Nature Journaling: Autumn Leaf Study in Gouache

An autumn walk can turn up a wealth of colorful fallen leaves.  I find myself returning from each hike with a handful of beauty.  This particular maple leaf, with its red, green and yellow splotches seemed the perfect subject for a gouache painting.

Gouache is much like watercolor, but it's opaque, so you can paint contrasting colors over one another, and light colors over darker ones.

I began this painting with an ink sketch of the leaf in my nature journal. I chose tubes of colors to match and began painting the larger swaths of red, painting them in. As I painted, I noticed the nuanced darker and lighter red areas, and added them. (Paints used = Quinacridone Rose, Quinacridone Red and Alizarin Crimson.)

Finally, I got down to all the detailed veins, spots and blobs of different colors. (Chrome Yellow Hue, Sap Green, & Burnt Umber. The shadow colors used were Ultramarine Blue & Alizarin Crimson.)

I love details! The places an insect chewed the leaf, the spots where the green contrasts brightly against the red, and the lovely little veins that show through catch my attention and delight me.

Here's the final leaf painting.  I especially love working from life -- the leaf -- rather than a photograph of the leaf.  There's something compelling about nature in the present moment.  Though I take loads of photos, I'm far more likely to sketch and paint actual natural treasures in front of me.

What do you love to look at?  Have you ever sketched it? You could record the details about your favorite things that make them special to you with a simple sketch -- or two, or more!

Happy Creating!

Autumn Colors with Watercolors

The beauty of fall can make an artist feel like a race is on -- to paint all the colorful scenes we can under the blue sky. I started this painting with a hike to see the landscape and to pick a scene to paint.  The view above caught my eye above all the others.

I started this painting with a pencil sketch, then added ink lines with a Micron waterproof pen, and started painting the Phthalo blue sky.

Working from light to dark, larger shapes to smaller details, the process of capturing the day's colors began.

Colors used: 

Azo yellow mixed with a touch of permanent rose for the yellow-orange foliage, 

Phthalo blue mixed with burnt Sienna for the deep green trees in shade, 

Azo yellow mixed with Phthalo blue and a touch of permanent rose for the green grass.

Burnt Sienna mixed with a touch of permanent rose for the reddish grasses in the foreground and the distant cows.

Sitting outside painting in the landscape lets an artist immerse themselves in the fleeting beauty of nature's fall colors.  What initially felt like a race to capture colors becomes a meditation on what is happening right now in nature and a beautiful way to experience the season.

I hope you get time to slow down, sit in nature, and experience the season.

Happy Creating! 

Autumn Nature Journal: Painting Leaves

This is the time of year I find myself stopping in my tracks on my daily walks to pick up an acorn or an especially gorgeous leaf.  I can't help myself!

Back in my studio, I choose a treasure or two to sketch.  This particular day, I found a lovely Cottonwood leaf and an acorn. Painting the crimson colors around the yellow veins in the leaf was tricky.  It became a sort of meditation, and all else left my mind.

 I used a new set of watercolors, a Winsor & Newton Cotman Watercolour sketcher's set.  I wanted to get aquainted with mixing these colors before I use them in an upcoming watercolor class I'm teaching.

I added a shadow to the leaf, a few comments in the margins about little details I noticed, and the page is done.

I love painting and sketching little bits of nature, and delight in the way they can tell the story of a season as well as a larger scene.

Autumn Nature Journal

I traveled recently to a wedding, and had a few hours of time before the ceremony. I took my nature journal for a stroll around the hotel grounds.  

The hotel was bordered by an undeveloped meadow with old orchard trees, creating space for an impressive array of native wildflowers -- from familiar goldenrods and white clover to Virginia Mountain Mint, an icy, peppermint-scented plant that makes me feel as though I've been swept away to the Arctic wilderness when I smell it.

Here's the list of plants I found:

wild strawberries

coneflowers( Rudbeckia)

Dogwood red osier?

Goldenrod

St. John's wort

Wild dogbane

Shaggy mane mushroom

Queen Anne's Lace

Mountain mint

Horse Gentian (honeysuckle family)

White clover

Cottonwood

Pear trees

crabapple trees

apple trees

Liatris?

Thistle

Wild grape

Privet

Red oak

New england aster

Willow

I sketched as I went, and found a windblown cottonwood twig with golden leaves to take back to our hotel room and draw.

There's nothing so grounding to me as drawing plants. I notice as many details as I can and sketch them in.  The dance between using two or three different shades of yellow colored pencils to create the hues to match the cottonwood leaves feels a little like a workout.  When it's done, there's a quiet satisfaction that rises up.

Now when I look back, I see little reminders of our time away from home.  I feel grateful to the wildflowers, trees, and geese for making me feel connected to nature. 

Sketching an Autumn Scene

A crisp Autumn day dawned clear and lovely, and I set out to capture a bit of the season's color with my paintbrush.  

I started with a pencil sketch and then painted a wet-in-wet sky using Phthalo blue and French Ultramarine Blue.

After the sky dried, I mixed pyrrol red and Azo yellow to create the orange hues of the sassafras foliage.  I laid in a wash of sap green muted with a touch of alizarin crimson.

I got lost in laying in the greenery along the fenceline (foreground) and in the midground hill.  I used Hooker's green muted with alizarin crimson for the field beyond the fenceline trees.

Finally, I mixed French Ultramarine blue with burnt umber to create a dark gray for the tree trunks and limbs. Yellow ochre muted with burnt umber created the dried grasses.  After the wash was dry, I added in grass stalks in burnt Sienna.

I used the same tree branch gray, lightened for the shadows.  Here's a look at my palette at the end of painting this scene.

This is a great time of year for color!  Even finding a single, vivid leaf or other nature treasure invites sketching, painting and nature journaling time. 

I hope you get a chance soon to record the vibrancy of Autumn in your sketchbook or nature journal.

Happy Creating!

Book Review: Discover the Art of Field Sketching

I just got this wonderful guide to field sketching by Kristin Link, and every time I pick it up, I feel the tingle of new possibilities.

Her photos of the Alaskan backcountry and of her nature journal pages make me feel as if I have been instantly transported to the pristine wilderness that she calls home.  The book itself feels like an adventure.

Link shares her love of nature journaling, remarking, "Sketching combines art, place and nature.  Developing a sketching practice helps us slow down and be present in the places we inhabit... Sketching can be a tool for grounding, reflection and noticing at a slower pace."  

She walks the reader through the process of sketching a natural subject in pencil, then ink & watercolor with 30 photographs and step-by-step sketches of her own.  

The book is chock-full of photographs of Link's beautiful illustrations, journal pages, creative experiments and natural scenes.  She also includes tips for creating shadows and texture, watercolor basics, and how to measure to create an accurate drawing.

I've already started using her approach of listing 5 things she sees, 4 things she hears, 3 things she feels, 2 things she smells and even something she tastes.  I find it slows me down, and gives my busy brain something to do as I slip into the pace of nature.

I highly recommend Discover the Art of Field Sketching.  I hope you get a chance to pick up a copy at your local bookstore or library!

Nature Journal: The First Colors of Autumn

The Autumn colors have begun to come in. I spent an hour with a grand old Sugar Maple tree recently, recording the sights and sounds of the season in my nature journal.

I'm reading Kristin Link's new book, Discover the Art of Field Sketching.  Kristin has inspired me to sit with my nature journal and record what I see, hear, & smell in the moment as I make sketches.  It's a simple & grounding process that brings a page alive when you read it later.

 

I hope you get a chance soon to capture the present moment in your nature journal!

The Importance of Value in Drawings

Tonight in my Pencil Drawing Workshop, we will explore light & shadow in our drawings.  As a person who is drawn to color, I'm always amazed at how important light and shadow is to creating the illusion of 3 dimensions on a flat piece of paper.  

You can see how powerful value is when we turn a color image to black & white. Taking away the distraction of color helps to make the light & shadows apparent.

It took me years to really see shadows, to notice how they often have lighter and darker portions, and to see how light -- in this case, sunlight shining through a window on the left -- bounces off of the white part of the bowl and reflects onto the right side of the two pears on the right.

Here's an illustration of how light falls on a ball.

Seeing shadows on the ball helps us to see light & shadow on more complex shapes.

Remember, you don't have to get all of the values exactly right.  

Try giving your drawing 4 to 5 values, from brightest highlights to darkest darks.

Remember; you're not a camera, and you don't need to be perfect!  I encourage you to play around with seeing and drawing shadows.  

Making a few drawings focusing especially on values will help you to develop the ability to create depth in your artwork.  

I find that art created simply for an "assignment" like this feels less precious so it's easier to focus on the process of drawing.  You notice more, discover more, and learn more as you draw.

Happy Creating!

A Morning Hike with my Nature Journal

On a recent hike in Raccoon Creek State Park, I stopped to sketch a favorite sycamore tree.  The autumn light filtering through the forest caught on the white bark of the sycamore, setting it apart from the dark, shadowy hillside beyond.

Just 15 minutes of sketching deepened my experience of walking in the woods.

The day before, I had been helping David to photograph our friend Joe's artwork.  Looking at my drawing, I can see the inspiration Joe's work imparted.  I admire the way he captures the life in a tree, and the way he sets off a subject by sketching in the shadows behind it.  

Without being conscious of my decisions, I was drawn to sketch the shapes the sycamore tree  highlighted by the dark shadows behind it.

I now realize that I had what Julia Cameron calls an Artist's Date on the day I helped with David's photography project.  And, Joe's artwork directly inspired and improved my artwork.

Anytime we take ourselves out to see something that fascinates us, to see another person's artwork, or to experience beauty in some way, the encounter affects our creativity.  We may feel inspired.  We might create in a new way, or even take on new subjects.  I find that it's always worth the effort of fitting an artist's date into my life.

What artwork or beauty would you like to see?  I hope you put it on your schedule and have an artist's date of your own!

Drawing My Favorite Things

I have two Black Cherry trees on my hill that I love to look at and draw in any season.  Sometimes, when I go out with my nature journal, I try to find "something new and interesting" to draw, as if drawing old favorites is bad or wrong.  My Hobgoblin (inner critic) shouts that these favorite subjects are unimportant, and overdrawn.

Yet, often artists develop their craft by working in a series, taking one subject and drawing it in different seasons, in different light, with different materials, etc.

I recently read some wisdom from artist Louise Fletcher, who reminded me that the things we love are important to our art, even though other people might not appreciate them and so we feel they are unimportant too.  

We often downplay the beloved subjects our muse is just begging us to draw or paint. For me, it's scraggly weeds, little treasures like acorns and leaves, and these two Black Cherry trees.

Emboldened by Louise Fletcher, I sat in the grass Saturday and let myself revel in the beauty of these tree friends.

I used only a black colored pencil, studying the wriggly branches and the light and shadow in the scene.  A flock of starlings swooped through, so I included them in the drawing to express this season of flying leaves and migrating birds.

Simply sketching a favorite scene like this one brings me joy. As I draw, I observe closely the way the tree limbs twist and branch, the way the leaves flutter on the wind, and the shapes and shadows of the brush around the trunks.

 What do you love that you may have overlooked as being unimportant?  I hope your favorite subjects get to be the center of your creativity!

Art Journaling with Inks

A couple of chilly days and the way my big Sugar Maple tree is beginning to change colors gave me the first blush of viscerally knowing winter's coming. In winter, I miss being able to walk freely around in nature and sketch without my fingers numbing.

I decided to work in my art journal to express these feelings through art.  That's the beauty of art journaling -- you can let things out onto the page, perhaps make discoveries about your thoughts and feelings, and then move on.

I created a page spread for my board book art journal with Black Walnut ink, India ink and touches of white acrylic ink, reminding myself that winter has beauty, too.  I worked on a package insert with information in a variety of languages.  You can see other art on this paper in this blog post.

Sometimes as you create freely, a symbol or word will rise up.  For me, it was a heart with a + inside that showed up in an accordion fold insert.  I find the more quickly I create, the less I overthink and the better I like the result. I wrote what spilled out -- advice to my future self.

I glued the insert down to the edge of the page.

Here's the finished result.

I'm still not looking forward to winter, but I have put my feelings into my art, and I've chosen to try to live in the moment and relish autumn's beauty.

What have you been thinking about lately? Is there an anxious thought working on you that might find release in an art journal?  It's worth a try.  The only cost is time and a few art supplies.

Wishing you healing energy from your creativity.  

Mark Making Experiments

Igor Adameyko, Gerd Günther, Wim van Egmond, Benedikt Pleyer

Last week, in an email from the New York Times, I discovered this gif of microscopic life.  You can read the article here: Videos of Microscopic Life

I'm getting ready for the start of my Pencil Drawing Workshop at the Community College of Beaver County, and we'll be talking about mark making.  I find images like these spark new ideas for me.  After watching this gif, I quickly filled a page in my sketchbook.

Practicing making different marks is a good way to keep your hand in drawing practice, to exercise your imagination, and to generate new ways to express texture & shading.  Different types of marks make your art more interesting.

Look at the way that varied marks create texture and vitality in this drawing by Vincent Van Gogh.

Wow! Van Gogh's landscape fairly vibrates with life!

Though Van Gogh used a lot of straight lines and cross-hatching, look at how vibrant his Portrait of the Postman Joseph Roulin (1888) is.

Let's try our own mark making, inspired by the video of microscopic creatures.  I hope you'll join me and sketch your own version of this!

I started by holding my pencil -- a 7B -- at the end to loosen up my lines.  Try it!

I loved this little character, and made lots of loopy lines to create a second one.

After blowing out a candle, I noticed the way the smoke rose up, wobbly and curly.  It inspired the swoopy lines at the bottom of the page.  I smudged the soft pencil marks to make them more smoky.

For more control and different marks, I hold the pencil closer to the tip.

But I'd never get the long, flowing lines of these branching marks by holding the pencil that tightly.

Next step -- now try a page of marks that imitate Vincent Van Gogh's.

For a touch more inspiration, here's a link to a wonderful YouTube video by Ed Lax of a simple mark making exercise: 

https://www.youtube.com/watch?v=SZVim6ECWss

Happy Creating!