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.
Where to begin? Presented with 3,000 plants in every shade of green and every texture and pattern of leaves, choosing a subject was no small task at the Lyman Conservatory at the Botanic Garden of Smith College in Northhampton, Mass. I spent the day there sketching and generally getting a much needed green fix after months of winter browns. Here’s the first of the pieces I did there, an exotic pitcher plant native to Borneo.
Tips and Techniques: What could be better for practicing how to mix greens? Use house plants or find a greenhouse near you and see how many shades of green you can mix. I used primarily sap green with raw umber and quin rose for the pitcher plants, but burnt sienna made its way into the tops of the pitchers and a lighter mix of sap green and cobalt blue helped the leaves and vines in the background recede. Take care when using reds with greens—mixing the two when wet will give you nice browns, but if you want to keep the red tones, wait until the green has dried and then add a layer of red on top.
I get up early to make the 1.5 hour drive to the small town of Granville, New York, not far from Vermont’s Green Mountains. Arriving just before 10am gives me just enough time to buy a coffee before the doors open at one of my favorite places to sketch: the Pember Museum of Natural History. I make this pilgrimage once a year and I’ve already decided where I’ll spend the next four hours: hovering over the glass and cherry cases of Victorian-era bird nests and eggs. The selection is fantastic: eggs of every size and pattern, from tiny cream-colored hummingbird eggs to the huge streaked egg of the extinct great auk, and rows of woven nests decorated with leaves, lichen, and moss. I’ve drawn a good number of them over the years, so I choose ones I’ve passed over previously, put pen to paper, and begin. Hours later at closing time, it’s just me and the lone curator left in the museum and I’m satisfied…though I already look forward to my return next year.
I sketched this trio of nests in detail using a Micron pen on Fabriano hot press watercolor paper and painted them later at home. I did a fourth in my journal— the nest of the sedge wren, posted last week.
Tips and Techniques: When drawing a nest, spend a few minutes really looking at how it’s made before beginning. There are often interesting bits of materials that you’ll want to highlight. Usually the weave gets tighter in the inner cup, which may also be lined with downy material or feathers. Consider that the bird has already created the masterpiece. Your job is to translate it onto paper. Keep your lines very loose as you start, following the weave of twigs, grasses, or pine needles around the cup-like shape. Once the basic structure and strands of material are roughed in, I typically use negative painting (or drawing) techniques to weave darker shapes and strands underneath lighter ones to develop the complex weave. Pay attention to values! Getting darks and shadows in place will really make your nest take shape.
I will be ordering prints of this painting for sale for $30 (includes mailing). If you would like to order a copy, please e-mail me at email@example.com. Prints are made on archival quality Hahnemuhle Museum Etching paper, 8”x10” and suitable for easy matting and framing.
I found this nest in the collection of the Pember Museum of Natural History in Granville, NY, where I spent the better part of a day sketching nests that have outlived their builders by more than a century. Somewhere in the weave of stems lies the faint echoes of a grassy wetland, the calls of birds and frogs, the mix of cool air and warm sunshine, of another springtime. I’ve never seen a sedge wren (also called the short-billed marsh wren), and this is as close as I may come. Can you imagine how such a small bird weaves a ball of a nest with nothing more than a beak?
Tips & Techniques– Include field notes in your journal to make it a good reference for what you discover and learn. When I first saw the label on this nest I didn’t know that there were two distinct marsh wren species: a short-billed and a long-billed. I had seen marsh wren nests that didn’t look quite like this, and a quick Google search explained why—the ones I’d seen were made by the long-billed marsh wren. These two species have different colored eggs, too: white versus mottled purplish brown. Art, discovery, and learning fit together beautifully for me in the pages of my journal. I hope you have opportunities to do the same!
What began as a simple search for interesting props for my upcoming Sketching Natureworkshop, led to a great illustration of how much there is to discover if we only look more closely. Among the things I collected were the dried stems of goldenrod, many of which had classic round goldenrod galls. But I soon discovered other deformities that I hadn’t noticed before: stunted stems with tufts of leaves at the tops, and elliptical-shaped growths on stems.
It turns out that more than 50 species of insects—mostly flies, midges, and wasps– lay their eggs on goldenrod stems. When the larvae hatch, they borrow into the stem, causing the plant to form a protective chamber around the growing grub. When the larvae transforms into an adult, it emerges from its hideaway and flies off. Sometimes woodpeckers drill into the gall for a meal, in which case, you’ll find a small hole in the gall. For the most part, the insects don’t harm the plant; though in the case of the bunch gall, they do stunt the growth of the stem, causing leaves to sprout at the top and curtailing the growth of flowers.
So, there you have it…a bit of natural history for your day and an invitation to go out and see what you can discover.
Tips & Techniques– Keep it simple! I wanted this page to illustrate how much you can do with a few simple things on a page and a limited amount of time. I drew everything directly in pen and shaded only the darkest areas. I added watercolor in three loose layers, using combinations of yellow ochre, burnt sienna, and ultramarine blue. A bit of spatter near the dried flowers and the “goldenrod galls” text were my finishing touches.
No turtle doves here this Christmas, and no partridge in a pear tree. Just two tree swallows and a bird house I’m giving as a gift. I started the first painting on traditional watercolor paper and then decided to paint a second to test drive the new Nova series toned paper from Stillman & Birn. Doing the paintings side by side gave me a perfect opportunity to compare papers while painting the same subject using the same materials and techniques. Which do you like for the gift?
Tips & Techniques: The toned paper is 150gsm and labeled suitable for dry media, light wash, and ink. I used white gouache for the breast and regular transparent watercolor for the rest and was surprised at how well the paper took the paint. It buckled only slightly, so I kept the watercolors on the dry side. In contrast, the painting on watercolor paper (Strathmore 400 series 140lb) enabled me to work a little wetter. Here, I let the white of the paper serve as my white and added only pale shadows on the breast. Though the colors are cleaner on the white paper, I like toned paper for the impact of subjects like this that have strong whites. I wish the Nova paper was a little heavier, but I like it enough that I may do a series of birds on it.
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 Northtracks its annual trek (as well as monarch butterflies and other creatures)…check out the journey.