Drawing Native Birds of Mississippi Saturday, March 21, 2015 Louise Campbell Center for the Arts West Point, MS $65 No experience necessary - this class is open to all levels of art experience. See and enjoy Mississippi's migratory birds in a whole new way as, with step-by-step guidance, you learn to use traditional illustration techniques to create a realistic drawing. Start with a series of fun sketching exercises, then complete a finished bird drawing using layered charcoal and colored pencil. All art supplies are included so that everyone can expect consistent results. Each student will be provided with a supply of drawing paper, 2B pencil and kneaded eraser, tinted pastel paper, black charcoal pencil, white pastel pencil and a set of illustrated tutorial pages to keep. Please bring a sack lunch. Pre-registration is required. To sign up, call Kathy Dyess at 662-494-5678.
If you have followed my studio blog for a few years, you may remember the monthly printable hand-drawn and lettered Illustrated Garden calendars. They looked like this:
I loved drawing them. I loved sending them out to you. Then my illustration work increased and my online art courses blossomed, and I had to reluctantly put them aside. But you never forgot them… For nearly two years, emails have continued to arrive asking for the calendars to return.
“Please bring them back. My office is in a high-rise in New York City, but I can look at your calendar and feel connected to nature.”
“I loved these calendars! I used them to keep records of planting and harvest at a community garden.”
“Your calendar makes me smile.”
With such encouragement, how can I not draw new calendars for 2015? Sometimes, you just have to leap.
The 2015 Illustrated Garden calendar includes an 8 1/2 x 11 page for each month and will be emailed to you in printable pdf form on New Year’s Day, every inch hand-drawn and lettered in ink, watercolor and colored pencil. Besides lots of garden and bird lore, it marks the full moons, dates of the Solstice and Equinox, along with major holidays and some not-so-major but highly interesting ones.
The cost is $12. You may mail a check* (Val Webb, P.O. Box 2212, Fairhope, AL 36533) or click the button below to order through PayPal:
I live on a hill, and the street that runs past my front door ends abruptly at the edge of the bay, four blocks down. It’s an easy walk, early in the morning, to watch pelicans dive for their breakfast and hear gulls laughing as they sail past overhead. And in the shallows, when the water is calm, the great blue heron stands motionless. I suppose he is waiting for the gleam of careless minnows in the water at his feet, but he might as well be posing for my sketchbook. A beautiful bird, bold enough to ignore a small woman nearby with a fistful of colored pencils, he makes a great model.
I’m honored to be the featured artist in the upcoming June issue of Colored Pencil Artists magazine — an issue that will focus on birds in colored pencil. I drew this heron, and his fisherman friend, with that event in mind.
The heron is drawn in Prismacolor Premiere, the soft-core colored pencils I like to use. After making a foundation drawing in Dark Umber — including all the major shadows and textures — I used just five other colors, layered on over the Umber, to finish the bird. His beak is Yellow Ochre, shaded gently with Terra Cotta (the same combination is used for his fierce eye). I don’t like to use pre-formulated grays, which seem a little flat, but prefer to blend a warm and vital gray by mixing Light Peach and Cloud Blue. All the gray areas on this fellow are created with those two colors. Then I used black, of course, for his dark mask and (very sparingly) to deepen the richest shadows.
The fisherman’s wings are based on the lovely (and enormous) polyphemus moth, a silkworm moth that is common where I live. The richly pigmented, slightly dusty feel of colored pencil is perfect for drawing lepidopterans, from monarch to cabbage moth.
If you’ve been wondering whatever became of those pencil studies of citrus fruit, here’s a peek at the final result. This old-fashioned fruit crate label was commissioned by Mobile Botanical Gardens to promote a slate of upcoming events celebrating citrus. Like the labels of old, the image measures 10×11 inches. It’s all in colored pencil, using a “speed pencil” technique that I love — all the shading is done in an “underpainting” layer using just Dark Umber pencil, then the color is added at the last in a single layer. The wonderful shadows and highlights are simply the result of the umber drawing showing through the color. Below, the peeled orange is still in the umber stage but the shiny satsuma orange next to it has already received a layer of color… just a single layer of orange pencil! Thanks to the textures and shadows already shaded beneath, you get a lush and complex result. It’s a great alternative to the traditional slow layering of different colors to build depth.
I love drawing the texture of an orange peel. It requires a very light touch and some time spent looking deeply at surface light and shadow. These studies in pencil are a preliminary to a color illustration that will combine all four. Can you name them all? (The answers are at the end of this post.)
The first sketch is a satsuma. The second is a satsuma, partially peeled. The third is a Meyer lemon. The fourth is a pair of kumquats. Now I’m hungry.
My online class in Watercolor Lettering has kept me very busy for the past several weeks, but on Saturday I had the pleasure of teaching a small workshop in a beautiful riverfront hideaway near Moss Point, Mississippi. The trees overhanging the water were full of trumpet vine, and we put them to use as the subject of gouache resist paintings. I love gouache resist, which is the art equivalent of opening a mysterious present on Christmas morning. You don’t know what you have until the wrappings are torn away to reveal the surprise beneath. In my method, I begin with a quick pencil sketch on heavy watercolor paper. Next I create the painting with a very thick (we’re talking peanut-butter-thick here) layer of gouache. After allowing it the dry completely, the painting is covered in a layer of waterproof India ink — I use a two-inch housepainting brush for this step. That has to dry, as well, before the fun begins: I take the piece outside and put it under a stream of water from the garden hose, scrubbing the ink away with the aforementioned house painting brush. Under that layer of inky blackness is a jewel-toned image, and everywhere the paper remained blank are lines of India ink. Old clothes are highly recommended for this adventure!