The painting above I did while following a Youtube video, something I’ve never done before. It was fun to try colors and techniques that someone else was doing. Mine came out very different because I played around with making the speckled spots with my own technique of dropping water onto the paint. What I liked also was the idea of using gouache to paint the background, something I never tried before. I did mine in the blue tones, lighter towards the bottom. It’s good practice to do in gouache, which are harder to keep even and flat looking. I thought the blue would offset the orangey tones in the mushroom caps.
Mushroom watercolor with notes.
I like taking pictures of mushrooms when we go out walking and love doing studies from them. Over the years I’ve paid a bit of attention to the different types but have never really gotten into learning the various families of fungi. Some people go nuts learning what mushrooms are edible, I would NEVER go that far! But I would like to learn at least the different groups. The study above is just made up, not from a real mushroom. It uses similar colors that were used in the study from the video, I noted them next to the study so I can refer back to it if needed later. I think the best thing I learned was using sepia, usually such a dark color, very watered down, was perfect for the ‘mushroom’ color of the stem.
Colorful mushroom study.
The study above was really fun to do. I thought I’d try using purples for shadows and let it get quite vibrant. The oranges of the cap really sing with the purples next to them! I used “Moonglow” by Daniel Smith, in the darker shadows. This is a great color to lay in shadows, as it’s pretty toned down in chroma, or dull. I liked putting the bright yellow on the right which really glows. I used Lunar Blue and Mayan Blue (both Daniel Smith) for the blues on the ground, mostly just to play with them as I don’t use them much.
Complete page of mushroom studies in watercolor.
The studies above are all on the same sheet, what a fun time I had doing these! I put color swatches next to each one and labeled them, so I can refer back to them as reference. These mushrooms are all from photos of real mushrooms, only the bottom right one is from my own garden, the rest were just images online.
Spectacular Rustgill #1, mushroom, watercolor with notes.
The mushroom above is a “Spectacular Rustgill”. I really like how the cap looks, especially where it’s been chewed on. I used the purple “Moonglow” as the shadow under the cap.
Meadow Waxcap with notes.
This is a “Meadow Waxcap”, another one I’ve never seen in real life.
Spectacular Rustgill #2, watercolor with notes.
Two more of the “Spectacular Rustgill” mushrooms, well three if you count the teeny one at the base. I like how this one came out with the shadows and colors.
Tiny mushrooms in vegtable garden, watercolor.
The study above was from a photo I took in the vegetable garden. While weeding under the brassicas I saw these tiny mushrooms and snapped some pictures using my cell phone. I had to get on my elbows to get close enough, and as usual suffered some pretty muddy patches on my coat. I like the fragility of these tiny types of mushrooms and the way the color streaks down the cap. They really were very tiny and delicate.
(Please click on photos to see enlarged, click again for larger view.)
Blocking in base colors.
For these two new little studies I’m working from photos I took this Autumn of a wall in our back garden. Instead of braving the elements right now, I’m painting in the sitting room with a wood fire going! I’m still a bit new to gouache but the more I use it the more I like it. Above you see I start by blocking in colors and shapes of areas with not much added detail.
Getting those darks laid in there.
If there is a dark area like under plants or in crevices, put them in early. This way you can paint lighter details on top and they will really show up. The rocks in the foreground had a violet coloring, that was fun to put in and see if it worked.
Adding the moss on top of the rocks.
After getting the rock colors right I dabbed on greens for moss, leaving the lightest values to use last. I used a very rough dry brush to dab paint on that wasn’t very wet. After it’s all dry I added the tiny wisps of dry grass over areas. I was also trying to use different brush strokes and dabs to create the fern fronds.
Working on my studies in my little cigar box pochade, with gouache paints and palette.
The picture above shows I’m using my very small cigar box plein air kit that I’ve created to use as a pochade box. I’ve tried to make it small and very lightweight so I can carry it in a backpack. It has a mount attached to the bottom that clips onto a tripod. But indoors I just set it on the table and use it to see how everything fits and if there was anything I could leave out.
What I want to point out is the bright blueish purple blotch and the blue one next to that at the right side of the paper. They were blotches from when I was just messing around with the gouache. I took a very wet brush and repeatedly wet, scumbled and lifted color with paper towel to remove the color as much as I could. It was stained into the paper so I decided to just work on top of it.
Painting on top of purple and blue stained paper.
When I looked at my reference photo, the stones had a cool cast to them so I thought I’d give it a go. I first lightly sketched the rocks in using a small brush to make the crevices between the rocks. You can clearly see the purple and blue colors in the paper! I started to dabble on the moss and the yellow color in some rocks.
Adding darks at base of wall, then leaves.
Then, at the base of the wall, I put dark burnt umber and sepia brown as a background. Then when you paint leaves and stems on top, they show up nicely. But this is the tricky part for me still, trying to have opacity and rich color but light enough to show up on the dark colors.
Here’s a better view of my little cigar box set up. The study is quite small but I’m very happy with how it came out. You can also see the two little studies I did last summer by our stone barn. (When you click the picture below you’ll see them much better.) I experimented by approaching them in different ways. The left one I put down black brown background and then painted the stones on top. The right one I first painted a dirty yellow ochre color (more of the stone color) then painted the crevices of the rocks. Then I added different colors of rocks on top. I definitely think some more studies of the barn walls would be a great idea!
I’m finding the gouache colors, chroma and values really lend themselves to woodland, mossy rocks, trees and muted color scenes. So many times I’ve seen gouache paintings that are all bright colors and scenes, but right now I’m attracted to their softer look. I have started using them with some of the children’s book style paintings I’m doing and that’s really different for me. This is still a new medium for me so there’s lots to try out and discover!
I’ve already completed two gouache paintings since doing these studies, and I’m very happy with how they came out! One is from a photo I took of an old Beech tree along a favorite walk we had in Northumberland. The other is a photo right from my back garden here in the Scottish Borders, an old Hawthorn tree and mossy wall in winter. Those will be shared in posts coming up.
Thank you for stopping by to read about my painting adventures and to those who have been following me, thanks for being patient as I know my posts are very sporadic! I AM working very hard and always have some projects on the go. I’m looking into buying a good printer so I can produce prints as I used to before I moved to the UK. Then I can offer my new works and old, and get my website organized for that. Always something to work on isn’t there?!
You can see current photos I share while I’m working on paintings, on my Facebook page “Mary McAndrew Painting and Illustration” and on Instagram as “mary_mcandrew_artist”. Follow me there to see the up to date goings on and some photos of the views I see around me here in the Borders.
Since moving to our new home here in the Scottish Borders, we’ve been graced with the presence of hares in our garden. They actually live all around us, running wild on the hills, grazing in the green sheep fields and sometimes spotted loping down the lane on the verge. But our first season here we kept noticing what appeared to be an old hare, like a wise soul, hanging around our garden even when we were outside working.
Hares are extremely timid and do not go near people as a rule. Our garden is still very wild and has lots of long grass. Our property is surrounded by fields used for sheep so it’s kind of like a little haven for hares and rabbits. I’m not so thrilled having rabbits, being an avid gardener of vegetables, fruits and flowers. We have a 2′ fence around the garden, that’s an easy hop for a hare, but they haven’t bothered. They are not little angels though, they seem to like trying everything out, snipping off flower heads and stems of so many things!
Baby Leveret
This past spring I found a nest of baby hares or leverets down in our paddock, tucked into long grass and daffodil greens. We left the whole area alone for quite some time, then weeks later we started to spot the growing babies here and there by the house. Every evening the mother would come and two leverets would run to her to nurse. The amazing thing is we have this very large window that looks right onto the driveway and she would meet them right there. At the time there was also a big rabbit population too and to see all this activity was like cuteness overload! But a few times the mother hare nursed her babies right in front of us, I was so excited to get some pictures! I also set up a wildlife camera and got some interesting footage of their night time antics too.
Below is a video clip of the mother with one of the babies. Please excuse the blurriness when I zoom in and out! I removed the sound because I was talking loud so Gary could hear me in the other room. Watch for the little baby rabbit in the background too.
Below is a little gouache painting I did of ‘our’ leverets. Click any picture to see it larger and clearer.
“Two Leverets”, gouache.
First I did two pages of pencil sketches working from photos I’d taken, then I drew over them with permanent ink, and erased the pencil. I like the softness and detail of shading with the pencil sketches but because they are for reference to be handled often, I ink them. The other reason is if I like one of the inked sketches I can then trace it onto watercolor paper using my light table. Now I’ll share with you the sketches and some stages of painting to get to the finished little painting above.
Pencil studies of leverets
From the above page of sketches, I used the top right sketch and the bottom left sketch for my painting.
Having a good wash!
Below is a page that I drew ink over the pencil and erased gently. Sometimes I like the way they ‘pop’ out after you erase away the pencil but it also removes any subtle hatching or shading which I like.
Inked over pencil studies of leverets
I transferred the drawings onto watercolor paper by tracing using a light table. I decided to use only gouache because I’m really trying to teach myself this new medium by practice.
It started out as two separate studies.
Above, I first put pale yellow green around and then pale green grass on top of that.
Then I added more grass, darker blades.
Above, I added more dark areas around so that I could add lighter opaque strokes over it.
I worked on more details on the hare.
I added more details then decided to combine the two studies into one painting.
You can see the actual size of the painting above. I left the hare in the back, less detailed and paler than the front one.
I thought I’d show you the progress on my illustration of the ‘mouse family’ and some other little studies.
(click on them for larger view)
Work in progress, adding watercolor to the ink drawing.
It looks so different than it did as just a pen and ink drawing! They are starting to come to life more with the added color and fur. I’ve been so busy with other things that this illustration is going slowly. What I did here I did in one evening while watching a movie, if I could just sit down one more time it’ll be finished. So she says!
I’ve run out of opportunities to paint from ‘real’ colored leaves as they’ve all gone to the dark side in my yard, they’re all brown and blackish. But I did take lots of reference photos and that will serve me well as usual. I have a decision to make about the leaf in the mommy’s hand, it blends in with her and the baby maybe a little too much? I may add a purpley maroon, something with alizarin crimson? I’ll be adding just a touch more color to the leaves but I don’t want them to overwhelm the mice either. I do like the touch of blue in the background, it helps to show the mushroom better.
Before I forget I’ll show you a little study I did after Beatrix Potter’s mushrooms.
Watercolor study after Beatrix Potter
It’s from a painting with more mushrooms but this little one and the grasses were all I needed to study the colors she used. This was great for me to do before diving into the color of my painting, especially because I wasn’t working outside from real life. I just love and adore her paintings!
A small watercolor study of Moneywort done in springtime.
This is a small study I did in the spring of Moneywort. It likes to grow in wet areas so my land is filled with the stuff! Wonderful in late spring as it covers itself with little yellow flowers; my ditches along the lane seem to be filled with gold! I don’t know if the name refers to the yellow flowers (like gold) or the round leaves looking like coins? I found out something interesting, it’s a native to Europe and was introduced to America for use as ground cover and as an indoor hanging plant. Ha! I never would have thought to use it inside! Well anyways, I remember sitting in a lawn chair on a cold spring day, in a flooded area of my yard when I did this. I watched the little Nursery Web Spiders scampering over the water and over the plants. How great it is to study from life! That’s why I love Nature Sketching so much.
Study of a small wildflower (weed) that grows in my grass.
And this is another favorite ‘weed’ I like that grows around anything not moving! haha…It seems to grow at the edge of everything but I don’t mind, it has tiny pretty flowers and neat rounded leaves that remind me of a tiny geranium. I haven’t yet looked it up, guess I should. Oh by the way, the bees love it! Don’t go killing everything that grows in your grass, as long as it’s green it looks fine! Look closer at some of those weeds, they can be pretty and the bees need them.
I just thought I’d show these because I feel it’s important to always study from real life. Even if it’s a tiny study done quickly, it will help you to look closer at what’s really there, and you will remember it. Especially when it comes to color, the photos you take will not be as accurate as what your eye sees at the time, in that lighting.
Well I hope you enjoyed seeing my progress and other studies. I’ve been playing around with adding some new colors to my watercolor field palette, so we’ll see how that goes. Leave me comments if you like, I always love hearing what you think!
Click the picture above to see another cute mouse painting I did! If you hover over it (in my shop) you can see an enlarged image. Go to this link to see some other new children’s illustrations in my shop!
(click to see enlarged, hit ‘back’ arrow to return)
I know it’s not the time of year for Lightning Bugs (or Fireflies) to be out but thought I’d share this small illustration I finished recently. I’ve been working on studies of small, native plants (NY) to go with illustrations in the children’s books I’m working on and decided to put this Lightning Bug in here. It’s more realistic than the books will be but I really like how it looks like an ‘old time’ illustration. Many people have never seen this bug in the day, known for it’s magical blinking lights at night, but if you get to know it you may spot it in long grasses or hedges.
Though I painted this entirely in the studio all the studies had to be done in the field. Lately when I’ve been able to get out for sketching, I’ve taken my garden kneeling pad and a big garbage bag to sit on the wet ground to work. It really is amazing how many different small plants there are growing right under your feet!
Next post will be about the small plant studies I’ve done out in the wet lanes of spring. Click on the images below to see my prints, note cards and other items with this painting (you can add text to any of them!):
Posters / Prints in size you choose
Glossy Note Cards in two sizes
Stickers in many shapes and sizes (change text or remove if you like)
I love reading your comments as it really keeps me enthused! It’s been hard to get time to paint lately because I’m getting ready to downsize my house so I’ll be ready to move. Years of stuff is all I can say! I will keep posting as I have time so please bear with me, there is more to come!
This moth is a little watercolor painting I did on coffee stained paper (click it to see it larger and clearer). Using instant coffee to stain your paper is something I taught in my Creative Journaling class. It’s great to use lightly on your paper to make it look antique or like parchment. Here I just played with it like watercolor and brushed it around, then splattered water drops into it. Let it dry totally then you can draw or paint on top of it as I did. I have a few small sheets that I did at the same sitting, so I can grab one when I’m in the mood and use it. I lightly sketched with pencil first then just used burnt umber, burnt sienna, black and a touch of white for highlight. This was from a “Yellow Underwing” moth I photographed last year.
I have always loved the illustrations of Arthur Rackham and it’s the works he did using mostly brown colors that inspired me to work with brown tones alone. Click on any of the illustrations to see cards or gifts I created in my shop! There’s more items coming in the category Vintage Illustrations.
Flippant Fairies Floating Freely
Just look at how gorgeous this painting is!! Sigh…I love his work. (Sorry I don’t have a bigger copy to view) The background is just subtle tone, there’s a hint of tree tops below and then the sparrows come into view as they nonchalantly go about their business of preening. The branch is laid out as a perfect design element reaching across the paper and reaching up to lead your eye but not take you totally away from the subject of the fairies. Yes, those fairies, painted lighter than the rest to really make them stand out, aren’t they wonderful? Not having pointy ears, pointy eyes, pointy hair, sexy clothes and striped socks. Good God some of the awful modern day interpretations of what a fairy is is shocking! Just plain tacky and awful!
Oh but this is one of my favorites!
This is one of my favourites! SIGH….that’s how I feel when I look at work by another artist I revere. I love her dress, the attention to it’s detail but it doesn’t take over the attention of the piece, do you notice how the lower part blends into the tone of the ground and the skirt is the same as the background? It’s all married together, floating but on the same ground, do you know what I mean? Just like the tree roots coming from nowhere out of the paper and growing up into this tree that is alive. I love how he combined just enough elements that say man and tree at the same time, the fabric hanging adds a touch of color that picks up in her cheeks and it’s form adds a floating liveliness to the painting; movement. Not to mention the tenderness of the way they clasp hands….sigh.
Subtle tones means less distraction
In “The Man in the Wilderness” above, I love the way he draws his trees to be just like people, look at the ‘arms’ of the one in the background reaching up to the sky. For a child (or adult) reading the story this illustration would be something to pause over, study and discover. They’d see the obvious girl and elf and think about what they are doing but then they’d look at the trees and realize with delight they have faces and arms! Here again I like how he’s used such simple color to make this illustration, just a simple bit of red and gold on the elf to show the main subject. I can’t wait to use the card in my shop (click picture to see) as an invitation or birthday card, “Can we meet for tea?” “May your day be full of discovery”. Oh, how about a funny one for your friend…”I know you’re kind of different….but I like you all the same!” haha
The Queen floats in as if on air
This illustration shows use of line at it’s best, do you notice how in some places it’s thicker and heavy then it gets thin and light? This is very important in drawing, good drawing. This one is definitely more of a drawing than a painting, hardly any range of values used, quite flat. It’s all about the lines and what lines!, all swirling and curling, sweeping like there is a magical breeze blowing just her skirts and delicate lace veil. To give some depth and interest I like how he put the pale leaves and branches at the top then used a light similar design on her skirt in just the front.
I have wanted to do drawings and paintings starting with a freely painted base of brown or parchment colored paper for ages. The moth is my first one I guess, though I’ve done paintings before that are monochrome browns, (Autumn watercolor, Etain oil, Twilight oil) they were never started on a freely tinted paper. By that I mean a piece of paper where you just play with the color and use water drops and salt to add interest and you end up with something that in itself looks good. I’ve played with coffee staining before (as you can see on this post) but never got around to painting on them. So I’m hoping to do some more starting with small studies like this moth. Hope you enjoyed my discussion on using browns and the great Arthur Rackham! (more sighs) Oh, and I found an excellent, though old, article written about a show of his works in London in 2002 here on the “Telegraph”.
Below are a few items I designed with the Moth painting on it, please click the picture to see them in my shop. Enjoy and let me know if you’d like it on another item!
Try these stickers out, they’re glossy and I love ’em!
(click the picture to see it in my shop where you can see ZOOM view by holding your curser over it)
This is a painting of (another) Stink Bug, though I’m not sure what the exact species is, a friend in England suggested maybe it was a ‘baby’ with this coloring. I really enjoyed painting this, the colors, the leaf and then the detail on the bug itself….love those dots on the legs! It’s a page in my journal so I added a little fun border with my brush and watercolors.
Almost there!
Here’s my set up; I found that using a large bobby pin to hold my photo in place worked out really well. I keep a little piece of paper nearby to test dabs of color. You can see at this stage I’ve got a lot done, but don’t have the deeper shadows or finer details in yet.
Close up of my progress
Here’s a closer look, though the color is not right (because of my camera shot) you can see how pale the whole thing looks. Adding more shadow under the bug and rich color to the leaf really helped it. I also took a damp brush and rubbed the edge of the leaf, above the bug, to make it softer. Something else I did, though it’s not in my photo, I added just a bit of cast shadow from his feet. This really made it look more 3 dimensional and realistic!
Well I’ve had a lot of fun making some attractive products with this painting in my shop, please click any below and have a look!
I love this tee-shirt! I ordered one for myself on the ‘value tee’, it was printed huge on the whole front! WOW, so much fun to wear! I know some Science teachers who’d love this! You can put whatever words you want on it.
Today, though it is sad, I did a watercolor study of a blackbird female that died after flying into our patio window. Just as other naturalists before me have done, I took advantage of having a real bird in front of me and did a study as quickly as I could. I find that if you love nature you can do this as a way of showing respect for the creature and not think of it as ‘gross’. Of course always be careful handling things like this by washing your hands after, putting it on plastic, not having food or drink nearby while working…just to be safe. I did notice a little tiny bug or two on it as I worked, which made me work even quicker, to get it out of the house sooner!
Watercolor study of Female Blackbird-stage 1
The picture above shows my pencil sketch and beginning stages of watercolor. I am laying in the golden color that I see ‘under’ the darker colors of the feathers.
Watercolor study of Female Blackbird-stage 2
Here I put dark tone on the tail and more darks on the head and some cool tones along the side of the breast to start to round the form.
Watercolor study of Female Blackbird-stage 3
Some more dark tones and details are laid in, feathers on ‘bottom’ wing.
Watercolor study of Female Blackbird-stage 4
At this stage I stopped painting feeling it was done, at least working from the ‘real’ model. I put a light wash of cool blue on the belly and added more color to the breast along with more details there.
Watercolor study with Blackbird
When I stood up and looked from further back, I felt it needed a more broad wash of dark on the birds right side so I just grabbed my brush and quickly washed some tone on, while standing up. Many times I like to work on my watercolors from a standing position to keep them loose and free; if it’s a detailed painting I like to either start it while standing to have a loose feel, or at least finish it this way. I could add some loose color around the bird, but I just didn’t feel like adding to it.
My set up to add final details from computer
So on another day I set up to touch up details using my photographs of the dead bird from my laptop. I used my field pan of watercolors and brushes and a magnifying glass to help me see details.
Watercolor study of female Blackbird - stage 6
At this point I decided it was finished. To be honest, I wanted to go back and ‘scratch’ out highlights along the legs to show their shine and make them stand out from the dark background, I also wanted to add grasses around the bird, but I’ve had too many other things to work on and just didn’t get time. So it’s DONE.
Blackbird male
I don’t want to leave you with a dead Blackbird, here’s two photos of a healthy male so you can see how nice they look, their song is even nicer!
Blackbird male
As a side note, the Blackbird (UK) is in the Thrush family just as my American Robin is. For my American readers you’ll notice a very close silhouette to our Robin, and the song, though different is beautiful as thrush songs are. The male Blackbird is ‘black’ with a yellow beak, the female looks, well like my painting, brown with speckles on breast.
This watercolor was commissioned by a lady for her husband’s 80th birthday! He loves groundhogs (just like me) and she really liked the groundhogs I had sketched on my blog this past summer, so she asked me to do a painting. Here’s the finished painting and below it I’ll share the stages of painting as I worked on it, along with how I changed or corrected areas as I went.
my set up 1
Above is my set up, an artists’ table easel box type thing that you can put oils paints in underneath, I have it filled with color pencils at the moment. I like it because you can change the angle to work on, I altered it though by drilling holes right up the front panel so I can change the height of the little shelf that you put your painting on while you work. (Yes, I love using my power drill!)
my watercolor pan palette
When I work on little watercolors, I like to keep my palette of colors close to the work. The paint dries out quickly in the tiny brushes so it helps to have it all close by. I set my pan of colors on a little wooden box and I can keep other supplies in here instead of all over my table. This pan is also what I use in the field, I have so many colors in it, I really don’t need to set up my big huge palette that I use in my studio for big paintings. When I worked on the painting, I had several pictures of groundhogs to the left of it for my reference, I used sticky tack (blue tack) to hold things in place on the Plexiglas surface.
my set up 2
I really created this set up because I wanted to work where the wood stove was, right in the middle of my living room. You can see the cold snow outside my window! So it’s like my little studio island, a plastic table 4′ x 2′, complete with laptop, small lamp, bundles of color pencils and some other piles of ‘stuff’. (ahmm…there’s a dark chocolate bar hidden in the box too, well you know, gotta keep the ‘ol strength up!)
groundhog 1
This is the first stage of the painting, a light pencil sketch that I lighten first by tapping over it with a kneaded rubber eraser. Before I started I decided to make this a 5 x 7″ painting to fit a standard mat, so I lightly trace the inside of an 8 x 10 mat (5 x 7″ opening). Then I wash in a simple background of trees and start to place the long grasses and dandelions I want around this plump little groundhog.
groundhog 2 blocking shape
I like to try to keep some spontaneity in my paintings especially in the backgrounds. Here’s a little trick you can try to keep it loose while protecting areas; I grab a piece of paper or plastic to block or protect an area. This piece was just the right curve for his back, when it’s covered I can very freely stroke my brush right over the area with out it looking contrived and stiff.
groundhog 3 blocking shape
You can see above the protected area of his back.
groundhog 4
In “groundhog 4” I have laid in some light body washes and beginning some fur areas, starting on the darker areas first. Notice I have left a light ‘cut out’ looking edge to him, this is so I can go back later and stroke color into it to make it look like fur, but also he’ll stand out a bit from the background. I also started to push the darks around the grass blades in the front left.
groundhog 5
In “groundhog 5” you can see I darkened around the dandelions, added some grasses in front and also added some more tone and fur strokes on his body. Keep looking for the dark and light areas of his body; sometimes you show this by adding strokes or by adding whole washes to an area. If you look at his tail here I want to point out that I didn’t just paint in a tail shape, I put dark bits around where the grass went over it and it looks much more natural.
groundhog 6
In “groundhog 6” you can see I have put a light wash of green in the background, then washes of brown in the foreground. I then added more grasses and darks around the dandelions, foreground and his body. I developed the arm and shoulder area more now, also added more to the head.
groundhog 7
I developed the grasses around him in “groundhog 7”, pushing the darks in places.
Now I’ll show you some close up pictures of parts of the painting as I did corrections. I find it interesting to look back on how I changed things and I know my readers really like to see this, you can learn a lot by looking at how another painter reworks things to correct them.
correcting the back 1
When I painted more of the grasses in I was able to see his back silhouette better; I then realized that it looked too straight. So I gently re-wet the area along the edge (above) and rubbed a bit with my brush to lift the color then I blotted it with a clean paper towel. I repeat this as many times as nessesary to lift what I need to, you can’t always lift everything though!! Take care also not to lift other areas.
correcting the back 2
To reshape the back I carefully put down the dark green grass colors further out from the original back line. (above) Then you have to soften where needed so it all looks ‘right’ together.
Below I show a close up of an area that when I thought I had finished the painting, I looked back and decided to fix. That blade of grass pointing at his head looked ok in the beginning when it was lighter, but now was too strong.
blades of grass 1
Below is the area that I changed.
blades of grass final
Here’s some close ups of the head as I changed it. The mouth I found difficult to do, it was a give and take between showing details and sort of softening them, but then that’s the essence of painting! Notice the careful biulding of darks on the head to shape it’s 3 Dimensional feel, the changing of the black area of the mouth and the developing of the dark area under the jaw.
Head close up #1
Head close up #2
Head close up #3
#4 Final head close up
I ended up going over the entire head at the end and added darks here and there…sculpting until it looked just right.
Once again here is the painting finished and ready for it’s new owner!
"Groundhog" finished
The original is sold but SHOP for gifts, note cards, prints, t-shirts etc with this image on it in my Zazzle shop! Go to www.zazzle.com/marymcandrew*This will take you to my shop where my artwork and designs are listed, go to the Small Mammals folder to find the groundhog designs or just type Groundhog into the search box. You can add your own text to customize gifts! If you want it on something you don’t see, just email me to ask!
Just some little sketches from my field book. I pick up leaves just like so many people do, I can’t help it, they call to me from the ground all wet and shiny and brilliant colors. Each one calls, “Pick me up, pick me!” I end up with a pile tucked into my sketchbook where they get nicely pressed but I usually only have time to get one done before they lose their vibrant color. That’s what happened here, I wanted to use my watercolor pencils (and waterbrush) to test colors it would take and the second day when I went to finish it the leaf had already faded quite a bit.
European Goldfinches
The Goldfinches were neat, they kept landing in the long grass in front of my window and eating the dandelion seeds from the seed heads. It was funny to see this one bird with a seed sticking out of his beak, he’s twirl it around from one side of his beak to the other, it looks like a cigarette in the sketch! I used my watercolor pencils for this too, with a waterbrush.
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