Last week’s post An Extraordinary Collection generated a number of questions about bird eggs. I thought I’d answer them with another egg page and a bit of background.
How eggs are made: It all begins with a female reproductive cell called an ovum. As it travels through the bird’s oviduct, layers of albumen (the egg “white”) and shell membranes are added. When the egg reaches the shell gland, more albumen is added, along with a calcium rich shell. The hard outer shell takes about 20 hours to complete and the whole process takes a day. The egg is then expelled from the bird’s body, and Voila! there it is.
- It is illegal to collect bird eggs, so working from museum collections or photos are your best options. Looks for Victorian-era collections in natural history museums. I’ve also seen them in libraries and historical societies.
- Practice getting the curve of the egg with just one or two lines. You may want to rotate your paper to help you make the curve. The cleaner the edge, the better.
- Some eggs are glossy, and others dull; regardless, leave a highlighted area on the egg to help give it dimension.
- Work like a bird. Build up color on the egg in several layers. Start with the “ground” or base color. Then add darker tones and shadows, followed by surface markings.
- Build up surface colors and patterns in layers, working from light to dark. A rigger brush is excellent for scrolls, while a spatter brush is most effective for creating random spots.
I am fortunate to live by a stream and I’ve been especially curious about the ice that forms along it in winter. My favorite formation is the sculpted pillars that drip from exposed roots and fallen limbs at the water’s edge. They are created by a combination of water seeping, dipping, rushing, polishing, freezing and melting. Water is both artist and artwork, creating and sculpting as it flows in an ephemeral streamside gallery.
Tips and Techniques– When you sketch directly from nature, you also experience it in ways that working solely from a photo cannot offer. Frigid wind, rushing water, and awkward footing meant I had about 15 minutes to complete a base drawing and take a reference photo before retreating to the house to paint and do some research. Had I simply taken a photo and sketched entirely inside, my drawing would have been neater, but I would not have looked as carefully or felt so keenly the cold beauty of the stream in winter.
Surrounded by greenery even in January, what a treat to find this nest, perfectly sheltered in the crotch of a young white pine. A small grove of new trees has grown up in the unkempt neighboring field—a good find for birds looking for hidden places to raise their young. I like to think of new life hatching last summer when the field was golden and the sun was warmer than it is today.
Tips and Techniques– Try sketching while standing up. I drew this nest in pen while standing in the field and painted it later at home. Standing encourages the use of your entire arm, rather than just the hand and wrist, which helps to keep your sketches loose. Sketching in the cold also encourages you to work quickly and not fuss too much.
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.