Trying out a new watercolor set up. I found an old storage clipboard and attached some magnets to the inside – they hold my watercolor tin in place while the clip keeps my sketchbook open. I’m using water pens so that I don’t need to bother about having a cup of water handy – and those can also clip to the board if I’m painting while standing. Then when I’m done, everything fits inside the clipboard. The only problem is that the clipboard only fits in my art bag when there’s nothing else inside. Alas…there had to be a catch somewhere.
First blush: tree bark was easier, foliage was harder. It was a little awkward to work with at first, but I think given some time to get the hang of it, it could be very useful for certain subjects. It is hard to get really dark darks, which might be a deal breaker for me. I don’t know! It’s hard to tell at this stage. I also feel like most of the effects I really like in these particular two tries were accidental. Not that I’m opposed to taking credit for accidental greatness, but a little more control would be nice.
Anyway, a little more experimentation is in order.
I might have to go back and try a painting of these particular subjects with un-gessoed paper to see if it’s easier or harder to get the effects I want. Right now, everything seems inordinately difficult, because I’m having to do it with multiple nettle burns, ant bites and mosquitoes buzzing in my ears. Also, sweltering heat. Ah, summer!
Planning another trip this summer and since it’s going to involve airports and security scanners, I’m taking up my watercolors again. They’ve never been my favorite medium, but they sure are the most portable – and some people manage to make them so pretty. I’m determined to learn their secrets. I’ve heard tell of watercolorists scrubbing and lifting paint to get better effects – so I’ve been trying that, with mixed results. I like the flexibility it gives – it works better with my style of observational work (which is: paint first, regret not having put more thought into the composition later) – but its a little hard to control.
Now I’m considering trying some watercolor on a gessoed surface, next, to see if it helps with the lifting technique. Fingers crossed!
I’ve been working on a dummy book involving tigers, lately and it’s been hard to arrive at a style of illustration for this on that I’m happy with. It’s a story with a slightly more dramatic turn and so my usual stylized look didn’t quite fit the bill. Still, I didn’t want to lean fully realistic, so I’ve been doing a little experimenting.
Zoo sketches, lots of reference studies, lots of false starts. This has led me to the conclusion: tigers are very complicated.
On the one hand they’re lean and mean predators, but on the other they’ve all got that baggy tummy pooch, and those fuzzy wuzzy mutton chops. It’s a subtle balance of rough and fluff.
I also gave a lot more thought to color in this one than I usually do – I wanted the changes in color to match the changes in tone and mood. I may have overdone it in the orange department, but hey, a tiger’s gotta tiger.
The problem with eeny weeny sketchbooks is that I don’t like scanning all those tiny pages.
But the benefits outweigh the drawbacks, I suppose (it’s just for want of scanning that most of my drawings don’t make it to the outside world these days :p)
I’ve been sketching with a felt tip pen lately – for these little incidental sketches it’s a good fit for me. I get too involved in shading if I use a pencil – the black line forces me to catch the essential details quickly and carefully. Quickly and carefully being somewhat in opposition to each other, at least in my sketching style. But bold, purposeful lines is what I’m hoping to develop – and the black pen helps with that. It think my quick sketches have improved.
The birds were sketched from life at a little raptor talk at my local nature center, the dog is one of my pet sitting charges.
This painting commemorates the only time an animal has sat for an entire painting. I didn’t even paint him in at first. I thought, no way, this guy’s going to be gone in five mintutes. You just wait. But nope! I was painting for nearly an hour and he never moved, never shifted, didn’t so much as ruffle his feathers (okay, maybe he did do that a few times).
Even the Norwegian tourists that spilled out onto the deck with their long range lenses (the elk refuge draws a lot of bird watchers in summer) didn’t phase him.
The sun wasn’t so accommodating. It banked behind the mountain early and left my whole scene in shadow (and me rather chilly). So, both me and the bird packed up and went home after that.
I happened upon a nice little park recently that had all the qualifications of what I like to refer to as the ~triple threat~ of sketching locations: shady benches, friendly waterfowl, nearby bathrooms.
I’d come by the park for other reasons, but once I saw that there were Canadian geese in residence, I had to pull out my sketchbook: best to enjoy the foreigners while they’re in town. These particular birds were a pleasure to sketch – they didn’t go scooting away when I walked up, like our local ducks, but sort of stood around eyeing me, then went about their business. A few, I could tell, were offended that I didn’t bring any bread for them. I wasn’t aware this was the customary modelling fee – I’ll remember that for next time.
I also saw a pair of geese that had apparently adopted a duck into their family – he followed in line with the other little grey goslings just like he was one of the bunch. Ah, the heartwarming dramas of the duck pond.
It’s discount season at the zoo, and I’m taking advantage of the lower prices. Fortunately in Texas we have a few spring days tossed into the middle of winter to enjoy. This was the first time I tried gouache while out sketching – I like it a little better than watercolor because you can get some semi-opaque colors, especially lighter ones (and since I’m rubbish at preserving my whites, I need that).
The gibbons were particularly active this trip. Their forearms are disturbingly long. I mean it – google gibbons and tell me the length of their arms doesn’t creep you out just a bit.
Another fun fact I learned is that the black gibbons are the males and the golden ones are the females – I can’t think of another mammal that has that significant a color difference between sexes. That’s usually the birds’ modus operandi.
It’s been awhile, hasn’t it? I’ve been working a lot more on illustration lately and less outdoors – that gives me a lot fewer exciting stories of bugs and toxic plants to blog about, so I apologize for being scarce.
Christmas somehow managed to come again and I somehow managed to get behind schedule again on my Christmassy doings – these cards need to go out pretty soon and as you can see they’re somewhat in the less-than-finished state.
In case the cards weren’t indication enough, I’ve still got Yellowstone on the brain. Although, I’ve got to say,what I’ve learned about winter in the park sort of takes the warm and fuzzy out of painting animals in the snow. Once you see a video of coyotes and wolves fighting over a frozen buffalo carcass in an ice river, there’s no going back – that’ll be my next Christmas card set. The carcass series.