Ending 2011 with Hawks and Acrylics

It would be nice to report that our last birding walk of 2011 turned up some extraordinary birds and I managed great field sketches of them all. Why leave it at that? I actually managed to do my first plein air paintings of them as well.

But that's what would have been nice. We did see 20 species at Morris Arboretum but didn't find anything extraordinary. The most unusual bird was a Brown Creeper, a winter bird that's always fun to see. But he didn't sit still long enough for me to get any sketches.

I did finish up the immature Red-tailed Hawk above though when we got home. It's 6x8 inches and done in acrylics. It's based on a bird that seemed to be at Morris the entire summer of 2010.

I've looked at photos I took of the bird many times and have always thought a beautiful painting was there for the taking, the whites and browns of the bird shimmering against the gray-blue sky. But for some reason I couldn't ever picture myself ever being successful doing it in watercolor. As I've continued to work in acrylic though(this being my fourth acrylic of the last few months, the first in over 25 years), I keep thinking that I can tackle previously forbidding projects in acrylic.

My guess is that the reason for this is that acrylic, or oil, is just so much more forgiving than watercolor. Since I spent many years as an abstract acrylic and oil painter I'm not surprised that it's starting to become comfortable to me.

That is not what got me started on this painting though. That can be attributed to the fact that I realized it was past time for our local accipiters, Sharp-shinned and Cooper's Hawks, to be visiting our feeders trying for our feeder birds. I decided to do some sketches of Coopers Hawks, above, from photos of previous backyard accipiters. My idea was to refamiliarize myself with them so that I could be prepared for possible field sketches. I'm always thrilled to sketch them but rarely satisified with the results. After I did these sketches from photos I added watercolor. Though these are not particularly successful they remind me of why I remain infatuated with watercolor: the sense of light. Oil and acrlyic can create great light effects as well but for true unadulterated celebration of light there's nothing that can beat watercolors, at least in the hands of someone who has managed to master them.

Geese, Gosling, Sunlight

Just a quick post since it's been awhile. It was almost exactly a year ago that we saw two Canada Geese with their goslings lit by brilliant sunshine. It made the down of the goslings glow in such a way as to make them look as though they had halos.

I did a quick watercolor back then and this is based on that watercolor. I knew there would be one serious problem though. Light is best portrayed with areas of tone, as in watercolor. It doesn't work so well with lines. But linocut thrives on line, not tone. I know. But I finally decided to do it anyway. Sometimes you just have to take chances.

The two photos here are the exact same state of the lino. They're just printed in different colors. I had been using a burnt siena/yellow mix that gave me a bronzish color. I thought that would add to the sense of light. But on the last print I decided that maybe it wasn't working. So I printed the image again with some black added. So that's why there are two colors.

I"m going to let this sit overnight and probably will do some minor tweaks tomorrow. Then on to an edition.

Bewitching Secrets of Watercolor

The title is not mine, but a direct quote from "Watercolors of Winslow Homer: The Color of Light" by Martha Tedeschi, et al., from a show at the Art Institute of Chicago.

In my last post I mentioned 'reveling in materials' as a motivation of myself and I think of many artists. You can say all you want about artists thoughts and writings, even my own thoughts and writings, but often it comes down to something much more simple: a great enjoyment in experimenting with the materials of art. My guess is that the same can be said for music.

In any case I was struck by this quote when I neared the end of the book today:

One can find here a metaphor for Homer's sustained relationship with watercolor itself. It was in this medium that the artist had conveyed his most immediate expressions and experiences while also clearly reveling in the beautiful effects that it alone allowed him to pursue. Over three decades of focused work and travel he had discovered the bewitching secrets of watercolor's unique marriage of color, water and light.


Homer was the master of 'reveling in the beautiful effects' of watercolor while at the same time being true to light, water, subject. It would be hard to find a better example for someone who wants to work in watercolor.