Vinalhaven Sketchbook

“I suppose wisdom is to know one’s necessities and not live without them. And this huge silence, with the woods and the ocean together, and the air full of kelp and the sound of the fish hawk and the seagulls and nothing else seems to be something I parish and parch without.” 
Margaret Wise Brown, who summered on Vinalhaven from 1938-1952 and authored children’s classics including Goodnight Moon and Runaway Bunny

The Maine coast is, for many, about lighthouses and lobsters, quaint harbor towns and deep blue-green waters. I like those things, too, but I am drawn to Maine’s rocky coast—and to its islands in particular—for their silent and majestic spruce forests and intimate rocky tidal pools. Here, worlds beyond my own cares open, anchored in the solidity of granite and the rhythm of tides. The cry of the osprey circling overhead, the croak of a heron in the gathering dusk, the occasional rumble of lobster boats are welcome sounds in an otherwise quiet September.

We filled our days with exploration and several exhilarating quarry swims. I tried to paint boats and buildings in my sketchbook but found I could not muster enough interest to do either with satisfaction. So here is my week in sketches and in the particulars that will sustain me until I return.

Fields of Summer

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!

Mushroom Season

Weeks of hot, humid weather followed by a rainstorm or two means it’s time to watch for mushrooms. We had a terrific explosion of fungi in our yard in August two years ago, then none appeared last year; so I’ve been hoping this year would yield another bonanza. I am not disappointed. In the last few days, hundreds of mushrooms have pushed up from the soil under a small grove of oaks and walnuts. 

Among the benefits of keeping a nature journal is having a record over time of everything from mushrooms to bird nests to wildflowers. I had a moment of complacency about sketching these, thinking that I’d painted them all before. But as soon as I started and began looking closely, I kept finding more and different varieties. Then, when I looked back on my journal from two years ago, I was surprised to discover how little overlap there was. Even the most modest subjects lead to fascinating discoveries.

Tips and Techniques- I sketched these with a water soluble HB pencil with watercolor, using a 3/8″ (10mm) flat brush. The pencil lines soften and merge with the watercolor, but you can see them clearly where I didn’t touch them at all. My hope was that the flat brush would force me to work with less fuss, and I think it worked. I used a size 2 round for a few details in the soil and details on the caps.

 

The Big Reveal

Big news! I’m thrilled to share that I have a book coming out in November, The Nature Explorer’s Sketchbook. The book is primarily intended for young people (9+) and aspires to help them look more closely at nature and capture what they discover with pencil, pen, and paint. I hope it invites kids to begin a lifelong journey of exploration and creative expression with ideas, tips, and plenty of space to draw.

This book has been a year in the making and it’s exciting to see it all come together from concept to completion. I deeply appreciate several fantastic early reviews from educators, nature journalers, and artists, including Cathy Johnson and John Muir Laws.

THE LAUNCH
In the next few months, I’ll give you a sneak peek inside The Nature Explorer’s Sketchbook. I am also putting together a “launch team” to help me spread the word about the book. I would love you to be part of it. Here’s what’s involved:

Starting in mid-September, I’ll provide the launch team with a social media post once a month to share on Facebook, Instagram, or Twitter. If you are a blogger and would like to write a review, I can provide you with an advance copy. Once the book is available, I’ll be looking for people to write a brief review on Amazon. Reviews are key to having the search engine drive traffic to the book.

If you are interested in joining the launch team, let me know in the Comments section below. And, of course, I welcome you to buy a copy of The Nature Explorer’s Sketchbook for the special young people in your life—or for yourself—when it comes out November 1.

The book is being published by Tumblehome Books, a small publisher with a big mission: inspiring kids to think critically, love learning, and become fascinated by science. It will also be available at Independent Booksellers and Amazon.

ONLINE CLASS NOTICE! The Artist Sketchbook, Tuesdays, August 18, 25, Sept. 1, 8
6-8pm Eastern / 3-5pm Pacific; Offered by the Winslow Art Center, Bainbridge Island, WA
Registration opens later today, 7/26.

Beach Bonus

I’m not sure what was most exciting: seeing yellow horned poppies in bloom, watching recently hatched killdeer chicks scurrying in the strand line, or sketching on the beach in sunshine while northern skies blackened in advance of a terrific thunderstorm. Just being at the ocean seemed bonus enough. I love this rocky beach in southern Massachusetts. It’s full of speckled granite cobblestones and larger outcroppings of glacial-striated bedrocks. Beachcombing always proves fruitful and the birding is great. What’s especially nice is the pleasure of revisiting it through my sketchbook now that I’m back home in New York.

Tips and Techniques– Glaucous green! Who knew there was such a thing? But sure enough, here it is. While researching beach poppies, I found a poem that described “Her leaves are glaucous-green and hoar…” That led me down a rabbit hole of looking up information on the word “glaucous.” Turns out, glaucous has Latin and Greek roots and describes colors ranging from pale yellow-green to bluish-gray. The Latin name for this poppy is glaucuim flavum (glaucium = green and flavum = yellow). A mix of lemon yellow and cobalt blue are perfect for mixing glaucous greens. Combine and experiment with them for your next blue-green foliage.

Hatch Out!

The hardened frothy glob attached to a goldenrod stem has sat motionless in our garden since the day I found it and brought it home from the meadow back in January. No change. Nothing happening. I had nearly given up on it. And then, it happened. Hundreds of mini praying mantises emerged from the ootheca. They crowded around the opening, marched up and down the goldenrod stem, and one by one dropped from their home base and wandered into the garden. By evening, nearly all were gone.

This is the first time I’ve ever seen this phenomenon and it was pretty exciting. I hope they find the aphids that are feasting on my poppies and grow up to devour other insects in the garden. Come fall, I’d love to find an adult or two hiding among the sunflowers or laying a frothy glob of eggs for next spring.

Tips and Techniques– Don’t miss the moment! If ever there was a time to have a simple painting set up, this was it. I sat uncomfortably on the edge of a wooden raised garden bed in the noon-day sun, sketchbook and travel palette in hand. I painted as the nymphs emerged, which gave me a long time to watch them and to study the ootheca from different angles. My palette and paper dried too fast in the full sun and I found it challenging to get the right amount of water/paint ratio. Still, I have no regrets. Had I waited for a better set up or a better time of day or a better day, I would have missed it altogether.

Home

Ten weeks of working at home has meant a lot of things, including isolation, quiet, and focus. It has afforded opportunities to more closely observe the unfolding of spring and the comings and goings of birds in and around our property. Every. Single. Day. As you can see from the Bird Map, there’s a lot to watch. We’ve recorded more than fifty different species– some are just passing through, but we see or hear the ones that made the map nearly every day.

There’s a lot of information on this map—too much maybe—but it serves as a useful visual record (click the map to view full size). Bird populations may change from year to year, globally and locally. For example, tree swallows didn’t make this map, though they nested here just last year. They haven’t disappeared, they have simply taken up residence in my neighbor’s nest boxes. Ten years from now, it will be interesting to look back at the Bird Map and see who is calling this place home.

Tips and Techniques– When making a map, I use Google Maps as a reference to get a good aerial perspective. It works whether you are zooming in on a single property or outlining a larger region or country. Begin by sketching a rough outline in pencil and then embellish it with ink or color as you like. Consider whether there are elements that you can add that would lend a unique flavor to the map. The color scheme of the place you are visiting, elements of local art or architecture, indigenous plants or wildlife, or a unique label will help to convey the place you are trying to capture.

Along the Roadside in June

NEW ONLINE CLASS! 
The Artist Sketchbook, Mondays: July 13,20, 27 and August 3.
I am excited to announce that I will be teaching an online Zoom class through the Winslow Art Center in Bainbridge Island, Washington. Visit the workshops page or head to the Winslow Art Center site for details and registration.

A Prayer in Spring

Oh give us pleasure in the flowers today;
And give us not to think so far away
As the uncertain harvest; keep us here
All simply in the spring of the year.

— Robert Frost

Under massive oaks and maples: dappled sunlight and hundreds of Jack-in-the-Pulpit. Oh give us pleasure in the flowers today. I had come to the woods feeling heavy-hearted, weary, needing spring. And give us not to think so far away as the uncertain harvest. How well Frost understood his time and ours. Drawing kept me in the moment; later it brought me pleasure again when finishing this page at home. Keep us here—all simply in the spring of the year.

Wishing you the pleasure of flowers.

Close Inspection

The first mowing of the season gave me a close look at our lawn, which any agronomer would tell you has issues. Fortunately, we live in the country where no one cares whether you are growing a monoculture of turf or a diverse mixture of grass and weeds. From a distance, it all looks green. The more I mowed the more curious I became. How many different plants could I find? Hence, this Field Guide to Things in the Lawn That Aren’t Grass.

Tips and Techniques– Follow your curiosity. You may not end up with a grand painting, but you will discover all sorts of fascinating things around you.

Surrounded by Magenta

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.