Wrapping up November

It’s time to put fall to bed and prepare for winter. We’ve stored the lawn furniture and emptied the flower pots. The hoses are unhooked, the taps insulated. The garden is tidy, and the flower beds weeded. We’re ready to slow down, tuck in, and open ourselves to quieter, shorter days.

Sassafras

The leaves changed unevenly this year. Black walnut turned first, soft yellow sifting thinly to carpet the grass. The sugar maples added a brief, showy red, while silver maples clung to their green until the last moment. We spent the peak time for leaves in Brown County, Indiana, poking through shops and hiking at the state park. We came home to find a few scattered oranges among somber oaks.

Downtown from the Coffee Shop

After two decades in Colorado, enjoying fall Aspen, the color that startles me is the fluorescent peach of sassafras leaves. Even in the gloom of a winter afternoon, with the sun setting before 5 pm, the sassafras somehow gleam in the shadows. Above them, the setting sun casts pinks and lavenders against ragged clouds.

Acorn

Much more somber, the oak leaves are raining down even as they persist in the canopy. As kids, we raked those heavy leaves every fall, making giant piles for jumping into or piling over each other. The scratchy bits, and a few insects, would find their way down the backs of shirts and pants. Looking up through a blanket of brown leaves, I would watch the contrails of airplanes spreading out, white against blue. Those memories are carried back to me on the scent of warm leaves and acorns crunching underfoot.

There’s a wonderful space available in the weeks before Thanksgiving. In that space we can take a breath, take a walk, and watch the scattering leaves fall like snow.

Painting Red Grapes

Today I’m posting a short video for my colored pencil class. We’ve been having fun with small botanicals and geeking out over pencil sharpeners. I love to see people in the zone with their artwork, so rather than interrupt them with a two-hour demo, I compressed the process into a three-minute time-lapse. Whew!

For my grapes, I chose seven colors that often show up in 12-pencil sets: white, yellow, purple, brown, red, light blue, and light green. (For my fellow pencil geeks, I’m using Faber Castell Polychromos White 101, Cad Yellow 107, Magenta 133, Walnut Brown 177, Light Cad Red 115, Light Ultramarine 140, and Light Green 171.)

Grapes are easy to draw and fun to paint. This is your invitation to head over to the fruit bowl, bring some grapes to your sketchbook, and paint along. Oh – and sharpen those pencils to a long point!

Time-lapse: Painting Grapes

Drama in the Dunes

Recently, my friend Kristina and I met at the Great Marsh Trail in the Indiana Dunes National Park for nature journaling. I expected sunshine, mosquitos, lots of birds, and overgrown trails. I didn’t expect small dramas to unfold as we worked. Nature is teaching me to pay more attention.

It can be hard to settle down to observing and sketching. It turns out you can’t bird, and photograph, and sketch all the same time! And then you want a better look at a swallow, or are distracted by sandhill cranes honking in the distance. Somehow we managed to settle in. A cooperative Common Yellowthroat returned several times to sing from a favorite perch. Kristina captured his confident posture and made a beautiful sketch of his surroundings (see her wonderful avifauna paintings at KristinaKnowski.com)

Capturing a Common Yellowthroat in action. Copyright Kristina Knowski.

I had a long look at Canada Geese through my binoculars and enjoyed sketching them. They were rolling their heads at one another, and I wondered what they were communicating.

Birds are constantly in motion. Copyright Christine Hubbell.

Clouds moved in and the wind picked up. We headed east, hoping to find a viewpoint into the next marsh and maybe a peek at the cranes. We passed a turtle and a frog on the trail. What did they think of each other?

A storybook encounter? This Northern Leopard Frog seemed to be making the same journey as the turtle.

On our way out Kristina noticed a noisy confrontation unfolding just off the road. A variety of bird species were agitated, but it was the Oriole making the most racket. He was harassing a pair of red-shouldered hawks. I saw the female come in once, and we spotted a feisty robin approach, but otherwise the Oriole was on his own. We didn’t stay to see who won, but I left with loads of questions.

A dramatic encounter recreated from memory and photos, enriched by curiosity. Copyright Christine Hubbell.

Observation opens our curiosity in ways that can only be satisfied with more observation. Were the frog and turtle “together” on the trail? Or were they coincidentally moving from the wet marsh to drier land? Maybe we happened on a favored crossing zone. Had the hawks eaten recently? (They seemed disinterested in the kerfuffle they were creating.) How often do the hawks visit that spot?

Unanswered questions, excellent company, and a beautiful day are now woven into the pages of my journal, and I’m grateful for the ability to be aware and present in nature. I’m sure I’ll enjoy this rich set of memories during the darker and quieter days of winter.

Sand in My Shoes and a Song in My Heart

Memories surface like waves. The roar of the water on a windy day. The cool air juxtaposed against the heat of the sun on my skin. Sand pouring into the back of my shoes as I slide down a steep dune. I’ve been playing at the beaches along Lake Michigan’s shores since before I could walk. Many decades later, my joints are a bit stiff, and my skin is a little loose, but when I’m perched on a dune looking at the water, I feel young.

Photograph of sandy dunes sloping down to blue water at Dunbar Beach, Indiana Dunes National Park.
Brisk waves batter the shore. I can’t hear anything over the wind.

“Find a comfortable seat” is a basic guideline of nature journaling. This includes finding a comfortable place to sit or stand for the duration of sketching, and also taking good care of myself outdoors. No matter how long I plan to be out, I assume I’m doing a pack in/pack out day camp, complete with water, snacks, safety, and other comfort items. Sunscreen, bug spray, and for me, poison ivy wipes, are essential.

Photograph of artist sketching in the dunes. Close up of face.
Getting comfortable in the sand. Too windy for my big-brimmed hat!

After that, I let the rules drop away and enjoy myself. I have no idea what I’ll find to look at, and that’s part of the fun. Sometimes nothing grabs my interest, and I stare over the top of my sketchbook. It’s okay to be in the moment.

Blurry photo of dunes with sketchbook in the foreground demonstrating a nature journal entry.
Recording what I observe cements the experience in my memory. It’ll be fun to revisit this page during the dark days of winter.

I’ve taken the advice of a number of journal enthusiasts to start my page with a location map or landscape. On this trip, I loved the way the dune bluffs scalloped away from the water into the distance. I didn’t quite capture it, so I’m looking forward to going back. The nice thing about a landscape is that you can usually return more than once.

A Dune Tiger Beetle, genus Cicindela, on the hunt.

Another technique I’ve learned is to let my attention be drawn back from a distance to my immediate surroundings. That’s how I noticed one beetle chasing a much smaller beetle across the sand. Lunch!

George Fred Keck’s House of Tomorrow, moved to Beverly Shores from the Chicago World’s Fair. There are five Century of Progress homes. The other four have been leased to tenants who have restored their interiors. This home is currently being remodeled.

Dunbar Beach in Beverly Shores is now part of the Indiana Dunes National Park. But when I was growing up, the Century of Progress homes, the narrow sunlit beach, and the bend in the road at Kemil Beach were the nameless landmarks of our endless childhood summers. I love being back.

Things get a little sandy at the beach.

Birding in the Late Cretaceous

I can feel the early morning chill as I kneel at the riverbank, hoping to add another ancient bird to my birding life list. Through the mist I spot pterosaurs wheeling in unison. Two sauropods glance upward, unfazed. My pulse quickens as I train the bins on an unknown Enantiornithine species, and my mind races with the possibility of naming such a beautiful bird. I draw a quick sketch, and then I do a little “life bird” dance, unaware of the unstable dune behind me. As I fall backward, dislodging a cascade of sand, I toss my sketchbook into the seat of my time machine and engage the remote control.

Perhaps I’ll be rescued by a passing Tyranosaur, but it’s looking grim for this explorer. Lucky for you, my sketchbook has made it back to the present, and this Late Cretaceous adventure is available soon in my Spoonflower shop. I had so much fun with this week’s Spoonflower design challenge. I hope you enjoy it!

Tips for Sketching Trees

Ink and colored pencil nature journal sketch of a tree

We just had a cold snap here in Colorado Springs, with night-time temperatures dipping below 40. Mornings have a crisp chill that makes it hard to get out of bed, and spots of gold and russet signal the beginning of Autumn. Nature is pointing us toward a quieter cycle, and a last chance to sketch deciduous trees before they drop their leaves for winter. It’s the perfect time to share some quick tips for sketching trees.

Nature journal ink and water color sketch
Copyright 2021 ChubbellArt, Ltd.

Cottonwoods and Mountain Ash, American Plum, Gambel Oak and Willow, and even the little Common Hoptree sapling in our yard will be putting on fall color soon. So while the days continue to warm into the 70s and low 80s, I get my kit and head down to the park.

Nature journal sketch of an oak tree
Copyright 2021 ChubbellArt, Ltd.

I remember the first advice I got about sketching trees: “Don’t draw lollypop trees.” “Don’t try to draw every leaf.” That leaves (ha ha!) quite a bit of room for the unknown! So let’s back up a step to prepare for sketching by looking intentionally at different aspects of trees.

Diagram suggesting where to sit while sketching a tree
Sit far enough from the tree to see all of it without straining. Copyright 2021 ChubbellArt, Ltd.

Start by finding a comfortable seat far enough from the tree so you can see all of it without moving your head. By asking productive questions, you can break the tree apart to understand it, then put all the pieces back together in a coherent way. Here are some questions to get you started:

  • Can you pick one shape that represents the tree? Maybe it’s a diamond or a cone, a sphere or even a cube. The shape of the tree may be typical for its species.
  • Is the tree in direct sunlight or shade? How do the shadows create the three-dimensional form of the tree? How might they change in the next 15 minutes? The next hour?
  • How does the tree grow? Working from the roots and trunk upward, how do the main branches divide from the trunk, and what are those branches like? How many branches can you see peeking through the leaves or needles? Is the trunk single or double? Is it straight, gnarled, split?
  • What shapes do the leaves or needles make as they form clumps along the branches? Cones? Cubes? Spheres? Can you see individual leaves? What shapes are the leaves? Leaf shape is also a way to identify a tree species, so you might want to sketch the leaves separately.
  • What’s unique about this tree? Are there interesting bits of sky visible between leaves or branches? Does the tree have a cavity or a nest?
  • What do you love about the tree? Something drew you to this spot. What was it?

You can start to record your observations at any point, just know that you’ll want to make adjustments while you work. Start with a light touch in pencil or pen, then reinforce the lines as you work. I like to create an “envelope” based on the ratio of the tree’s height to width. I draw the envelope first, then cut in the overall shape of the tree. Inside the shape, I place the landmarks I’ve observed. These landmarks are essential for getting the details in the right places. There’s a time-lapse video at the end of this post that shows my process.

Ink and water color nature journal sketch of trees
Branches are a lovely subject for studying negative space. Copyright 2021 ChubbellArt, Ltd.

Deciduous trees offer us that last beautiful gasp of color before they drop their leaves in the fall. The golds and yellows we get here in Colorado won’t peak for another week or two. But I know that bare branches are just around the corner, and just as fun to sketch!

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.

Nature Sketching: Color Your World

I love to use mixed media in my nature journal. That means making tough choices about how many pencils and pens to bring along, and what types of color media to include. This post explores ways to mix up your color tools without breaking the bank, and without loading down your sketching kit.

Pencil and water color sketch of a House Finch eating an orange from a feeder tray. Illustrates the application of water color to a pencil sketch.
Nature sketching with color can be quick and light

A basic kit might contain nothing more complicated than a sketchbook and a pencil. Add a bottle of water (and any necessary comfort items), and you’re ready to go. This is a light option, not just in terms of ounces, but in terms of attention. You won’t be distracted by extra supplies – Did I lose my eraser? Where is that darned sepia Inktense???

My basic nature sketching kit

So when I want to bring color along, I try to keep it simple and go for tools that are lightweight and offer little distraction. I have a small watercolor palette, which requires a brush and a bottle of water. This is my “fussy” choice. Or, I might bring water color pencils (a few, not the whole set!) and a water pen (a nylon brush with its own water reservoir). Occasionally, I’ll trim my kit down to just three colored pencils: red, blue (or black) and yellow. I mean, you can make any color of the rainbow with those, right?

Everything fits inside this zip bag, then tucks into a backpack.

By packing thoughtfully, I can bring a small range of colors in multiple media. This lets me have fun with layering them in one sketch. For example, I might apply water color pencil, then reinforce it with regular colored pencil after the paper has dried.

Lay down water color pencil, then activate it. Once dry, top with regular colored pencil or graphite.

I also like to create my own coloring pages of birds and flowers from my nature journal. I start with a sketch, outline significant lines in permanent ink, and let the ink dry. Once I erase the pencil, I’ve got a lovely contour drawing, perfect for sharing. If I’m still out of doors, I snap a photo, color the original, and keep layering!

Make your own coloring page by inking in your lines and erasing the graphite.

I can also capture the tones of a subject with just ink or graphite, and leave color for later (or not at all). Colored pencil, water color, and marker can all be layered over the graphite, which will also help to seal the graphite in place (less smudging).

For darkest areas, try starting light, then crisping up edges and lines as you get darker.

For me, keeping a light kit makes a sketching session easy and unlabored. And the more I enjoy my nature sketching session, the more likely I am to grab my kit and head outdoors, which of course increases my enjoyment. So pack light, and get out there!

Under the Reading Lamp

If you’re anywhere in the northern United States today, you’re probably experiencing dangerous cold. It’s the perfect time to take shelter with a good book. Here are three books on nature and art that are absorbing my interest this week.

The Revolutionary Genius of Plants by Stefano Mancuso

What a delight to breeze through this exploration of how plant adaptations can inspire us to achieve our very human needs and desires. I kept saying to my husband “this book is crazy!” But I also kept reading, even after Dr. Mancuso argued that plants may have a form of vision. No kidding. There are wonderful stories here about how plant structure informs some of our most creative architecture or how the decentralized organization of plants could teach us to create robust democracies. I’ve always been more into birds than plants, but this book could tip the balance in favor of plants.

Keeping a Nature Journal by Clare Walker Leslie and Charles E. Roth

I spent a happy half hour on my chilly porch sketching our resident rabbit and a few end of day birds with this book at my side. Leslie and Roth encourage readers to begin where they are by observing everything around them and recording it with any available tools. The object is to connect to the natural world locally, by exploring our cities and neighborhoods and parks without judgement. It’s the perfect message I hope to carry into the sketching workshop I’ll be giving in May, plus my sketchbook is filling up with happy observations.

The Laws Guide to Nature Drawing and Journaling by John Muir Laws

I love this comprehensive guide to drawing from nature. At 300 plus pages, it’s hard to imagine anything Laws hasn’t covered. From how to observe nature (including how to estimate groups of birds) to contextualizing observations by including maps and landscape sketches, there is enough material here for a lifetime of study. Because I struggle with page composition in my sketchbooks, I skipped to that section and picked up some good tips. It’s that kind of text – dip in and find what you need or absorb it cover to cover.

The arctic temperatures may be ending, but we’re not quite done with winter. So stay warm, make some art, and keep reading!

Got a good nature or art book to share? Post a comment!

At the Tail End of Quiet

I understand why we use the beginning of the year to make a fresh start. The holidays are behind us with their noisy chaos and overindulgence. Closets and arteries need cleansing. And even at the end of January, the calendar still has a compelling sense of possibility.

But I don’t want to race ahead. I’ll be very grateful for spring’s renewing energy. I just want to stop a while at the edge of winter and take one last look around.

Magpies on a snowy trail
Magpie feathers are structurally blue in sunlight

What I see are the dusty browns and gray-greens of faded plant material providing camouflage for the birds. That’s Colorado, of course. Fifty thousand shades of tan! Look closer and you notice that song birds and other critters are surviving on grass seed and the fruits that have persisted into winter. So there’s life in this season if you know where to look.

House finch on a branch eating ash seed
A house finch gleans seeds from an ash tree

When I decided to illustrate the common hop plant, I was thinking about the plump green flowers I’d seen in early September.

Hop flowers and hop leaves on a barbed wire fence
Fresh hop flowers

But by December, the plants had long since dried. Botanical illustrators often reconstruct plants from herbarium specimens, which are specially prepared by trained collectors from living plant material. They are works of art in their own right, arranged to show the flowers and growth pattern of the plant. They bring the plants back to life.

Without a herbarium specimen, it was a bit of a stretch to think I could get the information I needed from a handful of dried hops. I got as far as soaking some curled leaves in water, unfurling them to get a look at their shape, and making a few sketches. The flowers were another problem. Hop flowers open and curl as they dry, so I couldn’t confidently use them to simulate fresh flowers.

A dried hop flower

What I did learn from the dried hop flowers was just how interesting they are in their own right. There’s something soothing about their monochromatic warmth. The bracts and bracteoles swirl around the strig, reminding me of a paper chandelier or a folk dancer’s skirt adorned with ribbons.

An illustration of dried hop flowers
Detail of dried hops. See the full illustration in the gallery.

There are many things pulling me forward as January drifts into February. In a few weeks I’ll be hosting my first ever open studio sale. Artwork needs to be matted, packaged and priced if it’s going to find a new home. I could jump into a swirl of activity.

Or I could ease into my studio while juncos forage for seeds in last year’s monarda. I could think about all the winter birds making a living among the last of the berries, and I could be grateful for a handful of dried hops on my drawing table.