Carolina Chickadee in Snowy Holly

I have several nature-related traditions during the winter months that keep color and inspiration in my life. One of these is making home-made bird suet as a treat for my feathered winter friends. 

The second is painting birds in watercolor!  As I was going through my reference photo files recently, I ran across this chickadee that I painted in January of 2009, along with photos of the progression of the painting. It contains some of my favorite elements of a sketch--looseness and and a splash of color among neutrals.

I start my paintings with a sketch, a map of sorts.  The sketch above is loose in some places and more detailed in others.  I like some suggestion and mystery, but I also enjoy the details that define the bird species.  Both of these elements bring the artist's emotion into the work.  Not only does the viewer see a rendition of the subject, they also enjoy a wholistic expression of the artist's experience--the magic of art. Invariably, as the artist focuses deeply on the subject being painted, that emotion comes to life.

Have you ever watched the behavior of Carolina Chickadees near the feeder?  They are tiny, fairly-like creatures, voicing their opinion about everything with "chick-a-dee-dee-dee" calls.  In the winter they travel in mixed flocks with Tufted Titmice and Downy Woodpeckers visiting feeders in a rotating fashion.  All that company encourages lots of vocalizations.

Painting snow presents a fun challenge in watercolor.  The snow is created with the white of the paper giving you plenty of opportunity to paint negative space or the space around the snow as you create the flow of color and light that leads the eye through the painting.

This sketch is primarily made up of neutrals with a splash of color, an arrangement I find particularly appealing for its subtlety.  I used ultramarine blue, vandyke brown and sepia to make variations of gray and brown for my neutrals, and added quinacridone gold to the blue to create the greens and Winsor Deep Red for the berries.  Use of the same base colors, the blue and brown, throughout, unifies the colors in the painting.

Bringing the subject's colors into the sketch early allows you to shape the background colors and areas of dark and light to highlight the main subject effectively.   The branches are shaped by wetting the paper and adding color in the direction of the shape of the limb.  As the paint is drying, more color is added to the shaded areas, giving it its rounded appearance.

While painting, stepping back or away from the painting from time to time helps to bring fresh eyes.  I want the colors and the lights and darks to lead my eyes to the subject and through the painting so the viewer can take in the whole affect.  In this sketch, the darks, primarily the branches, lead the eyes to the chickadee in a v-shaped fashion and beyond to the edge of the paper.  The contrasting berries point to the bird like an arrow, faintly reappearing on the opposite side of the bird (below) to lead the eye off the page.

Carolina Chickadees use an intricate network of tiny muscles to fluff out the more than 2000 feathers on their body in the winter months, creating a warm insulation of air between feathers.  They visit suet and sunflower feeders, giving our yards the lively gift of activity during winter months.

Carolina Chickadee in Snowy Holly was created in watercolor on Canson, Montval Field, All-Media Book, 90 lb Cold Press Watercolor Paper.

Links and resources:

For more on negative painting, you may enjoy:  Creating Fall Leaves and Don't throw out the kindergarden efforts.
Montval Field All Media Book at Dick Blick art supplies.
Carolina Chickadee at Cornell All About Birds.

Fun with Fall Leaves--Creating Layers

True to the nature of autumn, rain and winds have blown many leaves off our trees creating a bed of colorful leaves on the ground.  Painting layers of leaves is a fun way to practice negative painting, glazing with thin layers of color, and softening edges--three skills you will use over and over again while painting. 

Visually, lighter objects in a painting move forward.  Darker objects move backward. This is one of the ways we create depth in a painting. In negative painting we are painting the negative space around the subject. In this case, when we paint the areas around the leaves, we are also creating a darker layer. When we add a leaf to this darker area, the leaf appears to move farther away visually.  

   

To create a painting with layers of leaves, select three primary colors to use in your painting--a red, blue and yellow. You can mix additional colors from these three, such as mixing blue and red, to make purple. I selected Phthalo blue, Aureolin for my yellow, and Permanent Alizarin Crimson for my red. I also used New Gamboge, a rich shade of yellow, and Burnt Sienna to begin the first layer.     

Begin by taping your paper to a backboard on all sides. A one-fourth sheet of watercolor paper (11 x 15") will give you plenty of room to build your leaf layers. The demonstration is on a 9 x 12 inch sheet. I'm using Arches 140# cold press paper. 

Wet your paper with a spray bottle or by brushing clear water across the paper. Pour off excess water by holding your paper vertically and wiping away the drips that collect at the edge of the tape.  When the paper has had time to absorb the water, create a juicy multi-colored wash on the paper with the lightest shades of the colors you've selected.  I chose to use shades of yellow and burnt sienna. Let this first layer dry completely.

Draw or trace a leaf on the dry wash, as above. Create a background for that leaf by painting a thin layer of color around its edges and brushing that color out until the edge disappears (known as soft edges or losing edges).  

To soften the edges, rinse your brush with clear water and brush the damp brush across the edges of the glaze. When this glaze is completely dry, draw another leaf and create a glaze around that leaf, letting it dry completely before adding the next. As you add leaves, draw the leaves so they are partially hidden under the leaf before it. As you work, notice how the water and pigment interact and make adjustments to how much water you use if needed.    

Above, you see a bloom (upper right) created by too much water in relation to pigment. The water moved the pigment beyond the softened edge.  You may find that you get the mix of water and pigment just right sometimes and other times, not. Sometimes you may forget to let the glaze dry. Notice what happens.  Explore and play.

The smoothness of my layers improved with practice.  Below, you can see the progression of the layers and how the painting begins to change with each additional glaze.  

As I worked, I noticed that I liked the way the greens began to cool down the yellows. I also liked seeing the pigment under the glaze shining through.   

Could you see the leaves moving backward as you glazed?  What did you notice about color? I enjoyed watching the greens on the right side of my painting (below) turn to that beautiful shade of blue. Purple mixed from the same blue created a lovely accent.

Below is another one of my explorations on an 11 x 15 inch quarter sheet of Arches 140# cold press paper. 

And here's another one below, created some time ago, with iris blossoms and leaves. 

Links and resources:

Fun with Fall Leaves series

My galleries at Vickie Henderson Art

Why leaves change colors

Winsor Newton watercolors

Winsor Newton watercolor color chart

Arches watercolor paper

Watercolor Leaf Explorations

In addition to this blog and my Vickie Henderson Art blog, I am honored to be a contributing member of Cathy Johnson's award-winning international group blog, Sketching in Nature.

Art and Photo credit:  Grace Cutmore

Grace of Grace and Simplicity left a comment on my blog post on fall leaves at Sketching in Nature and described how much she enjoyed her experience with the wet-on-wet painting of fall leaves.  She agreed to let me share her lovely leaf watercolors with you here!

Art and photo credit:  Grace Cutmore

One of my favorite times during art workshops with Ann K. Lindsay was the sharing time we had after working on a particular assignment to see all the different ways other artists in the class saw and interpreted their experience with watercolor.  We not only had the joy of viewing many artists' styles, but we shared what we enjoyed about our own experience, as well as, what we wanted to see happen differently.

Art and photo credit:  Grace Cutmore

Grace described her leaf painting as "fun and relaxing" as she watched the colors blend. Visit her lovely blog and her post about her leaf painting at Grace and Simplicity.

Next:  Layering leaves!  A preview example, below.

Links and Resources:

My Autumn Birds Note Cards

Fun with Fall Leaves series
Sketching in Nature
Sense and Simplicity
Ann K Lindsay
Autumn Birds painting progression
Why Leaves Change Color

Fun with Fall Leaves--Enjoying Movement and Surprise

Leaves are small food factories that use cholorophyll to help produce energy through photosynthesis, a process of converting sunlight into sugars and starches.  During the hot days of mid-august, trees perceive the tiniest changes in their environment, such as the day length, light quality and temperature.

As autumn approaches, chlorophyll in the leaves is broken down into nitrogen, sugars and starches and moved to storage cells in the twigs in preparation for winter.  As the amount of chlorophyll in the leaves decreases, the more brilliant fall colors appear.

When I looked at these sassafras leaves a few days ago, they were mostly green.  In fact, I had trouble finding any leaves at all that were showing red, orange or gold.  Our nights (in east Tennessee) had not been cold enough.  But a couple of nights of near freezing and below freezing temperatures and brilliant colors began to pop out everywhere.  

I taped my Arches 140 lb watercolor paper to a backboard and started this leaf painting by wetting the paper while flat, then setting the backboard on an easel so that the painting surface was nearly upright.  (To see the easel I'm using click here.) As excess water ran down the paper onto the tape, I wiped it with a paper towel.  I waited until the wet shine on the paper became dull before beginning to paint.  The shine means the water is still on the surface and will dilute the pigment too much.

When I mixed the yellow paint to begin the leaf, I used more pigment and less water, so the color moved downward slowly.

I decided it was moving too slowly, not quite enough water, so I squirted some water on the lower edge of the leaf so the paint would move more (above). The fun of this approach to painting is that all the drips, runs, water marks and surprises encourage exploration to see what happens.  This is both a way to paint and a good practice for loosening up and learning about watercolor movement.

Movement is one of the most appealing aspects of watercolor and part of its mystery. You make a decision, watch what happens, and then make your next decision--one decision at a time.  With time and practice, you can anticipate and direct more of what will happen, but surprises will always be a part of watercolor magic.

I added red to parts of the leaf, and again used less water and more pigment in my paint mix.  I didn't want the red to move very far.  I then lifted the painting off the easel and holding it in my hand at less of an angle, brushed some water into the red to lighten it, allowing some of the color to run past the edge of the leaf sketch, as shown below, in the upper left.

At this point, I waited for the painting to dry some.  I want to add paint to the background next.

I use WN phthalo blue to create a background, the same blue that was used to add the green to the leaf color. Using the same blue helps to unify the colors in the painting.   The blue blends with some of the yellow underneath that is not completely dry and makes a nice varigated wash.  Knowing how much paint and how much water to mix comes with practice.

I wanted the background paint to run a little more so I sprayed the area with water and let it flow downward. I am using an old hair spray bottle that creates a fine mist.

I then added more pigment to make the background darker.  I love this affect.  It is fun to watch the colors fuse and run.  You can lighten with water or darken by adding another stroke of paint.  My painting surface is still vertical as I apply the paint.  If I lay the painting flat at this point the paint will flow backward creating water marks or blooms.  Try an experiment with one of your practices and watch this happen.  Blooms can add texture and interest to a painting and there will be times when you will want to use them.

As the water moves down the paper, I wipe the puddles away with a paper towel along the edge of the tape. My easel has a tray but I don't want water to collect there and drip onto the table making a mess that I might forget about.  At this point I let the paint dry slightly, leaving the painting in this position, until the paint has dried enough to stop moving.

I want to add some color around other areas of the leaf so I turn the painting to direct the paint flow and add a light background around the edge of the center lobe of the leaf on the right.  The paper is damp and I only add a small amount of paint to add a hint of color.  I wait for this to dry a bit.

Below, I have turned the painting again, so that it is upside down, and add paint to the right side which will be the left side when the painting is rightside up.

I add more paint to the lower edge of the leaf and fill in the little cut-out.  I then spray some water (below) to help the paint move to soften the edges.  I try not to hit the yellow area with the spray but it will be okay if I do.

I let the paint dry some with the painting still on the easel and then turn the painting right side up to see what I have.  I like this atmospheric movement in the background. What do you think?  You can see some small white spots in the upper left area where the mist landed on the pigment and moved it.

As you paint, you can turn the painting in different directions as it sits on the easel, or change the angle by holding the painting in your hand, or lay the painting flat or with only a slight tilt for the entire process.  There are many choices for approaching watercolor.  The angle of the painting surface influences the paint movement.  The more you learn about how water and paint move, the more at ease you will feel with watercolor.

While painting the large areas, I used a #10 round brush.  I have selected two other brushes (shown above) to use while working on the detail--my #3 round brush (left) and my #2 rigger.  The rigger is the best brush for making thin lines, such as grasses, twigs on trees, or the veins of a leaf! If you haven't used a rigger before, fill a page in your sketchbook with practice brush strokes using your rigger.  This helps to give you the feel of handling the brush and see the magic created by its long bristles.

I have used the elements of several of my leaves combined to create this leaf painting. To finish, I settle on one of them to use as my guide for creating some of the final detail on the leaf.

The veins on these sassafras leaves were much more apparent once the leaf turned yellow and it was interesting to see how the red broke through.  Sometimes an entire section between veins turned red, sometimes a fuzzy red smudge appeared.   I noticed all these details while studying the leaves because I wanted to paint them!  

You can add as much detail or as little as you want.  Above, you can see how I finished my leaf, adding brown spots and veins.

If you have tried some of the "Fun with Fall Leaves" paintings, send me a note about your experience, an image or a link to your blog post at:  vickiehenderson13 (at) gmail (dot) com. Use symbols in the email address.  It will be fun to see other styles and explorations of fall leaves in watercolor!

Next:  Layering leaves

Fun with Fall Leaves series
Why Leaves Change Color
Winsor Newton Watercolors

Winsor Newton watercolor color chart

Fun with Fall Leaves--Wet-in-Wet on Dry Paper

More fall leaves!  In this post, I am showing a different approach to creating a leaf painting without wetting the paper first (to see the first demonstration click here).  I begin painting on dry paper and use the wet pigment to carry the color and moisture.  

Where ever I stop the edge is wet.  I can continue that edge either by applying a brush stroke of water or by adding a brush stroke of a different pigment.  Where water is used, the paint will flow into the water diluting the color to give a lighter range of that color.  This provides highlights and variation.

If I brush another color along that edge, the colors will flow together at that point and give a blended appearance where they mix.  Red and yellow become orange.  Green and yellow become yellow-green, and so on.  Letting wet paint flow into wet paint creates brilliant colors as two primaries (red, yellow or blue) mix to form secondary colors.  In this painting, I am using Da Vinci arylide yellow, WN phthalo blue, WN alizarin crimson, and WN Burnt Sienna.

Below I have looked at my leaf for reference and decided to drop some green into that yellow area on the right (above) to create more yellow-green for that part of the leaf.

Compare the leaf below with the one above.  You can see how the green spread into the wet yellow paint and produced that nice section of green with yellow highlights.  I also added some burnt sienna around the edges.

As I looked at the painting above, I decided I wanted to see some red in that light middle section, so I wet it lightly with my brush.  Then I picked up some Alizarin Crimson in my brush and added it.

 This gave the pale area a hint of red in the middle and brightened it.

Next, I mixed some sepia with burnt sienna to add a dark leaf edge and some dark spots to the leaf.  To do this, I created a very wet mixture, loaded it into the brush, and tapped the brush with my finger to make some splatter on the leaf.

Try painting several different leaves or use the same leaf and paint it several different ways!  There are endless possibilities for enjoying leaves in watercolor!

Next:  Enjoying color movement

Fun with Fall Leaves series

Why leaves change colors

Winsor Newton watercolors

Winsor Newton watercolor color chart