Big skies, sweeping vistas, far horizons. So much to see, too much to record. As an artist accustomed to rendering the details of small things—birds, butterflies, plants and such—I struggle when it comes to simplifying and capturing large landscapes or streetscapes in watercolor. So, I’m experimenting. My idea is to try working small on the premise that it will not allow me the space to get lost in detail. My goal is to get good in advance of an upcoming trip to Ireland, where I’ll have fantastic scenery and limited painting time. Here are my initial attempts, a few from the salt marshes of Westport, Massachusetts and two from Harbor Island and Franklin Light, Maine. (Click to view larger.)
Granite Cliffs, Harbor Island: 4″ x 2.5″, Franklin Light: 5″ x 2″, Egret: 4″ x 2.5″; Salt Marsh and Osprey Nest: 2.5″ x 1.25
Tips & Techniques– You tell me! What works for you in translating complex landscapes to paper? How do you decide what’s important and what to leave out? How do you scale from small to large without getting too fussy?
Imagine a week on an island off the coast of Maine. No cars, no stores, no streetlights…just good company, good food, starry skies, blue horizons, and long days spent almost entirely outside. These are the essentials for Arts and Birding, a week-long program I facilitate each year at the Hog Island Audubon Camp. Because I’m teaching, I don’t have time to complete much artwork of my own, but I did manage a few pages. And as always, I came away inspired to keep observing, sketching, and sharing my work with the wider world.
Notes:(Clockwise from top) It’s not all birds! We also explore and sketch coastal scenes, plants, and life in the watery realm between high and low tide; Hog Island has a great collection of bird specimens, including a drawer of bird eggs; Young osprey nesting on the island are banded by wildlife biologists each year. It makes for fast sketching, but it’s a thrill to see these birds up close; Just the essentials for a week of Arts and Birding.
Arts and Birding is open for both sketchers/painters and photographers. Here’s a few photos from the week taken by photography staff and participants.
Registration for Arts and Birding 2019 opens in October; the session often fills quickly. Stay tuned here.
It’s thrilling to see my artwork in print this week in an article I wrote and illustrated for Passagemaker Magazine (a magazine for boaters). Drawn to the Coastis an illustrated essay about being inspired by the Maine Coast. Going from concept sketches to full size watercolors to seeing how the magazine’s designer put it all together was one of the most exciting aspects of this assignment.
We made several revisions before finalizing the article. Then came waiting for the magazine to hit the stands, and getting a copy this week.
Let me take you behind the scenes to share some of that process. Click on the artwork to see the sequence full size.
After discussing ideas with the magazine’s editors, I made concept sketches for three page spreads and had them approved prior to working on full scale artwork.
I painted each piece separately, wrote the text, and sent it all to the magazine’s designer for layout.
We made several revisions before finalizing the article. Then came waiting for the magazine to hit the stands, and getting a copy this week!
An assignment like this stretches you as an artist and working through challenges definitely advances your skills. Some of you may remember my struggle a few months ago to paint clouds for the title spread, which was perhaps my greatest challenge. I drew upon years of journal sketches to do this piece, but painted everything in my studio over the course of about a month. Now, I can’t wait to get back to the real thing!
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.
Downeast Maine is known its rocky coast line, cold waters, abundant lobsters, and maritime heritage. Enter any tourist shop and you’ll also see key chains, mugs, and bags decorated with the colorful Atlantic puffin, which breeds on a handful of offshore islands. The fact that puffins are so well associated with the Maine coast is thanks to the dreams and persistence of ornithologist Dr. Steven Kress. With backing from the National Audubon Society and help from a cadre of student interns, Kress has been restoring puffins to the Maine coast since the 1980s. Absent for more than a century due to extensive hunting and predation, puffins are once again breeding in Maine. (Visit Project Puffin to learn more.)
Click to view larger
The Hog Island Audubon Camp is home base for Project Puffin. During Arts and Birding, the week long workshop that I direct at Hog Island, we take participants to see the puffin nesting colony on Eastern Egg Rock, a small island at the outer edge of Muscongus Bay. From the boat, we photograph, sketch, and delight in watching these “clowns of the sea,” along with a host of other seabirds. Though I made some quick sketches from the boat (a first—thanks to extremely calm seas), I did this page back on land. Three cheers for puffins, seabird restoration, and a week in Maine!
Tips & Techniques– Throw out the black paint in your watercolor set. Instead, try combinations of blue and brown to mix a more interesting dark. Ultramarine blue and burnt sienna, or indigo (which contains some black pigment) and burnt umber produce rich results.
How great it is to be sketching and painting outside again! Birds nesting, feeding, soaring, chattering, resting, flying up and landing again. Flowers blooming, waves breaking, wind blowing. It’s all good. With a wealth of possibilities before me on two recent hikes, I decided a grid would be the best way to quickly capture a variety of subjects and convey the flavor of the day.
click to view larger
Tips and Techniques: Divide your page into equally-sized boxes with light pencil lines or dots in the corners of each box, but don’t limit yourself to the smallest size. Combine boxes to fit your subjects and go outside the lines if you like. I divided the pages above with eight small boxes each and decided on the right shape for each element as I went along. This technique will help your page come together no matter what combination you choose.
“Those who dwell among the beauties and mysteries of the Earth are never alone or weary of life.” – Rachel Carson
I love the way small creatures find refuge in and on one another in the sea. Kelp, bryozoans, barnacles, mussels– life upon life, tangled and cemented together. Tossed up from the depths, it’s a pleasure to find these beauties within reach.
Upcoming Program: Drawn In
Sunday, October 23, 2016, 3pm, Free North Chatham Library, 4287 Rte. 203, North Chatham, New York
I will be giving a presentation of my artwork as part of the library’s Arts & Literature lecture series. Take a look inside my sketchbooks and at my natural history illustrations and discover a world of color, inspiration, and a few surprises.