Category Archives: Sketching

Bird Sketching – Life in Progress

When the weather was too poor this winter for outdoor sketching, I set up my drawing supplies on the porch, plugged in the space heater, and worked on sketching birds from life. I found the chickadees and finches very challenging. Why couldn’t I observe some sleeping ducks on a pond instead? But the most convenient, numerous collection of live birds was right there on the other side of my window.

February feeder birds sketches, mostly Juncos and House Finches.

So I worked, and struggled, and wondered how anyone completes an actual sketch of a bird in the field. I started with basic gestures, borrowing ideas from books, blogs, and videos. I knew I could draw from photos, but I wanted to be able to complete a finished-looking sketch during my sketching session. Then I found a bit of helpful advice: build your memory.

Always on the lookout, and constantly on the move: House Finch in the Ponderosa Pine. You only get a moment to capture something about a live bird.

Hmmm, I thought. I guess I should memorize the shape of that finch bill. But no, it’s not like school. I couldn’t memorize a set of visual facts. Putting the right information into memory requires repeated drawing from life, which enhances both my observation and drawing skills.

The more we look, the better we understand. A second observation of a House Finch bill at bottom right.

When I realized that the practice itself would build my memory and make sketching faster, I stopped struggling. Drawing from life is recommended by successful bird artists like John Busby and William T. Cooper. Busby was a British wildlife artist, educator, author, and a founding member of the Society of Wildlife Artists. He described bird sketching as a long-term practice:

Encounters with wild birds are usually measured in split-seconds, and one is rarely given another chance to react…It does take time to learn to draw quickly and a good memory and a high-speed response is something to cultivate…there is much that can be done to sharpen observation and fix events in your memory.

John Busby, Drawing Birds Timber Press, Second Ed 2006

William T. Cooper was a prolific Australian bird illustrator who worked from life. Here he explains the experience of developing a working memory of your subject:

Drawing from life is very important: it allows much more information to penetrate the mind than when copying from a photograph. This information enters the subconscious and will be drawn upon when required some time in the future.

William T. Cooper, Capturing the Essence, Techniques for Bird Artists Yale University Press 2011

He makes it sound almost magical. And I’m discovering an ease to developing these skills when I stop struggling and let the process unfold. I’m working on more responsive gestures while I let bird behavior and proportions seep into my brain. As I work more quickly, that thinking, left brain settles down, and I also feel more present.

Migratory birds add color and excitement to the feeding stations.

It’s May now, and migration season in Colorado is in high gear. Western Tanager, Bullock’s Oriole, and Black-headed Grosbeak are competing with a small, noisy flock of Pine Siskin for seeds and oranges. What a delight to sit here for an hour working with the birds, gently encoding all that behavior, noise, and color into memory.

Pencil cartoon

Basic Black

They say the little black dress never goes out of style. It’s simple and can anchor an entire wardrobe. Maybe that’s why I love working in graphite. When I’m overwhelmed with juggling color, it feels good to go back to the basics. Composition, value, and shape. Graphite is the little black dress of my art wardrobe.

Some of my favorite drawings are smudgy graphite sketches. Smudgy is good because it adds instant mid tones. I like to work on toned paper, too, but lately I’ve been heading out with nothing more exciting than a 2B pencil, an eraser, and my Canson sketch pad – the perfect “go anywhere” medium. I’ll confess to a little color excitement here. I made this bag from fabric I designed last year. It’s the perfect companion for sketching trips to the Denver Museum of Nature and Science.

Purse and sketchbook

We often get an audience when we’re working in front of the natural history dioramas. This trip, I showed one summer camper how easy it is to pick out shapes with a kneaded eraser and smudge them back in again when I don’t like the results. “It’s like magic!” she said. I agree – a happy kind of magic where drawing is more like painting.

Seal face

After scribbling in some tone and smudging it with my finger (which is not exactly archival, but hey, it’s just sketching), I lay in a few shapes and pull out highlights, then work in the details. It’s relaxing to sit very still and look carefully, rechecking proportions and reshaping something to be more accurate.

Seal family

So bloom on, tawdry flowers of summer. I know you’re calling to me too, but for now I’ll wear basic black. And shades of grey.