I love days like this: when I go out in the cold and roam through the woods and fields, sketchbook in hand; hopeful. Sometimes I come back with nothing to show. But then there are days like today, when I’ve almost given up, but decide to double back. I head down a new path, find something that strikes me, and begin. Then, I am reminded of how good it is to look, and of how much I like being outside with a pen in hand.
Tips and Techniques– If you are going to sketch outside in winter, I suggest using it as an opportunity to practice sketching directly in pen. Don’t worry about being too precise; put pen to paper and keep it moving. I start by staring at my subject and getting in a focused zone where I’m just looking at the lines and shapes, darks and lights. I work light and loose, trusting what I see more than what I put on the page. Soon, the shapes pull together into recognizable objects. Today, I made a mental note of color, but sometimes a quick photo will provide adequate reference for adding color back at home.
I love going out along the roadside and seeing what’s there to sketch. I have yet to do it every month, but at some point I’ll have a nice record of the year. I bring just my journal and a pen, which gives me the ability to safely walk the weedy margins and sketch things that strike me as I go. I make color notes or take reference photos and paint later at home.
Tips and Techniques– Several of you have asked about my travel art supplies, so here you go! What you see above is what I typically bring, whether close to home or farther afield. These supplies fit in a plastic bag that I can tuck in my backpack or handbag, or in a dedicated sketch bag with a long shoulder strap that I sometimes carry. I love being able to do so much with a few basic supplies.
- Sketchbook: Stillman & Birn 5.5×8.5” Zeta or Beta
- Pens: Pigma Micron 02 and 005 black for sketching and text
- Pencil: Steadler F and kneaded eraser
- Brushes: Escoda Versatil Travel Brushes, size 2,6,8. A bigger brush for painting landscapes would be helpful for larger washes.
- Paint: Schmincke box with Windsor and Newton, Daniel Smith, and QoR paints
- Miscellaneous: Paper towels, clips for holding the pages, spray bottle for moistening paints, small water container
If you are looking to carry less on your next sketch outing, try paring down to only what fits in a large Ziploc bag. Lighten up and enjoy!
I’ve been wrapping up the sketches that I started while on my Great Western Road Trip— a 10 day drive from Boulder, Colorado, to Pasadena, California, via Arches, Canyonlands, and Bryce Canyon National Parks in Utah. This trip had a much tighter itinerary than previous vacations and it put me to the test in terms of sketching on the go. I thought I’d share a few tips gleaned from my experience in hopes that they help you on your next trip.
- Pare down to a few basic supplies. The more stuff you have the harder it will be to carry, set up, and break down quickly. I put my journal, pencil, pen, and paints into a large Ziploc bag that fits in my handbag or backpack.
- Seize the moment. Travel sketching requires a combination of seizing opportunities and making opportunities to fit art into your trip. It isn’t easy. This is especially true if you have a hectic itinerary or if you are traveling with non-sketchers, or both. Make the most of the time you have, whether five minutes while waiting for your traveling companions, a 30-minute airport layover, or an hour in your hotel at the end of the day.
- Create the moment. If you know in advance that you will be going somewhere you’d like to sketch, tell your traveling companions and let them know approximately how much time you need. This enables everyone to plan their time and spares you from feeling as if you are slowing the group.
- Start, even if you can’t finish. If you see something that strikes you, put down a line and take a photo for reference. Draw what you can in the time you have. You can always come back and finish later, but if you don’t start, you’ll lose the moment and the freshness of sketching live.
- Adjust your expectations and the size of your artwork. You’re not out to make a masterpiece; you’re out to record fun, interesting, and memorable parts of your trip. Work smaller if it helps.
- Mix it up. Sketch a variety of subjects, from landscapes to single objects to food. The more varied your pages, the more you will capture the essence of your trip.
- Incorporate artistic elements from the place. This may include colors, fonts, or designs drawn from the art or culture of the place you are visiting.
- Let enthusiasm fuel you. More than likely, there will be no ideal conditions for drawing or painting while traveling. You may not have great seating, weather, light, or time. Expect to be challenged and let your enthusiasm drive you. Your sketches may not be perfect, but they’ll convey a sense of fun, discovery, and excitement from your trip.
Workshop Opportunity: Travel Sketching in Watercolor
Saturday, November 9, 2019; 9am – 1pm, Art School of Columbia County, Ghent, NY
Sure to be worth the trip, this workshop will focus on techniques and layout ideas for sketching on the go and capturing your travel experiences in watercolor. Register by emailing: email@example.com
Big skies, vast landscapes, towering rocks carved by water, wind and time. The American West is a place like no other on the continent. Under the guise of driving our son from a summer internship in Boulder, Colorado, to his senior year of college in Pasadena, California, my family took to the open road last week for a Great Western Road Trip. Along the way, we hiked the western slopes of the Rocky Mountains and explored Arches, Canyonlands and Bryce Canyon National Parks in Utah. And then we drove out of those untamed spaces and into the sprawl of freeways in southern California before flying back east.
In the words of John James Audubon, “I wish I could draw it all.” Alas, with so much hiking and driving, it was hard to find the time; I still have several pages to finish. So here is part one. Stay tuned for the next installment with my top tips for travel sketching.
These are the days we long for in the dead of winter: light-filled, warm, colorful, vibrant. Glorious.
This painting began last fall when I had the idea to build an Art Garden in our yard. I didn’t want a garden that I would spent a lot of time working in, as much as a place I would enjoy being in. My chief criteria for what goes in the ground is that it must be something I want to paint. This has turned out to be an eclectic mix of vegetables and flowers—beets, radishes, and tomatoes are at home with sweet peas, poppies, scarlet runner beans, and sunflowers. Something new unfolds each week. And as you can see, it’s a pretty colorful place right now.
Tips and Techniques– I started by drawing zinnias and a few sweet peas but, after adding color, I quickly decided that the page was much too sparse. After all, August is all about abundance. So I went back and added more and more until the page was crowded with flowers. The lesson here is not to be afraid to pause when sketching to consider what drew you in and whether you have captured it. It may be a something particular about your subject or it could be a mood or feeling. Once you’ve got that in mind, finishing the drawing, or adding color or text often flows with ease.
When I left Hog Island Audubon Camp, I stopped along the winding road that leads away from the coast and back into town. There is a glorious field of lupine along the roadside that I never have time to stop at when I am arriving. Even though the flowers had faded, I didn’t want to let them go. The seedpods and grasses shone in the morning sun. I wasn’t yet ready to leave. This page marks the transition from Maine to New York, from two weeks of immersion on the coast to the longing for it that always comes afterward.
The rocky coast of Maine is a place shaped by granite and water. It is a landscape of quiet salt marshes, tidal bays, dark spruce forests, and hundreds of islands. It’s a place where the cries of seabirds overhead meet the ethereal songs of forest birds hidden in deep shade; and where people have made a living fishing for cod, haddock, lobsters, and shellfish for thousands of years. I have had the privilege of spending the last two weeks there at the Hog Island Audubon Camp, located on a 330-acre island nature preserve near Bremen. I spent the first week teaching and directing a five-day workshop called Arts & Birding; and stayed a second week for an art sabbatical.
“Use what talents you have, the woods would have little music if no birds sang their song except those who sang best.” – Oliver Wilson
It was a pleasure to have such enthusiastic and talented participants for Arts and Birding. Every day brought new adventures: island hikes, boat cruises to see puffins and other seabirds, intertidal exploration, studies of bird anatomy, osprey banding, and sessions focused on drawing, painting and photography skills. A daily salon gave everyone a chance to share their artwork and photographs in a relaxed and supportive setting.
What follows are my sketch-journal pages from Arts and Birding, with brief comments in the captions (click any image to view larger). Watch for subsequent posts from my arts retreat week.
Live action sketching, watercolor added later.
We practiced using a grid with a combination of scenes and closeups to capture a sense of place.
Moving boat, moving birds! Yikes!
Exploring tidal creatures. Thankfully, they don’t move as quickly as birds.
It’s a treat to eat dessert every night!
I like to give daily sketch prompts to provide additional challenges. Here’s my favorite: do one sketch every hour that takes no more than 5 minutes.
If this tempts you to attend Arts & Birding or other workshops at Hog Island in 2020, mark your calendar now! Arts & Birding is tentatively scheduled for July 19-24 (registration opens October 21, 2019).