a few things along the way. I’m hoping my top tips will help you keep your sketching habit alive all winter long, too.
1. Over dress, under pack. It is possible, even fun, to sketch outside in winter. Wearing extra warm layers will give you extra time while sketching. But there is no point in taking a full sketch kit. Pare down to your sketchbook and your favorite pencil or pen.
2. Sketch outside, paint inside. Even if you only spend 10 or 20 minutes outdoors, being outside will add freshness to your sketches and help you notice what’s happening in nature throughout the year. Snap a photo for color reference or make color notes on your page and paint when you return home. Working this way will help you simplify when painting and will also improve your color memory.
3. Don’t rule out the small stuff. I used to think I should only paint important subjects or nature subjects or meaningful subjects. But once I gave up that notion, all sorts of possibilities presented themselves. There’s real value in sketching ordinary objects. Not only will this keep you going, but you’ll practice different textures and techniques without the pressure of trying to make a masterpiece.
4. Seek shelter. Use your car as a mobile studio. You’ll be able to go father to seek out new subjects, and you may even be able to add some color. Just refer to Tip 1 before heading out. Cars are cramped and still get cold. You can also sketch what’s outside your windows. Bird feeders, trees, shadows on snow, and skies make fine subjects.
5. Treat yourself. No matter how disciplined your sketching practice, if you’re at all like me, you’ll get tired of sketching in the cold. Plan a trip to a local botanical garden, greenhouse, or museum in February. Buy flowers in March (or sooner, if needed).
Try setting a goal for yourself for sketching throughout the winter. Maybe it’s getting outside once a month or once when the temperature dips below 50-degrees (or 40 or 30!). Or consider just completing one sketch each month, or each week. Enjoy what you discover…It will be spring before you know it.
Thanks to everyone who came to my class on Sketching Through the Winter at Winslow Art Center!
Here are a few favorites from the winter archives.
A work colleague surprised me last week when we stepped outside on a chilly afternoon and she declared, “November is my favorite month.” I was taken aback. In my entire life, I have never heard anyone choose November. We talked about what she liked so much: breathing in cold air, deep blue skies at dusk, quiet, Thanksgiving. Since that conversation, I have gone looking for Rosemary’s November. I’ve walked country roads late in the day, listened to geese overhead, and poked around the margins of weedy wetlands. Here’s what I found, and I send it to you with gratitude for following this blog and sharing your kind comments and thoughtful insights all year long. Here’s to November!
Tips and Techniques- Where to begin? I recommend starting with your sketchbook and a pen or pencil and a walk. Out on the roadside, or on a trail, walk for awhile until your mind stops thinking about what you were just doing or what you need to do or all the other things happening in your life. Walk until you start to become more present and begin to notice what’s around you. Then start looking. Look at the plants, watch for wildlife, see what’s happening. Then pick something that intrigues you and sketch it. I first noticed a single goldenrod gall and then saw about 30 more all around it. That’s how this page began. After you have something on your page, walk and look some more. Keep adding things until your page is full or its too cold and you have to go home. Hopefully, those will happen about the same time and you can retreat with a full page of discoveries.
You never know what you’ll find out on the roadside. Although I walk the same two-mile loop frequently, few days are ever the same. Subtle changes shift one week into the next, one season into another. Noticing is the art of going.
My recent walks have been in the late afternoon; wind picking up, sun low on the horizon. The flowers and grasses have gone to seed, a few bunches of wild grapes are left for the birds. It’s a good time to capture the moment: October in its final fading days. November is coming fast.
Admittedly, this next page is an unusual addition to this post.I came upon a dead barred owl lying in the grassy margin of the roadside, clearly struck by a car or truck. Daylight was fading fast, but the owl was so absolutely beautiful that I couldn’t let it go. If I didn’t paint it then, the opportunity might be gone. There was only time to capture a fleeting impression of feathers, but that seemed a fitting way to acknowledge the life and the loss.
While we are at home day in and day out, I travel the same roads over and over. I add variations now and then, but mostly it’s the same loop past fields of soybeans and corn, past woodlots and overgrown meadows, past neatly trimmed front yards.
But as poet and farmer Wendell Berry writes, “Even in a country you know by heart, it’s hard to go the same way twice. The life of the going changes. The chances change and make a new way. Any tree or stone or bird can be the bud of a new direction.”
An old friend recently reminded me that traveling at home presents opportunities to turn the small and modest into the infinite and boundless. If only we are open to the journey.
Here are two takes on my recent travels at home. Tips and Techniques– If you like making maps when you travel, why not create one to commemorate the places you travel every day? Add other elements from your daily experience to round out the page: a landscape view and a closeup or two are good ways to complement a map. You could also add a compass rose, title, or legend.
The Day in the Life page is a specific assignment I do about once a year. The idea is to do a sketch every hour of the day, but no sketch should take more than five minutes. Not only is this good practice for working quickly but it is also a nice way to record the ordinary things and moments that fill your days.
I love going out along the roadside and seeing what’s there to sketch. I have yet to do it every month, but at some point I’ll have a nice record of the year. I bring just my journal and a pen, which gives me the ability to safely walk the weedy margins and sketch things that strike me as I go. I make color notes or take reference photos and paint later at home.
Tips and Techniques– Several of you have asked about my travel art supplies, so here you go! What you see above is what I typically bring, whether close to home or farther afield. These supplies fit in a plastic bag that I can tuck in my backpack or handbag, or in a dedicated sketch bag with a long shoulder strap that I sometimes carry. I love being able to do so much with a few basic supplies.
Sketchbook: Stillman & Birn 5.5×8.5” Zeta or Beta
Pens: Pigma Micron 02 and 005 black for sketching and text
Pencil: Steadler F and kneaded eraser
Brushes: Escoda Versatil Travel Brushes, size 2,6,8. A bigger brush for painting landscapes would be helpful for larger washes.
Paint: Schmincke box with Windsor and Newton, Daniel Smith, and QoR paints
Miscellaneous: Paper towels, clips for holding the pages, spray bottle for moistening paints, small water container
If you are looking to carry less on your next sketch outing, try paring down to only what fits in a large Ziploc bag. Lighten up and enjoy!
When I left Hog Island Audubon Camp, I stopped along the winding road that leads away from the coast and back into town. There is a glorious field of lupine along the roadside that I never have time to stop at when I am arriving. Even though the flowers had faded, I didn’t want to let them go. The seedpods and grasses shone in the morning sun. I wasn’t yet ready to leave. This page marks the transition from Maine to New York, from two weeks of immersion on the coast to the longing for it that always comes afterward.
Last year I made several sketching forays out along the country road where I live. I’m curious to discover what’s in bloom and find that almost nothing is native to the Northeastern U.S. Still, I have to give these invaders credit. They have traveled across continents and persisted in harsh conditions, yet still offer beauty and color where few other species would survive.
Tips and Techniques– When I head out along the road, I typically bring only my sketchbook and a pen. There isn’t much traffic, but what comes along is moving fast, so I have to be ready to move quickly. I walk along until I find something in bloom, sketch it, and move on to find the next roadside flower, filling the page as I go. I make mental notes about color and sometimes snap a photo for reference as well. When I come home to paint, I’m not just coloring in spaces, I’m also thinking about the mood and feeling of the day. This walk was sunny and warm; hence the overlay of yellow to tie everything together.