Call me obsessed. I probably deserve it. I have spent nearly every evening this week painting nothing but mushrooms, buying field guides, making spore prints, and staying up late trying to identify my finds. In my defense, a treasure trove is growing before me– new species emerging each day under the grove of oaks that line our driveway. And I know that the intense humidity and rain that brings them out, all too quickly turns them to mush. In the end, my obsession stems from being astonished: I have recorded an impressive 26 different species in a single week: classic gilled mushrooms, large and colorful boletes, tiny coral fungi, and ringed polypores.
Consider this: several thousand species of mushrooms are found in the Northeast and upwards of 30,000 in North America. That’s more than all of the mammals, birds, reptiles, amphibians, fish, and plants combined. I found identifying them challenging, even maddening, but I learned to look more keenly at key features in the process. It’s likely that I misidentified some and I didn’t gather enough information to even begin to identify others. If you spot one you know from this collection, drop me a note so I can look it up.
It’s hard to exaggerate the extravagance of ripe peaches. Soft, striking, sweet, juicy…what fruits can rival them? Tomatoes, apples, eggplant, peppers? No match. Pears and cherries? Closer, but still second. Painting them is a pleasure, too. As is eating them, when the painting is done.
Tips and Techniques: First, I made it clear to my family, “Don’t eat the peaches until I paint them.” The previous three farmstand purchases disappeared before I had a chance at them. I started this as a simple ink sketch, and then painted multiple layers of Hansa yellow medium with quin rose, mixed with ultramarine blue for the darker skin. It’s important to let each layer dry thoroughly before adding the next. Building up layers allows the lighter tones to shine through, creating a more luminous effect than if you tried to get the color “right” in one go. I finished the page with a few details, spatter, and text (click the image to view larger).
Were it not for relentless deer flies and record-breaking heat, it might not have taken me four days to complete this page. But it is hard to sketch on the roadside under such circumstances, no matter how determined, and so, one flower at a time, the page grew. Still, sometimes it’s good not to rush a painting. It lets things evolve; insights emerge. What started as a simple painting of flowers grew into a recognition of how much of the world is at our very doorstep.
I am reminded of one of my favorite quotes from the naturalist John Burroughs (1837-1921): “The most precious things in life are near at hand, without money and without price. Each of you has the whole wealth of the universe at your very door. All that I ever had, and still have, may be yours by stretching forth your hand and taking it.”
Note: I will be taking a break from posting for the next week or two as I head to Maine to facilitate and teach the Arts & Birding workshop at the Hog Island Audubon Camp. It’s a fully immersive experience for me, and life on an island is better without phones, computers or social media.
Oh, the warm nights of late June and early July, when the spectacular light show of fireflies flashes through the fields! Not just one or two, but hundreds of luminescent beetles signaling to each other in the gathering dark. I caught a single firefly that made its way into the kitchen the other night and watched it flash its bioluminescent message for several hours. But how to capture it on paper? That artistic dilemma led me to throw out my usual arsenal of watercolor techniques and try something completely different. Patterns, color, and abstract firefly fun.
Tips and Techniques: I created this piece with masking fluid and a series of watercolor washes. First, I taped the area around the piece with blue painter’s tape to keep it contained, and sketched out the fireflies and grasses with a black Micron pen. After a wet wash of yellows and magenta, I masked the fireflies. Then began a slow process of layering darker washes, letting them dry, masking grasses, waiting for the mask to dry, and repeating. I probably did about six layers. Once I was satisfied that the blues were dark enough, I removed all the masking fluid and tape to reveal the finished piece. If I were to do it over (and I might), I would mask more yellow after the first wash for a bit more energetic glow.
Colors used: quin gold, aureolin yellow, quin magenta, dioxizine purple, phthalo blue, indrathrone blue, indigo.
This is just to say…buy some plums (or tomatoes, corn, or apples). Paint them. Eat them. And savor the moment.
Tips & Techniques- I realize that several of these plums look more like purple potatoes than plums, and you may have artwork that doesn’t quite turn out as you would like, too. One way to “save it” is with text that captures something of your experience. Another is to try again (this is my second attempt—my first had better plums but a less interesting layout). Another is to turn the page and be glad that you took the time to practice.
(Work in progress.) I started this page several weeks ago after we left our porch light on all night. In the morning, a treasure trove of moths clung to the walls of the house. Little by little, I’ve added to the collection. Cooler temperatures have slowed the show, but the giant crane fly was a nice find. There’s room for more…we’ll see what September brings. Click on the image to view larger.
Tips & Techniques– I started with a light pencil outline and then painted a miniature variegated wash on each moth to establish a ground color. Once that dried, I added several rounds of details, working from light to dark. The white moths needed a pale shadow to bring them out of the white paper. Although I started with a size 6 brush, it definitely helped to have some very small brushes in my arsenal. I finished these with a size 1 and 0.
Within the last few weeks, more than ten species of mushrooms have emerged in a grove of oaks in our yard and I’m only familiar with one of them. Mushroom identification is complicated and depends on a number of factors that I tend to forget from year to year: whether or not there are gills and how they are attached, the shape of the cap, the color of the spore print, color, habitat, season, and more. For now, looking more carefully and making sketches and field notes before these ephemeral species disappear is more valuable than knowing the names. But soon, it will be good to have a guide to fungi on my shelf.
Though I set out to paint these, I quickly decided to simplify and just use a mechanical pencil. It made it easier to move from one cluster to another and maximize limited sketching time.