Inkcap Mushroom

Inside this hollow tree, I spotted the most charming inkcap mushroom.  Can you see it?

 

Here's a close-up.

I couldn't resist painting both the tree trunk and the little mushroom in my concertina nature journal (original blog post on that journal here).  

Here's the process on painting the mushroom, starting with a pencil sketch.

Next, I started laying in washes.

I worked in the background first, using burnt Sienna, raw umber, burnt umber and burnt umber mixed with ultramarine blue.  The yellow is Winsor lemon mixed with raw umber.

After laying in the background, I used a mix of ultramarine blue and burnt umber to make light gray. It was fun to make wiggly brush strokes for the shaggy texture of the mushroom cap.

Here's a look at the palette I was using. 

I touched up some details in the mushroom and darkened the background on the right with a wash of burnt umber and ultramarine blue.

I toned down the yellow leaf on the bottom left with a wash of burnt Sienna and raw umber to keep it from distracting from the focal point of the mushroom.

Finally, I added a bit of writing.  Here's the finished page in my concertina sketchbook.

If you feel inspired by these reference photos, I hope you will draw or paint your own version!

Happy Creating!

A Tiny Autumn Landscape

Out on a hike recently, I snapped this photo of a favorite woodland stream. 

Just the sort of scene that captures the beauty of Autumn, I decided it fit right into my new watercolor nature journal. 

The page spread began with a simple pencil sketch, then a wet-in-wet ultramarine blue sky, and the reflection of the sky in the water.

Azo yellow formed the midground of golden beech leaves, and I touched in burnt Sienna and ultramarine blue while the paint was wet for the oak leaves and shadowy hills in the background.

I slowly added more detail, leaving the two white sycamore trees & their reflections for last.

A few final details along the shoreline and the woodland tree trunks, and it was done.

I love the way that a small watercolor painting helps the artist to simplify the scene and captures the day.

Wishing you Happy Creating!

Watercolor Nature Journal: Black-Eyed Susans

Preparing for a class like Nature Journaling means visiting the park to see what's going on there -- what flowers are blooming, which birds dwell there, and what new nature developments have arisen since I last visited.

The wildflower garden at the Raccoon Creek State Park Wildflower Reserve is lush with native blooms this summer.  Volunteers tend this colorful garden.

The day I visited, sun splashed down through the nearby trees, and filled the garden with light.

I delighted in the way this Rudbeckia bloom contrasts with the dark forest behind it, and decided to add this scene to my concertina sketchbook.  A simple pencil sketch, then layers of Azo yellow and Yellow Ochre in the Black-Eyed-Susan petals, followed by layers of lighter and darker greens in the background brought this sketch together. It's more of an impression than a finished painting, and I like the looseness that approach creates.

I hope you'll paint your version of this scene from the photo above.  Or better yet, take your nature journal outside and see what's happening in nature near you!

Happy Creating!

Nature Journal - Painting a Turkey Hen and Her Brood

Earlier this summer, I snapped this photo of a Wild Turkey hen and her chicks in the morning sun. I was so taken by the beauty of the scene and the way one chick rode on her back, that I added the scene to my concertina nature journal, the one I began with spring violets:

https://betsyblissart.blogspot.com/2026/05/watercolor-nature-journal-violets.html

I started with a pencil sketch, then began painting the hen and her chicks, working from light to dark and from the birds to the background.  The birds are painted with mixtures of earth tones (Burnt Sienna, Burnt Umber, Yellow Ochre) and Ultramarine Blue.

I love the way the dark trees in the background contrast with the Wild Turkey mom in the foreground.  I mixed Phthalo blue with Burnt Sienna to make a deep forest green. And I left grassy shapes unpainted to allow me to come back with a lighter green.

The little piece of watercolor paper on the right lets me test out colors after mixing them in the palette.  

Here's the final sketch.

The beauty of this concertina sketchbook is that it's a place I can make sketches without the pressure of making a larger painting.  The book tells the story of the unfolding seasons here on Hawk's Hill where I live.

What nature stories are unfolding around you?  I recommend making your own small sketchbook to create in to record what you observe.

Happy Creating!

Welcome, Summer!

Yesterday was the Summer Solstice, and I celebrated with a painting of a Tiger Swallowtail butterfly (Pterourus glaucus) on Blue Spire Larkspur from my garden.

I started with a pencil sketch, then began adding in the black markings on the butterfly with an India ink brush pen.

I sketched in the Larkspur in waterproof ink.

Then I began painting the scene, starting with the butterfly first, and moving on to the Larkspur.

I found that I would have been better off painting the yellow of the butterfly first, then adding the black markings in India ink.  The yellows I used: Winsor Lemon and Azo yellow showed on the black ink, so I had to dab those areas with a paper towel while they were wet.

I began adding in greens and shadows made from the purple I was using -- Permanent Blue Violet mixed with Phthalo blue -- and cool Hooker's Green.  I love the dark, shadowy colors that result.

If you mix violet with a yellowy green like Sap Green, you get a muddier shadow color.  But cool greens and cool violets create a luscious, dark, purple-indigo shadow color.

I love the bits on the top left where the cool greens, violet and dark indigo interact.

Butterflies are fiddly little things to paint and draw.  They have so many details, and those details are mirrored in their symmetrical wings.  I remind myself that my goal is to celebrate what I see in nature with my art.  It's okay not to get everything perfectly accurate.  That's what field guides and photographs are for!

If you love butterflies, I hope you'll use these reference photos of the Tiger Swallowtail to make art!

Happy Creating!

Watercolor Nature Journal: Violets

I love Johnny Jump-Up Violets and the way they create a carpet of violet and green in the lawn in early spring.  I've always wanted to take a photo that captures the parade of blossoms, and finally managed it this spring.

Of course I wanted to paint the scene in my new concertina watercolor journal.  I started with a pencil sketch. Then I painted in the various violets -- the closer ones I painted in detail, and as the violets grew farther away, I painted them as flower shapes, and finally as blobs.

When the flowers were dry, I painted around the many violets in shades of green, and created a shadow color by mixing permanent blue violet with Hooker's green.

I created the concertina sketchbook by cutting a 6" x 20" strip from a sheet of 300 pound Stonehenge watercolor paper, then scoring the paper every 5" with a bone folding tool and folding in a zig-zag folding pattern.

Blick sells sheets of 300# Stonehenge Aqua watercolor paper for $12.  The sheets are 22" x 30" so you can make 3 of these accordion-fold journals for $12.  That's reasonable for journals, and the paper is absolutely lovely to work on.

You can paint on both sides of watercolor paper, so when I fill up one side, I'll flip it and paint on the other side, creating a folded record of my spring in nature.

You may recognize the cover of this sketchbook from an earlier post about painting phlox.

I love this little watercolor sketchbook!  It's pocket-sized, and the 300 pound paper is a dream to work on. 

 

Watercolor Nature Sketches: Phlox

I love to sit in nature and sketch.  Sometimes, I only have time for a quick hike, so I snap photos of anything I wanted to sketch on the spot, like these wild phlox in bloom.

It's often the tiniest things in nature that draw me in.

I began this sketch with a pencil drawing, then painted in the flower petals in mixtures of permanent blue violet, Phthalo blue, & permanent rose.  I let the first wash of color dry before adding in shadows on the petals.  

I laid in the background by painting in one big wet layer, touching in darker bits and letting the color spread.

With watercolor, you control the flow of the paint by controlling the water.  Watercolor blooms and spreads within a wet area, and won't flow to dry areas of your paper unless it's very runny and dribbles.

To create the little shadowed spots behind the flowers, I let the flowers dry fully, then carefully painted the area beside the flower with clear water and touched in a dark mixture of permanent blue violet and Hooker's green. 

I worked quickly to touch in other green mixtures to give the sense of foliage on a forest floor.  By keeping the background indistinct and more abstract, the phlox flowers pop forward to catch our eye.

I finished the sketch by adding lines with a fine black pen with permanent ink.
 

Would you like to make paintings of tiny things?  

Here are a few photos to practice with!

Happy Creating!

Mixed Media Concertina Sketchbook

My cat, Grover, kindly posed for sketches in my latest accordion-fold sketchbook.

I love to read in the evenings, and have been delving into Jane Stobart's Extraordinary Sketchbooks, where I got the idea to make a collaged sketchbook like architect Karen Butti.

I used a base of 140 pound watercolor paper, and glued on painted papers & old maps with Yes! Paste. 

Below is the cover of the sketchbook, decorated with music sheeting that's been painted with several thin layers of acrylic paint.

 

 The surface of these papers is slick, which would make it difficult to draw on top of them with graphite, charcoal or colored pencils.  I applied clear gesso over both sides of the sketchbook to add a layer of grit without obscuring the designs underneath it.   

My cats were hanging out in the studio when I started sketching, so they fill the first pages.

I love that I can sketch with rich, black charcoal and white pastel pencils.  The painted paper underneath adds another layer of pattern and color.  It feels exciting to have a new sketchbook with a variety of colorful papers

The songbirds hunting seeds in the flower box outside my studio window fit perfectly on the map of Glacier Bay, Alaska.  

Dark-Eyed Juncos scratch on the earth for seeds, so I put black oiler sunflower seeds in my flower beds for them. It's a protected spot, and it brings them closer for me to draw.

Collaging colorful papers onto a plain sketchbook adds a playfulness and imperfection that invites doodling.  If you're feeling anxiety facing the blank page, maybe a collaged page would help you push past that feeling and make drawings.

The beauty of drawing in a sketchbook is that your artwork doesn't have to be "pretty" or "perfect."  Truly in this world, there is no such thing as perfect, so try looking at drawing as an exploration, a voyage of discovery. Every drawing teaches you something.

Happy Creating!