Snowshoes and Chickens

IMG_3756

Finished one I started a while back, inspired by a trip to Donner Lake near Tahoe. The area has a gruesome history, but it sure is beautiful. And scary, too–my daughter did not want to go on the trails behind the cabin we stayed at. Just a little too close to complete remoteness for her, I think.

I just finished reading an essay in Wendell Berry’s collection Home Economics about this very subject: it’s natural to feel wary and apprehensive about pristine nature, even while being in rapturous awe of it at the same time.

He believes we feel most comfortable living with nature, not in it, and I have to agree. He mentions the ecological phenomenon ofย  “edge effect.” I live on those special margins that seem to bring out and nourish the health of the wildlife in the area–my garden and little orchard and “developed” land abut a big track of oak forest that covers the side of the canyon we live atop. I’ve seen more birds, animals, insects, etc. than I ever have immersed deep in the woods (fox, moles, squirrels, red-shouldered hawks, turkey vultures, crows, wild pigs, deer, swallowtails, western jays, finches, doves, owls, praying mantises, skinks, fence lizards, garter snakes, to name some).

That being said, Berry also talks about how we “need” wilderness, as much as a physical reality as an idea in our collective mind. I, for one, definitely feel that necessity to know that there are still wild, scary places out there, with creatures that could, in fact, kill us.

feedingchicks1

Also finished another drawing, inspired by my girls feeding the chickens. They love to dig for worms in the compost pile and feed them to the chicks!

And I’ve been featured on the Doodlewash watercolor blog and community…thank you so much!

Steppe Horse Revisited

steppehorse4

steppehorse3

Drawing and drawing colored in with Photoshop of Steppe Horse. The horse was inspired by the Land of the Midnight Sun painting by Eyvind Earle, and this has always been one of my favorite drawings I’ve done. Not just because of the subject matter (though I do really love horses and the steppes), but because I feel like my style really came into its own with this one. I always knew I would revisit it in watercolor, and I’m excited to be working on that piece now.

IMG_3702

I like stylizing horses this way because I think it compliments the expression of their movements and personalities. It’s easy to focus on line when depicting horses because, for me, that’s really what makes a horse a horse. I like making them a little stockier (like Mongol and Icelandic horses) too because I find that shape more aesthetically pleasing.

I’ve been collecting images of the Mongolian Steppes with mountains and hills in the background, but I need to do a little more research to find some steppe plants I’d like to depict in the painting…I feel really good about this one ๐Ÿ™‚

Work and Leisure…

…pretty much the same thing for me ๐Ÿ™‚

IMG_3611

Working on a snowshoer. This one is inspired by Eyvind Earle, one of my absolute favorite artists. Our family recently went to Truckee around Donner Lake, and we did a bit of cross-country skiing. I hadn’t been skiing in 20 years, so I fell a lot in the beginning…but by the end, I had the hang of it!

IMG_3612
Don’t my kids look thrilled?

Also went hiking in Sunol, probably my favorite nearby park. And lucky for us, the Wildflower Festival was going on, so we brought home a mason bee house, some seed bombs, and some pressed flower bookmarks. I have a lot of pictures, a few of which I’m going to post later when they get uploaded, and many of these pictures are going to be interpreted into paintings. I’ve found that I really enjoy painting landscapes in the style I’ve developed.

I tend to get distracted by things and have been doing a lot of late night reading recently instead of more painting (which I want to do). I’m finishing up Wendell Berry’s The Unsettling of America: Culture and Agriculture, after just reading Bill McKibben’s Deep Economy: the Wealth of Communities and the Durable Future. I’m also getting into David Orr’s Earth in Mind…and I have to say, all of these books, while having Jacques Ellul’s The Technological Society, Merchants of Doubt, The Shallows: What the Internet Is Doing to Our Brains, Manufacturing Consent, and The Overspent American under my belt to name just a few, are not making me feel too optimistic about the future. But, these books are also getting me pretty fired up about teaching, and I hope after completing my credential program I’ll land an Environmental Science job.

Paradise Country Progress Pics

IMG_3554

A work that has been picked up again and again over the past few weeks and finally finished today! I always start with a rough picture in mind, but I never sketch it out. The foreground and focal points are the first to be paint-sketched in.

IMG_3562

Next comes the broad strokes and general shapes of the middle ground. I gradually build on these, adding more and more detail. I always take a step back and look at the painting after each layer I do.

IMG_3567

More detail and more interesting shapes are added. I wanted to add one deciduous tree for a load of OCD-like detail, just because it’s like therapy for me–when I can get lost for a few hours. I was going to put in a windmill to the right of the house, but the tree overtook the space a bit.

IMG_3580

Next I add the tree-topped mountains in the back, along with the night sky. The darker value of the sky really sets of the shapes set against it.

IMG_3583

And…finish up with the details of the details: chicken feather colors and patterns, greenish-gray rock foreground and middle ground, ground cover next to the house, and all the little details of the house itself (which I LOVE). AND I add the stars: first I just dot the already-colored sky with plain water, let it dry and bleed to make a very shimmery, translucent area. Then, I dot some of those spots with white acrylic, to really make a glowing effect.

I’ve really been rediscovering the differences between liquid watercolors, like Dr. Ph Martin’s, and tube watercolors, like Grumbacher or Daniel Smith or Da Vinci. Also, the quality of watercolor PAPER really makes a difference too!

Evergreen Tutorial

img_0994

Hello, all. I’m presenting my step-by-step painting process of the 5″ x 7″ watercolor Evergreen.

1. I always start out with an image in mind. Most of the time, I don’t like to draw it out before I start painting. I like spontaneous things to happen, for different ideas to occur as the painting emerges. So, the only thing I draw in the beginning is the focal point object/subject. For this one, I looked at a bunch of pictures of little woodland cottages for inspiration.

img_1002

2. Next, lay down a wash surrounding the focal point–in this case, the little cottage. I usually do this by selecting an undiluted color of medium strength and then apply it around the lines of the drawing with a fairly small round brush, like a #2. I then blend outward with water using progressively bigger round and filbert brushes, covering the entire sheet (it’s a good idea to have two glasses of water when working: one for cleaning, the other filled with nice, clear water for blending). To the clear wash covering the sheet, I begin dabbing color in in large swathes with a big filbert brush. I also add color straight from the dabber when using Dr. Ph Martin liquid watercolors (calypso green, here).

img_1008

 

3. The next step involves picking out shapes around the focal point drawing. When fashioning the shapes, keep in mind placement and orientation, hard vs. soft edges, symmetry and asymmetry, etc. With my paintings, I want the individual shapes to work together and harmonize visually. For this particular piece, I used my hiking excursions in redwood forests as inspiration for the shapes. In general, the shapes in this piece are predominantly geometrical and hard-edged (as opposed to rounded and more organic), with the exception of the wild ginger groundcover that is added later.

 

4. Keep layering in complementary shapes. I use small round brushes for the initial outlines of the shapes and then blend with either a flat or filbert brush. A note on color: I wanted this piece to be a bit muted in color, so I added most of the greens and golds within the first few layers. The greens and the golds in these layers are unmixed, though pretty dilute.

5. In the ensuing layers, I added a lot of Payne’s Gray to the greens and sometimes used just Payne’s Gray in order to tone down the color. Remember to blend outward with every layer using the clean water. Blend to the edge of the paper; the edge of where the water ends always dries visibly (sometimes, this proves to be an interesting effect, sometimes not so much).

6. Usually, when I feel I’m done layering in shapes, I offset the last ones with a dark wash of color. I like to save a significant space for this; here in this painting, it will be the night sky. This gives a good amount of contrast to the upper part of the painting.

img_1209

7. The bottom foreground portion of this painting require some thinking. I didn’t want to add more similar shapes to the background conifer shapes–no ferns or the like, something different, yet consistent. I decided on the heart-shaped leaves of the wild ginger that can frequently be found in the redwood forests. I basically picked out a few shapes in the immediate foreground, like I did with the conifer shapes behind the cottage, and kept adding layers. I also snuck in a Stellar’s Jay in the bottom left corner for added interest.

img_1034

8. Lastly, I finished filling out the bird with blues and blacks and filled in the stars using white acrylic. The house was painted using the negative technique, with the lines in white, using only a single layer of paint. Blue, green, and yellow are next to one another successively in the color wheel, and this gives an overall calming effect to the piece.

If you have any questions, feel free to ask!!