I might prefer sun, but it seems right for the solstice to be overcast and cold. I headed out with my sketchbook this afternoon when the temperatures climbed into the 20s to capture a glimpse of the shortest day. This old sugar maple, overlooking fields and evergreens, has seen its share of turns around the sun. It’s limbs stretched outward and upward from the frozen ground. Stark, against gray skies, it yet possessed a warmth about it that was inviting on this winter day. A solstice tree.
Tips and Techniques– If you prefer sketching plein air, but find temperatures in the teens and twenties a tad cold, you might try sketching in the car. I made this drawing from the comfort of my front seat, parked on the side of the road. Not ideal, but not bad either.
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?
“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!
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 last blaze of autumn’s glory is upon us in upstate New York. Gold, crimson, bronze, and green hang on, even after several days of wind and rain. Among the best places to see the show, I knew, would be in one of my area’s oldest and grandest rural cemeteries – Oakwood Cemetery in Troy, New York. Established in early 1848, Oakwood’s monuments are dwarfed by towering oaks, maples, beech, and hickories. How fitting, then, to paint there just two days after a longtime family friend died of cancer. In retrospect, I suppose it was no accident. It was the perfect place to contemplate a life now gone and to take solace in the radiant glory of fall’s last days.
I came upon this sugar maple while hiking at a nature preserve and was quickly drawn in by its spreading lower limbs. Consider what a rare thing it is to see a tree like this. In nurseries and residential yards and farm fields alike, lower branches are commonly lobbed off— for aesthetics or safety or ease of mowing underneath. Grown wild, this beauty’s lower limbs stretch improbably far outward and upward. With most of its leaves already lying in a carpet of orange and brown on the ground, it was easier to see its structure fully and to enjoy the play of light and shadow across its branches. I had less than an hour of sketching time, so I decided to focus on capturing the maple’s form, rather than attempt a full painting. I then added just a touch of watercolor later to suggest the warmth of the late day sun.