Ten thousand saw I at a glance, tossing their heads in sprightly dance...
Wordsworth’s classic poem of daffodils, “I Wandered Lonely as a Cloud,” seems timeless. Who doesn’t appreciate a host of golden daffodils or, later, the memory of them fluttering and dancing in the breeze? They are in their full glory this week in my yard and I am enjoying the show.
The trouble with daffodils– I can only imagine that Wordsworth’s poem flowed more easily from his pen than this painting sprang from mine. The trouble with daffodils is not only that they can be tough to draw but figuring out the shadow colors and getting a full range of values is hard with such a light color. I have spent the last two weeks taking up the challenge, trying all sorts of approaches (with and without backgrounds, grouped and single, loose sketches, detailed sketches) and numerous yellow pigments—with frustratingly little success. But my 14th daffodil was promising, and I pressed on. Below, you can see my color swatches for testing yellow shadows. I found it useful to mix a small amount of violet with various yellows for the shadows and to apply the shadows first, before adding yellow to the flowers. If you have had success painting daffodils, do share your tips and techniques…I’d love to hear them!
Check out upcoming workshops: Spring Into Nature Sketching- For Ages 8+ in April, Ink and Watercolor Basics for Sketchers in May, and Arts and Birdingin June.
How we covet the first big flowering of the season! An explosion of white against still-gray trees.
“…The whiteness is a gift. Soft, and slow, it opens on the limbs. Watch it so.” — The Magnolia, Richard Lambert
Magnolias are among the most primitive flowering plants, dating to 90 million years ago. I like to think of them blossoming among dinosaurs and, millennia later, emperors and ordinary folks in their native Japan. We should have a holiday to celebrate them, or at least a picnic under a canopy of petals.
Tips and Techniques- I must admit that when I started drawing these blooms, I wasn’t sure where this page was headed. Only after I put in a pale background to pop out the flowers, did I realize that I was headed for a more involved negative painting with additional layers of blossoms and paint. So my advice this week is to be open to different ways of handling your subject. Go where the painting tells you to go. Experiment every now and then. Sometimes you’ll end up with a mess. But you’ll just as likely learn something new or end up with a gem.
Fall is here, but the final blooms of zinnias and Mexican sunflowers continue in the garden, along with a tangle of scarlet runner bean and cypress vines. I’m hoping that the remaining tomatoes ripen before we get a hard frost. Perhaps there will be one more journal page to mark the end of the season. But just in case, the last of the show seems well deserving of a late season tribute.
Tips and Techniques– I could have selected only the finest remaining blooms for this sketch, but it wouldn’t have reflected the reality of the tangled mess or plants in various stages of bloom and decay that mark the October garden. So, while you may be tempted to paint a beautiful bouquet (and there’s nothing wrong with that), consider the value of marking the seasons and showing the imperfect reality that is inherent in a fall garden (and life itself).
Back in May, I wrote a post about Gardens Wild and Planted, where I wondered whether the home gardener could create anything as lovely as a spring meadow. Here I am again at the end of summer wondering the same once more. I visited this field (and started this journal page) back in July and revisited it last week to see it again (and finish the sketch). My own garden is a fine mix of annuals and perennials, and it has provided plenty of good subject matter for sketching. But it cannot compare with the wilder open fields where an annual mowing is all that is needed to create an entire season of beauty.
Tips and Techniques– This sketch is a composite of various flowers and grasses in the field. Rather than standing in one place where all of this was in view, I moved from flower to flower to fill the page. I often use this technique when outside because it allows me the freedom to roam freely, discovering and drawing as I go. I sketch directly with a black Micron 02 pen and I may or may not add watercolor on the spot. A small travel watercolor set and water brush work well, though I frequently add more layers of watercolor at home. The text and border come last. Hope you are enjoying some late summer wandering and sketching!
When the basil in our garden comes into full force, it’s time to make pesto and caprese salad and fresh tomato pie. But first, it’s time to sketch. I wanted to try something different here to bring out the shapes, patterns, and summer colors of the basil. And now, to the kitchen!
(Click to view larger) Tips and Techniques– Sorry I didn’t take a photo of the initial pencil sketch and first layer of wet in wet wash. But this shows the progression thereafter of painting mainly the negative spaces between the plants and adding additional shapes to suggest layers of basil in the garden. I find this technique especially useful for foliage. Deciding when to stop is sometimes difficult…I probably could have stopped at the second image, but I wanted to see what would happen if I pushed the darks.
When it’s 80-degrees with 90-percent humidity, sketching outside—or doing much of anything outside—is not easy. But flowers in full bloom don’t wait for ideal weather and I figured I shouldn’t either. Pen and sketchbook in hand, I found myself quickly wilted among the daisies. So, my afternoon became a dance between painting indoors and sketching outside, with welcome breaks in between until the page was complete. I can hardly wait for August!
For two weeks now, poppies have been opening each day in our garden. Light and airy as ballet dancers, their moment center stage is short, but oh so lovely. I started this page when the first pink flower bloomed and added more as they opened— plant after plant, all pink. And then, a single red blossom opened. Outstanding in its singularity, it seemed the perfect punctuation to a page—and to a garden in need of a bit of diversity to really make it shine.
I did this second painting of poppies while visiting the garden at Olana State Historic Site. These bold, frilly-edged perennial poppies were in full late-day sun, which forced me to work quickly. I like the resulting freshness and fullness of this one.
Tips and Techniques– Notice the treatment of foliage in these two pieces. In the pink annual poppies, I decided to leave out the leaves to to showcase the simple grace of the stems and flowers. In contrast, putting in a suggestion of gray-green foliage offers a useful compliment to the red poppies at Olana. Remember that as an artist, you are also an editor. Just because it’s there, doesn’t mean you have to paint it. Make choices about what’s in front of you to simplify and hone in on what you want to convey.
It’s hard to imagine a lovelier “garden” in May than the meadow I stumbled upon while hiking at the Martin Van Buren Nature Trail in Kinderhook, New York. The preserve is mostly woodland, with stately oaks and maples that Van Buren himself would have seen more than 150 years ago. But a small clearing in the forest was gloriously golden this week, with masses of yellow flowers that any gardener would be hard pressed to recreate.
My own gardening efforts began in earnest several weeks ago. Unfortunately, I think I jumped the gun in a restless attempt to get things growing. Either from planting when it was still too cold or lack of regular watering, few of my seeds sprouted. So, I replanted last week and recruited my husband to do the watering. Fingers crossed, you’ll be seeing scenes from the Art Garden in the weeks and months to come.
Tips and Techniques– Gardens offer so much to artists! While flowers in full bloom are favorite subjects for many, consider the possibilities of sketching in the garden throughout the season. From seeds to seedlings to blossoms to faded foliage—challenge yourself to come up with creative ways to showcase what’s happening each month. This year especially, when so many of us are staying home instead of heading out to favored vacation spots, having a garden—or a few pots of flowers—may prove to be just the subject matter you need.
After a winter of painting with brown and earth-toned pigments, it feels extravagant to use so much magenta. But this particular variety of magnolia had magnificently deep-colored blossoms and I found myself dipping into paint pans that I rarely use. With the tree in full bloom and fallen petals on the ground it was a delight to be surrounding by so much color.
Tips and Techniques– When you are using a strong color like quinacridone magenta, it helps to tone it down. I used yellow ochre and aureolin yellow, which produce some lovely warm shades of pink. Mixing with cobalt blue gave me cooler and darker tones for shaded areas. Test out the reds in your paint box. Red plus yellow doesn’t always give you orange, especially when using cooler reds like alizarin crimson or quinacridone rose. Red plus yellow can produce excellent flesh tones and subtle pinks.
Sometimes, we just need yellow. Like when we’re waiting for spring greens to arrive after winter browns, or when the world has been turned upside down and we need a promise of hope. That’s when a burst of yellow forsythia or daffodils are just exactly right. Click any image here to view larger. Tips and Techniques– I love the way petals of forsythia blossoms seem to dance. There is a movement to them that is really fun to draw. But to draw every bloom could be too much. You want the burst of yellow, without so much crowding that you lose the dance. In this case, a spatter of paint added a touch of loose, uncontrolled color that complemented the flowers without overwhelming them.
A hard shake of a wet watercolor brush yields big drops (top left);
A stiff craft brush or old toothbrush flicked with your thumb results in a tighter concentration of marks (bottom);
An drop from an eye dropper about 10 inches above the paper gives big splashy drops.
If you don’t already use spatter in your painting, try it next time you want to enliven your subject or to achieve an effect that a controlled brush can’t.