Winter Blues

“The woods are lovely, dark and deep…”

Inspired by Robert Frost’s famous poem, I set out to capture a few favorite trees and darkening skies. I loved playing with the complexity of branches and shapes using the simplest of colors. There’s something about these deep blues that brings out the mystery and beauty of this time of year.

Tips & Techniques– These pieces started with at least six failed attempts to paint trees at night. I began by doing numerous small “test” paintings of silhouetted trees against various skies, but none proved evocative or beautiful. I was ready to throw in the towel when I hit on trying negative painting techniques and finally saw something interesting evolve. So, my tip this week: before investing a lot of time in a big painting, try a few small samples to work out the kinks and test colors. It’s also worth remembering—and I am especially in need of this – sometimes it takes a few failures to get to success. Keep painting!

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Hanging On

There are many reasons to appreciate stately, solid oaks. Raking their late-dropping leaves in December is not one of them. Persistent and tenacious, they hang on despite autumn gusts and rain storms that shake other trees bare by October’s end. And yet, as I rake pile after pile, I think: maybe we should be more like oak leaves, resolved to hang on as long as we can. Savoring each day of sun, knowing that the dark and silent winter will come all too soon.

Tips & Techniques– I’m testing a new box of Schmincke watercolors, so I decided to use “negative” painting techniques with this journal page as a way to figure out the range of colors I could get with a triad of Ultramarine Blue, English Venetian Red, and Yellow Ochre. I began with a very loose wet-in-wet wash of those three colors. Once it dried, I began to pick out the shapes of the leaves with smaller, but still very wet washes. You can lay lots of layers on top of one another with this technique to build values, depth and interest. The trick is to stop before overworking it or losing the spontaneity of the original wash.

Here’s how it looked along the way (sorry I didn’t take more photos toward the end; I got absorbed and forgot)…

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Get to know your paints! I haven’t used English Venetian Red before, and though it looks similar to Burnt Sienna, it is less transparent and mixes very differently. Look how it becomes more purple when mixed with Ultramarine Blue. Burnt Sienna creates beautiful browns and grays with Ultramarine, a mix I use all the time. The purple toned darks worked nicely for the oak leaves, creating a lively triad with the Yellow Ochre.

Finding Beauty

I was recently invited by Liz and Nigel at the blog Exploring Colour to provide a guest post for their series Where and What is Beauty? The blog hails from New Zealand, which is, incidentally, 9,000 miles from my home in New York State. I traveled to that extraordinary country way back in 1986 searching for adventure, beauty and local color but, as my post reveals, I am now Finding Beauty Close to Home.

November Maple

It’s the perfect time of year for painting trees. Bare bones and branches, I like the unobstructed view, when limbs, bark, and shapes are revealed. This old maple in my front yard is interesting from almost any angle. I started mid-afternoon in glowing light but, because the sun faded quickly, it took me several days—and patience waiting for the right light again– to finish.

November Maple, 10″x14”, Watercolor on 140lb Arches cold press paper

The Ripening Season

Seasons unfold, pages evolve. That’s what happened here as I sketched a variety of fall fruits and seeds from the trees in our yard over the last few weeks. It’s all part of learning what’s here on the rural property we moved to in July. There are nice old sugar maples, red and white oaks, black walnuts, cottonwoods, birches, and white pines, with well-placed dogwood, pin cherry, and apple trees. There are many year’s worth of sketches in the trees alone…and you’ll see more in the future, I’m sure.

Tips & Techniques– Just as seasons evolve, your pages can too. While it can be nice to finish a page all at once, sometimes that just doesn’t work. Be patient. Do a little at a time, leave it, come back, and do more. Your most important decision is probably where to place the first object. Avoid the middle of the page, which tends to lead to a dull design and leaves only tight spaces around the center to fill. If you know you have a larger item (e.g., black walnuts vs. acorns), place it sooner than later. You can always find room for small things after the big ones are in place.

Flyover

A small but vocal flock of Canada geese flies over our house every day now. They emerge from the tree line, calling to one another and, it seems, to anyone who will listen. I know better, but still, I hear them implore: look up! The maples will not be golden for long.

Tips & Techniques– Painting birds in flight is challenging—and it takes practice. It helps to study the anatomy of the wing so that you understand its major feather groups. It’s also important to have a general sense of perspective so that you can begin to see how the plane of each wing moves and how they align together. Even then, it’s not easy. In addition to time in the field, watch videos to study flight in slow motion. I made several pencil sketches and marked the angles between wings, head, and tail to try to get the proportion and position right before starting this page.

The Naturalist Sketchbook

Workshop Opportunity!
I’m excited to be offering a one-day workshop hosted by the Maine Audubon Society this winter. Though its months away, it’s filling fast.

The Naturalist’s Sketchbook: Sketching Nature in Pencil, Pen, and Paint
February 3, 2018, 10am-4pm; Snow date February 10
Maine Audubon Society, Gilsland Farm, Falmouth, Maine
Maine Audubon Members: $68, Nonmembers: $85
Get inspired to explore the rich diversity of life around you in pencil, pen, and paint. This 6-hour workshop will help you prepare to sketch outdoors, cover drawing and watercolor painting techniques, and explore ways to capture a sense of place on paper. Whether you are looking for renewed inspiration, seeking to nurture your creative spark, or hoping to build your artistic skills, The Naturalist Sketchbook will set you on a journey of discovery that is much more than just an illustrated record of what you see. Sketch after sketch, year after year, you’ll cultivate a sense of wonder and deepen your understanding and appreciation of the world around you. Some experience with drawing is helpful, but instruction will be tailored to various skill levels. Materials suggestions provided upon registration, please bring lunch.
Limit 12 students. Age 16 and up.