Today seemed like as good a day as any to switch things up and go all ink. This started with the notion to sketch random things on my desk, but the addition of the nests and a few insects from a very brief visit to the Pember Museum of Natural History rounds out the collection nicely. Art and nature…pretty much what is always on my desk.
I am excited to share with you that Watercolor Artist Magazine selected one of my journal pages for its Open Book feature in the October issue. Each issue looks inside an artist’s sketchbook and includes one page and a bit of insight from the artist. The October issue is full of terrific articles on plein air and nature painting, so this is an ideal fit. I’m honored to be included!
When peonies bloom, rain nearly always follows. And so it was that I lost my subject. Still, I am pleased to have June’s most elegant flower in the pages of my sketchbook, a few cut flowers on my table, and pink and white petals littering the garden.
Tips and Techniques-
What you don’t see on this page are all the test sheets of greens that I’ve been working on this week: blue and yellow combinations, “convenience” green combinations (sap green, phthalo green, green gold), greens with browns, and greens with reds. I’m looking for highly transparent mixes that offer a good range of light to dark values. The trick is that when I’m working on a negative painting like this, I want to let some of the colors mix right on the page—and some greens are just too garish for that. What I (mostly) ended up with here is phthalo blue, nickel azo yellow, and a touch of quin magenta. If you struggle with greens, I highly recommend doing color tests of your own. You’ll quickly discover lots of combinations that don’t work and many that do. And you’ll gain confidence in your colors that will serve you well in your future paintings.
If you have go-to green combinations that you especially like, leave a comment so we can learn from each other!
It’s good to see this old sugar maple in our front yard wearing a mantle of greenery again. Moss covered and with new leaves unfolding, it’s tangled mass of old limbs drew me in. After an hour or so, the black flies drove me away.
Tips and Techniques– I started this as an ink drawing and worked until it was quite detailed. I could have, and maybe should have, left it there, with just a light wash of bright green for the leaves. I had that “fork in the road” feeling—not sure whether to add more color or let it be. Sometimes I walk away at that point, coming back later with greater clarity of direction. Sometimes I leap, follow a hunch, take the risk, and hope for the best. What do you do when you reach that fork in the road with a painting?
February in upstate New York is typically cold and cloudy. With two months of winter already past and another two on the horizon before spring arrives, it’s time to head to the tropics or the desert for a midwinter getaway. Except when you can’t. Then, we have to settle for the next best thing: a trip to a greenhouse. I spent yesterday afternoon at the Lyman Conservatory at Smith College in Massachusetts and it felt like paradise. Warmth. Light. Rooms full of greenery. Art supplies in hand. What could be better?
Tips and Techniques– Based on my experience at the conservatory, my tip this week is: don’t give up too soon on half-baked sketches. Painting conditions at the greenhouse were difficult—tight aisles, lots of people, and no way to spread out or relax while painting. I painted both of these pages standing up, and believe me, they were very rough watercolors when it was time to leave. Nevertheless, I had the concept and basic colors down, which enabled me to add details and text when I got home. How many times have you found yourself in the field without enough time to finish? I say: at least get started. Take some notes or a photo and finish later.
This has been a week of little painting and much preparation for an upcoming art exhibit and workshop at the Art School of Columbia County, located near the New York/ Massachusetts border. I’m thrilled to report that I’ve recently been invited to join the faculty of the Art School, which will give me a “home base” for offering workshops throughout the year. Though the school is small, it casts a wide net, and is situated in a place that is steeped with art, artists, and plenty of rural beauty and inspiration. If you live nearby, drop in or sign up!
Opening Reception, February 9, 5-7pm
Art School of Columbia County
1198 Rt 21 C Ghent, NY 12075
(30 min from Lee, MA; 40 min from Albany, NY; 1 hour from Poughkeepsie, NY)
Sketching Nature in Pencil, Pen and Paint
Saturday, March 2, 2019 (snow date March 3)
Art School of Columbia County
1198 Rt 21 C Ghent, NY 12075
When I’m pressed for art time, I like to come up with a subject that I can work on in short takes over several days. Such has been the case lately, so I decided to revisit a sketchbook page that I did several years ago. In 2014, I painted a number of chickadees on a single journal page using pencil and watercolor. I’ve always liked that page, so I decided repeat it— this time on toned paper using only a pen and a bit of white colored pencil for highlights. This exercise is a good one for trying to capture different poses and for getting the basics of the bird down without too much fuss.
2014 Chickadee Study
Tips and Techniques– Chickadees are common songsters, but they don’t sit still for long. Practice drawing them quickly from photos and you’ll be better prepared for sketching them from life. Give yourself a time limit; see what you can do in 3 to 5 minutes per bird. Add a few more minutes for shading or finer details if needed. I used toned paper, but you could use drawing paper or watercolor paper with a touch of color for shading and dimension.