Sketches from Maine -- Bar Harbor, Mount Desert Island, and Acadia National Park

I was able to get a few days to sketch on Mt. Desert Island. I didn't have time to write on location, so I left room for it, and did the writing when I got home. Here's a quick video flip through of the sketches. (View at slow motion if you don't want to miss anything; I flipped through rapidly.) This signature of pages will be bound into a sketchbook with my other sketches at the end of the season. That enables me to travel light, and select from many types of paper.

Holidays in Ink and Ink Storage

Holidays in Ink has just begun today! If you didn't have a chance to get started, don't worry; this Challenge is not a Sketch-a-Day type. Rather, you choose the sketchbook you think you can fill during the next six weeks. The goal is to complete the book. You still have plenty of time to do that before January 2, when Holidays in Ink ends!

In the meantime, if your studio is anything like mine or friends of mine, you're probably struggling with getting your inks organized. I don't like dipping into the bottles because it can contaminate the inks. I don't like the skinny plastic vials because they are too thin for some pens or brushes to dip in, and also they are so deep that the ink gets on areas where I'll be putting my hand when I write. My solution has been to get packs of 5ml. glass bottles from Dollar Tree. I can dip into these without making such a mess. They are more convenient to store because they aren't as tall, making them less likely to tip over too. I refill these little bottles using a pipette as needed, so there is zero risk of contaminating my large bottles of ink as I move from color to color. 

Holidays in Ink Week 2

 

How are you all doing at the start of Week 2 of the Holidays in Ink Challenge? Please let me know in the comments! I began Day 1 on November 24 with the page spread of herons and flamingos above. The first page or two in a new sketchbook is always a bit intimidating for me, so I selected a more familiar subject from the prompt list to begin. I've been wanting to study the leg anatomy of the longer-legged birds, heads of herons, and upside-down beaks of flamingos, so I did some anatomy studies on the page as well. My process prompt was Line Quality. I aimed for longer, more expressive lines, and to avoid chicken-scratchy, short, choppy strokes. (Materials list for all of the sketches in this post is at the end.)

Sketchbook in a Tin

 

A friend of mine gave me a really cute tin filled with 30 cold press Hannemule watercolor postcards. (https://amzn.to/3cceRSN.) You can see the tin in the image above on the upper right corner. It's been super easy to tuck it into a sketch bag with a small pan set of watercolors or gouache, or a favorite brush pen (https://amzn.to/3mAWTOC) for monochromatic studies. The cards are 4x6" with rounded corners. I'd classify the paper as

Megasketch Monday -- Drawing Trees

Gouache on black paper

Painted from life in Trish's back yard

For landscape painters, being able to capture the character of a tree, or the silhouette of a distant tree line, is an important aspect of making a successful painting. Project Megasketch gifted me with ample time to study many different ways of drawing and painting these beautiful and graceful living structures. Toward the end of the project, I combined what I'd practiced with some experimental approaches. I hope this post inspires you to push forward with a favorite subject of your own to develop skills and style. It doesn't have to be trees!

Ink and wash, from one of my own photos

Some I sketched from my own reference photos, like the unique tree (above) that resides at the Bronx Zoo. I tried to keep in mind what I'd learned about tree contours in the time I'd spent with the online

Sketching at Tilly Foster Farm

Wisdom from Buddha

Palette Perceptions

I'm continuing with some palette ideas I started last winter and spring. You can see a couple more of them in this post from May. I'm interested in exploring how our perception of a scene changes with a warm or a cool palette, and the way a limited color range serves to harmonize a painting. This study was done 11x17" across a two page spread in a 8.5x11" Stillman and Birn Epsilon Hardbound sketchbook. I know it's not designed for wet media, but it works great. Their books will open completely flat if you break them in before you start using them, which makes it ideal for working across the spread. I used the new Golden High Flow acrylics, and just a bit of water instead of medium. I'm trying to arrange a setup that's easy to work with in the field at the same time, and hope to test drive that out on location tomorrow. I used six colors for this one. I'm very close to being happy with the selections, but I'm going to make a couple of palette changes today and try again.

Three Page Hudson River Vista

This is a 10x22" spread across three pages in my blue Pescia journal. You can click on it to enlarge the image. (Here is a link to how I made this fabulous 16-page journal from a single sheet, in case you missed it.) It's a scene from Dennings Point Park facing downriver through the Hudson Highlands, with Bannerman Island showing on the right side, just in front of the mountains. I had been wanting to paint this for so long, and will probably do a larger version to frame and hang in the near future.

This painting was done with traditional brushes, but I used the Golden Airbrush paints to do it. That line of acrylic paints has been reformulated, and has just hit the market as the new Golden High Flow line. I ordered some as soon as they became available, and was delighted to see the color range expanded to include some colors that I sorely missed in the Airbrush line. I have the new paints here now, and will be posting a review of them next week.

Monoprinting in a Sketchbook Part 2 --- Plein Air Monotypes

11x14" Monotype print across the two page spread

of an 8.5x11" Stillman & Birn Zeta hardbound sketchbook

After spending some time doing the prepared backgrounds in my sketchbook with the Gelli Printing Plate, which I showed in Part I, it was time to explore more painterly monotype prints. After a few rainy days, a gorgeous day finally arrived, and I was too exhausted to head out to paint on location somewhere. I wanted to stay home. I brought all my gear out to the patio for an afternoon of plein air monoprinting. I was excited about trying this across the two page spread of my sketchbook, like I'd done the backgrounds. As you can see, it worked out fabulously well and printed right up to the gutter on both sides. As I stated in Part I of this monoprinting series, it would be ever so much better if they would make the plate size 11x17, rather than 12x14!

I set out a folding table and covered our patio table, and prepared for an afternoon of relaxed image-making. 

One of the tricky things about monotype prints is that when you paint on the plate, you need to create your image in reverse. The image will flip when you press your print. (This is especially important if you are creating text!) This was all so new to me, and I had a hard enough time wrapping my head around the whole technique of getting the paint onto the plate in a way that would transfer well. I decided not to worry about the reverse images for now, and allowed my landscape to reverse itself when I pressed the prints.

For these monotypes where I painted with brushes on the plate, I used Golden Open Acrylics. I had tried it the day before with the traditional Fluid acrylics and found that even though the fluids worked well for me when doing the textured backgrounds, they didn't give me enough working time for painting with brushes. Monotype printing is a somewhat subtractive process, so you need to not only be able to put paint down, but also to lift it off to reveal the white of the paper when the print is made. You need to think like a watercolor painter in getting lights down and working transparently, and like an oil painter in layering and removing color. It certainly keeps you thinking!

Later in the day, I moved over to the other side of the patio so I could take advantage of the view off the other side. I didn't like this one as much as the other, but I learned a tremendous amount from both of them, and look forward to further exploration of the monotype process. Generally speaking, it would be hard to do this plein air when traveling to locations, but definitely not impossible if you use a smaller Gelli plate and work in a smaller size. (You can see the wheels in my brain turning, can't you?)

Are you intrigued? Well, then definitely give these Gelli Printing Plates a try! They're inexpensive and a lot of fun. They give interesting effects and force you to think outside of the box --- always a good thing! If you have Stillman & Birn sketchbooks, you can take full advantage of their ability to open flat so you can print across the spread. Creating a sketchbook of monoprints is an exciting endeavor!

When Ideas Are Brewing

When ideas are brewing in my head, it often takes awhile for them to emerge as finished paintings. I often play with those ideas in my sketchbook at night, or in a small format on loose pieces of paper. I had some color ideas I wanted to explore last night, so I pulled out my little half-pan watercolor travel setup for these, and used squirrel mop and sable brushes.

I usually keep a few pieces of good rag watercolor paper taped to boards and some are subdivided for sketches like this. Setting up a sheet this way is something I got from a workshop I took with the amazing David Taylor. He always advised doing these small thumbnail sketches on the side of the page in a small taped-off section. That way you can test drive your ideas (a few times if necessary) before taking them to a larger version. It speeds the process along, and you can immediately apply what you learn to the next one. I was torn between working in my sketchbook and working on the rag paper. (I love the way a hardbound sketchbook keeps all my ideas from wandering away!) But in this case, I needed to see how the colors would blend on rag paper. 

Technically, I'm not too pleased with these. However, I am happy with the way the colors are working, and I think with some more practice I'll be able to get what I'm after. Then I'll scale them up and start exploring the idea with assorted materials and techniques. One thing I've had to accept over the past few months is that the way I'm wanting to work with watercolor and acrylic requires a larger palette for those media for wash mixtures. It's always a juggling act to try to determine how much stuff we can take out painting on location, considering the need to pack light and carry it all!

Design Sketches for Palisade Memories

Click image for a larger, clearer view

Watercolor and acrylic on paper

(9x12" Stillman & Birn Beta Wirebound sketchbook)

This sheet of sketches was done to work out the major issues for an 8x16" painting of the Hudson River and Palisades. When I'm out painting on location, I don't usually have the time to plan to this degree. In my studio, however, time is on my side. I'm not having to drive long distances to locations and then try to make time stand still while the sun races across the sky and shadows change. Going through these planning stages yields a better painting in terms of composition, color, and overall design.

I began with the four tiny thumbnail sketches at the bottom of the page. Each is 1x2". I did them with black ink and a fountain pen, trying different places for the horizon, and scoping out where I wanted the boats to go. I sketched in a barge and tug for these thumbnails, but in doing so, I decided they detracted too much from the Palisades, which I wanted to keep as the main point of interest. When I went to do the larger study, I put in a small fleet of sailboats instead. They provide interest and break up the horizon line without stealing the show. Once I finished deciding what would go where, I pulled out some watercolors and played with color on the thumbnails. Then I did the larger study in acrylic, which would also be my medium for the finished painting.

Although I'd gone through all these stages, I still wasn't completely satisfied. I decided that when it came time to do the final painting, I'd shorten the foreground space so that the water and cliffs wouldn't mirror each other as much. I also wanted to scale back the tree on the left, so that it would break the horizon line, but not extend beyond the upper edge of the cliffs. You can click here to see the finished painting I did, based on this series of sketches.

Kaaterskill Falls from the Top

8.5x11" across a two page spread of a 5.5x8.5"

Stillman & Birn Beta Hardbound Sketchbook

Ink and Watercolor

On the way back from the Inspiration Point hike that I posted about yesterday, we detoured to the top of Kaaterskill Falls, where you can sit alongside Lake Creek just where it plunges over the 270 foot waterfall. There are dramatic distant vistas of the mountains from up there, plus beautiful rock outcroppings and intimate cascades. It was one of the favorite spots of the Hudson River School artists, and it's one of my favorites as well! They have done quite a bit of trail work there recently and the footing is vastly improved from the top of the mountain down to the top of the falls.

Hike to Inspiration Point

8.5x11" across a two page spread in a 5.5x8.5"

Stillman & Birn Beta hardbound sketchbook

Ink and Watercolor

I went to Inspiration Point several times this past summer and fall. For some reason, it has beckoned me this year! The twisted birch tree on the left seems to end up being my sketching subject on the trips more often than not. I love the contrast in the trunk, and the way the backlit leaves light up against the mass of Kaaterskill High Peak behind them. The ink and watercolor were done on location. Once home, I added the border and lettering with a Pitt Big Brush Pen

Four Design Studies

Design Studies 3-6

Acrylics in a 9x12" Stillman & Birn Beta Wirebound Sketchbook

I'm going back to basics for awhile to revamp some things about my painting process. I've noticed some bad habits creeping into my paintings, and I'm really excited about correcting them and moving forward to make more of an artistic statement in my work. In order to accomplish these goals, I've dedicated this Stillman & Birn 9x12" wirebound sketchbook to the process, though I might do some of them on other supports too. This paper holds up really well to anything I throw at it, so here goes!

I'm planning to do at least one of these studies a day --- sometimes a full page, and sometimes just a portion of a page --- in addition to my regular paintings. Yesterday, I taped up a couple of pages into quarters so that I could do more of them faster. I'll do some of them in monochrome, but most in color. I may test drive different palettes too. The emphasis will be on design, and experimenting with how value, color, and composition work together in creating a painting that impacts the viewer.

These four studies were done with acrylics, using just Naphthol Crimson, Cadmium Yellow Light, Ultramarine Blue, Titanium White, and Carbon Black. I reverted to a red-yellow-blue simple palette in the interest of keeping my color clean and simplifying the process. (I usually do not use any Naphthol reds, but it's what I happened to have on hand, and whadaya know..... It worked!) I'm using acrylics because it dries quickly, doesn't lift, is opaque, and can be painted on paper. I'll probably do some of them in gouache and other water based mediums too, depending on what is convenient at the time.

In contrast to much of my work over the past few years, which builds on transparent layers, I am planning to work more directly with opaque paint on these. I'll work from life when I can, but I'll also work from photos. The two on the top of this page were done yesterday at the Eleanor Roosevelt National Historic Site in Hyde Park, New York. The bottom two were painted today from photos. The study on the bottom left was done from a photo taken during my recent Adirondack trip. The lower right is from a photo taken at my property in the Catskills.

I started out this series working the full 9x12 pages, but after the first two, I saw problems which would be more quickly resolved by working smaller and faster, and then bumping the size back up again once I've worked through the issues that I'm seeing. I'll do at least a few more quartered pages before I go larger again with these.

From a hike to Palenville Overlook

Stillman & Birn Beta hardbound sketchbook

Watercolor

Noodler's Luxury Blue Ink

Lamy Safari with EF nib

Sketched during our lunch break on a hike to Palenville Overlook with friends.

Hunter Mountain Fire Tower

Stillman & Birn 5.5x8.5" hardbound Beta sketchbook

Watercolors

Lamy Safari with EF nib and Noodler's Luxury Blue

Pitt Big Brush Pen (for page border only)

Text:
We took the easier route to the fire tower by riding the chair lift up to the Colonel's Chair, and then hiking the two miles uphill to the tower from there. The views from the tower were spectacular, though beter for experiencing than for painting. We were grateful for having made the decision to bring sweatshirts along! They were certainly needed on the chair lift ride up in the morning, as well as up on the tower, where the wind was brisk and chilly.

Once back down on firm ground, we sat on some rocks by the ranger's cabin and had peanut butter sandwiches, and I pulled out my paints to sketch the scene. The top of the tower was blocked off. We couldn't figure out why they would do that, but perhaps they were trying to discourage people from spending the night up there or making a mess.

As usual, the trip down was a lot easier than it was going up!

Helderberg Escarpment at Thacher Park

Golden Airbrush Paints

(painted with a regular synthetic brush)

Stillman & Birn Beta Hardbound Sketchbook

This sketch was done from one of the overlooks from the Helderberg Escarpment at Thacher Park. It's truly an amazing place, with a path along the escarpment's edge that runs for about two miles. There are many cleared vistas along the way, complete with rock outcroppings, beautiful foreground foliage, and views that span several states. 

I love painting with these Golden Airbrush Paints. They are very versatile, but a bit cumbersome to travel with. I have some ideas brewing to make cleanup on location go a bit smoother and faster. 

Siuslaw Forest Preserve -- Golden Airbrush Acrylics and Silverpoint Ground

Golden Airbrush Acrylics

Golden Silverpoint Ground

Stillman & Birn 8.5x11" Beta 180lb Hardbound sketchbook

I've still got so many August sketches to post. My vacation is now over, and although I didn't get any oil paintings done in my wanderings with my husband, I did take a sketchbook and some sort of paints/pens everywhere with me. Now I need to start photographing the more recent ones, which have been patiently waiting for my new camera to arrive. I got a Samsung NX1000 while on my break time. That was a good time to get a new camera, since I had some down time to actually go out and take photos and get through a chunk of the manual. I'm hoping it will result in improved accuracy, better color, and crisper detail in reproducing my sketches and paintings.

Hiking the Old Stage Road

7.5x15" across a two page spread in a

custom Arches 140# Rough sketchbook

These sketches were painted during another one of the hikes I took with my husband this summer. We've always wanted to hike the old stage road up to the Catskill Mountain House site. It's a strenuous walk up the steep slope of the eastern escarpment of the mountains. We thought we'd be smart and leave one car at the bottom, drive up to the top where there's a parking lot, and walk the road downhill instead of uphill! We walked down leisurely, figuring we had all the time in the world before meeting friends later for dinner. As we arrived at the bottom, I realized that I'd left my car key locked in my husband's car at the top of the mountain! We had no choice but to turn around and walk all the way back up to his car. Needless to say, I don't think I'll ever make that mistake again when hiking point to point!