Indian Ladder Farms is a much beloved place in our community. Few people I know haven’t picked the farm’s apples in fall, brought their kids to pet baby animals as a rite of spring, or eaten their share of cider donuts over the years. We’ve watched outdoor community theatre under the backdrop of orchard and escarpment, picked out our Christmas trees in winter, and frequented the farm’s gift shop for birthdays and special occasions. Indian Ladder Farms has been in operation since 1915 and it is treasured by generations.
Why I’ve never thought to sketch there escapes me. Maybe it’s that I’m always there for some other purpose, or maybe it’s that I like going when it’s raining and quiet. That changed this week, when I went to Indian Ladder twice—and solely for artistic purposes.
Here are the results of what I hope are many more sketching excursions at the farm. More barns, apples, vistas, and maybe a donut or two are in store.
I wanted practice with perspective and Indian Ladder’s main barns proved a worthy challenge. On my second trip, I focused on the farm’s Flemish giant rabbit. The Flemish giant is a massive breed by any measure, standing about 2 1/2 feet tall, which it does, on occasion, when not bounding around its cage, grooming itself or nibbling at children’s handouts. This was my first time drawing a rabbit and you can see some improvement from left side to right.
I started this painting back in August when the season’s first apples appeared at the farmers market. There are 7,500 varieties of apples worldwide and I thought it would be fun to capture some of the ones grown here in New York State. I enthusiastically laid out the painting and started building up the forms of the fruit…and then a crisis of confidence swept in. What was I thinking? I’d only painted two apples successfully before. All of my other attempts ended up looking like round red balls with stems. How was I going to get eight apples to take shape? Just one miss and the whole painting would fall apart.
So I did what any self-respecting artist would do: I set it aside. I put the painting under a stack of other artwork. I left the apples in a bowl on my desk. Three weeks later, I realized it was time to have at it again or make applesauce.
It dawned on me that painting apples might not be much different than painting bird eggs, tomatoes, or other round objects that I had had success with. The key is to build up a good range of light to dark areas. Too little variation in values and the object looks flat. You’ve also got to know when to stop. Work it too long and the transparent layers of watercolor get muddy and lifeless.
I picked up the brush with renewed confidence. Leaving light areas light and adding darker shades, the fruit began to look dimensional. Once I had a good range of values, my final challenge was capturing the beautiful subtlety in the skin of each variety— streaks of color, tiny dots, and blemishes. I added final details using a pretty dry brush— and stopped. Last, I penned the text and the classic quote from English poet William Cowper (1731-1800).
Mmm…I’m satisfied. It’s apple season and I have something good to show for it.
(Watercolor on Arches 140lb cold press watercolor paper, 9×12”)