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I'illlllMng

Nature

PEN & INK


with WATERCOLOR
in

Claudia Nice

v,^.V.

BELVEDERE TIBUROIUSlUiRY

^/

'H

BEL-TIB NEW BOOKS


741. 26 NICE 1998
Nice, Claudia, 1948Painting nature in pen
ink with watercolor
31111017799550

DATE DUE
JUL Q 6 199j
MAR 072)01

AP^

2 5

mi

'.'
I

17(M

l-iinlr,! in

SA

M
Painting Nature t
in PEN & INK
with

WATERCOLOR

'/C^j^Mr

"^mr^m^-'frn

Claudia Nice

NORTH UCHT BOOKS


CINCINNATI. OHIO

ly y

i
m
^BlSIIiK

4.


ABOUT THE AUTHOR
Claudia Nice

is

a native of the Pacific

Northwest and

a self-taught artist,

ing her realistic art style by sketching from nature. She

when working

prefers pen, ink and watercolor


for

Koh-I-Noor Rapidograph since 1983

in

is

multi-media

developartist,

but

the field. As an art consultant

and more recently

for

Grumbacher

Claudia has traveled across North America conducting seminars, workshops and

demonstrations

at schools, clubs,

shops and trade shows. Her

and ink drawings have won numerous awards and can be found

oils,

watercolors

in private collec-

tions across the continent.

Claudia has authored twelve successful


ing Your Favorite Subjects in Pen

in the

and Ink and

which were featured

Watercolor, both of

art instruction

books, including

Creating Texture in Pen

as

main selections

art career,

Claudia enjoys

^y^^/r//-

and Ink

With

North Light Book Club.

When

not involved with her

hiking and horseback riding in the wilderness behind her

home on Mt. Hood

in

Oregon. Us-

ing her artistic eye to spot details,

Claudia

skills as a

has

developed

man-tracker and

is

in-

volved, along with her hus-

band Jim,

as

wilderness

Search and Rescue Volunteer.

Painting Nature in
Nice. Manufactured

Pen and Ink With Watercolor,


in

China. All rights reserved.

No

Copyright
part of this

1998 by Claudia

book may be

any form or by any electronic or mechanical means including


information storage and retrieval systems without permission in writing from the
publisher, except by a reviewer, who may quote brief passages in a review. Published
reproduced

in

by North Light Books, an imprint of F&W Publications,


Cincinnati, Ohio 45207. (800) 289-0963. First edition.
02

01

00

99

98

Inc.,

1507 Dana Avenue,

Library of Congress Cataloging-in-Publication Data


Nice, Claudia
Painting nature in pen and ink with watercolor/ by Claudia Nice

cm.

p.

Includes index.

ISBN
1.

0-89134-813-1 (hardcover)

Pen drawing

(Asthetics)

I.

NC905.N528

Technique.

2.

Watercolor Painting

Technique.

3.

Nature

Title.

1998

741.2'6 dc21

98-12672

CIP
Edited by Jennifer Long
Production edited by Patrick Souhan and Michelle Howry

Designed by Brian Roeth

Alicz

dedicate this hook to

wisdom, and
taught

My

me

f-

my

naturalist friend \\ innie, \Nho taught

me

wilderness

adventurous friends Becky, Jan, Nellie and Jeanne,

meaning of kindred

deepest thanks

earth with so

BECKY ON RKBEL CRKKK

to

the

my

anil respect to the

much beautv and

who

spirits.

di\ersitv.

lather of

all

creation,

who

blessed the

ATTHE EDGE OF THE MARSH,

8"

10"

(20cm X 25cm), VVatercolor textured

with ink stippling, spatter, plastic wrap and thread impressions.

INTRODUCTION
CHAPTER ONE

GETTING STARTED

CHAPTER TWO

THE FOREST FLOOR

18

CHAPTER THREE

TIDE POOLS AND


TROPICAL REEFS

38

CHAPTER FOUR

FIELDS OF FLOWERS
CHAPTER

FIVE

DESERT DRYLANDS
CHAPTER

SIX

PONDS, SWAMPS

AND MARSHES
CHAPTER SEVEN

MOUNTAINS, CRAGS

AND CREVICES
INDEX
jrv-^^iy.

:^*

//

58

76

THE YEARLING PSALMS

37, 16"

X 20"

(4().6cm

X 50.8cm),

oils

INTRODUCTION
To become one with nature

enough
to

move

in close

roundings,
to

by and view

to stroll

to

is

enjoy

from

it

life to

afar, like a

me

it's

spectator at a game.

ponder and become part of

to touch, to sniff, to

only briefly. Only then can

if

the fullest. For

begin to

j^-^"

need

my

what I'm looking

perceive the shapes, textures, colors and contrasts that excite

my

not

surat

"artist's

eye." Familiar sights, sounds and smells recall nostalgic memories, while the
uithui to

uiifaniiliar in\ ites the child

damp

orchestrated

remember when

followed

to get close

forest sights

down

in a

my

and sounds.

back against
I

the yearling literally at


light filtering

get

my

my

was

Vou

paintings, including the

my hope

way around

who

a tree

little

There

sat, in a

my mind

fear,

deep

tuned into the

from the edge of

hesitation, they

Her eyes held no

tired of the

to rest.

and

a lake, trying

a while,

totally at peace. vSilently,

feet.

down through
photo.''

part

shady pine thicket

the thicket, the two deer appeared. With

It's

and appreciation

visited Mt. Lassen, California, in the early

good photograph. After

to take a

bed of pine needles,

a greater love

doe and her yearling fawn

enough

chase and settled

Did

and

result

it all.

always

will

spring.

hair

The

out and explore.

puzzle pieces of this world and the touch of the Master's hand

for the

w indblown

shoes, dirty knees,

come

bedded down,

only curiosity. The

the tree limbs edged the deer's coat in gold.

bet!

It

has been the basis for

many sketches and

one on the opposite page.

that this

book

will

wonders of nature close up. with an


examples on these pages

will

encourage you
artist's

C^a/i(^ ?^oay'

seek out and sec the

eye, and that the hints, notes and

help you capture your discoveries with pen

and brush so thev mav be shared and remembered


Best wishes.

to

for

many

years to come.


CHAPTER ONE

GETTING STARTED
MATERIALS
Good

tools

and

The

a project.

Pen

art

supplies are essential to the success of

learning process and the joy of creation can

be greatly discouraged when the

equipment

or her art

the most expensive

in order to

artist

has to fight with his

succeed.

You need not buy

but you must learn the nature

is

what

similar in usage to the Rapidograph, but differs

in design,

the inner workings being "sealed." Draw-

backs for the Artist Pen are that you don't have a choice of
inks,

and empty pens are not

Dip pens

refillable.

are very economical, consisting of a plastic or

of each implement to choose wisely in an affordable price

wooden holder and changeable


no. 102 (medium) and no. 104

range.

pen

tool,

some-

will provide a

good ink

steel nibs.
(fine),

line. It

the

cleans

With Hunt nibs

Crow
up

Quill dip

easily

and

is

when many ink changes are required. The drawCrow Quill pens are limited in stroke direc-

useful

backs are that

Watercolor paper
Choose

paper that

compatible to penwork, as well as

wet washes. The paper should be polished enough

pen

the

up

to glide over its surface

clogging.

lint or

The

ink should appear crisp.

Taping the edges of the paper

painting will help the paper maintain

use

cold-pressed, 50 percent rag,

or heavier),

pH

spatter.

to allow

On

the

permanent buckling when wet-on-wet techniques

are used.

and

without snagging, picking

other hand, the watercolor paper must be absorbent enough


to avoid

they must be redipped often and they tend to drip

tion,
is

to a

board while

original shape.

its

medium weight

(125

lb.

neutral paper.

Ink
For mixed media work, choose an ink that
patible with the

which means that


plication of wet

manent

it

are using

is

lightfast,

com-

and "brushproof

can withstand the vigorous overlay ap-

washes without bleeding

or streaking. Per-

inks are not necessarily brushproof and

For

tested.

pen you

very black, brushproof India ink,

must be

recommend

Koh-I-Noor's Universal Black India 3080.

For

The pen
The

ideal

pen has

a steady, leak-free
all

flow and

a precise

This book was

directions.

Koh-I-Noor Rapidograph pens. They con-

illustrated using
sist

of a hollow nib, a self-contained, changeable ink supply

and

a plastic holder.

and weight which


the ink forward.
sizes, 0.25

Within the hollow nib

shifts

a delicate

is

this

The Rapidograph comes


book, the nib size

in parenthesis

based inks are preferable, as dye-based inks often fade


quickly.

in a variety

used

near the artwork.)

in

for

my

of

work.

each sketch

Two

drawbacks

Look for a watercolor paint that has rich, intense color, even
when thinned to pastel tints. It should be finely ground
and well-processed, so washes appear clean, with no particle
residue. Colors should have high lightfast ratings.

in this

comes

economical and maintenance-free version of the


is

for technical pens.

Paint

there are

pen

for the col-

ored inkwork in this book. However, the white and black

cleaning.

A more

used Koh-I-Noor Drawing Ink 9065

9065 are not recommended

any instrument, the Rapidograph requires proper care and

It

choose compatible,

wire

of the Rapidograph pen are cost and maintenance. Like

technical

lines,

back and forth during use, bringing

being the one used most often

(Throughout
noted

more subtle ink

brushproof colored inks. Transparent, pigmented, acrylic-

nib that can be stroked in

is

softer,

the disposable Artist

Pen by Grumbacher.

prefilled with a quality, brushproof ink.

The Artist

many

book were done with Grumbacher Academy and

Finest watercolors. Whichever brand you choose,

ber that

than

While

quality brands to choose from, the paintings

it's

remem-

better to have a limited palette of quality paints

kaleidoscope of inferior substitutes.

Brushes

The

made

best watcrcolor brushes arc

absorbent

amounts of

brushes

sable

of sable

while maintaining

fluid color,

edge. They respond to the hand with


ever, they are expensive.

A good

hair. Soft,

of holding

capable

are

large

sharp point or

a resilient

snap.

low-

sable hair blend or (|uality

synthetic brush can provide an adecjuatc substitute. Avoid

brushes that go limp and shapeless

when

wet, or are so

stiff

they won't flow with the stroke of your hand. Here's an

upkeep

hint

use

your

brushes

watcrcolor

only

for

watcrcolor.

'wiYtCCt 'pYt/^sfu C/x-^i ")

-^

?or Suc^ojYov/ncCujdshes

for scr{u>i^a

(m 8^6 ) -

Siroki orffnt bru.5hef>

^or cCttailA^a curuC stvuCC C4/ti5f? oyriuis.

Other useful tools

Pencils and eraser for sketching

Liquid

(masking

frisket

fluid) to protect

white paper

areas

Old round brush

or

The

Incredible

Nib

(felt tip) for

applying frisket

Masking tape

for

taping paper edges and removing

liq-

uid frisket

Stylus or toothpicks for bruising

Rock and

table salt, alcohol, plastic wrap, spray mister,

etc. for texture

Tweezers

Razor blade

Several small sea and synthetic sponges for daubing

Facial tissue

for placing rock salt, leaves, etc.


for scratching

through dry paint

and paper towels

for blotting

For additional information on tools and lechnitpies,


to

my

and

refer

other books Sketching Your Favorite Subjects in Pen

Ink, Creating Textures in Pen

Drawing In Pen and Ink,

all

& Ink

With Watcrcolor and

published by North Light Books.

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colors, consisting of a

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colors will produce vibrant, accurate

secondary colors (oranges, greens and

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and cool base colors together. Shading

colors,

browns and

be mixed by combining complementary

(colors opposite

ite

triangular-shaped hues represent a few of my favor-

premixed tube

colors.

Having them on hand

is

conve-

nient, but optional.

Red, yellow

and blue can be obtained by combining the related warm

neutrals can

The

simple palette of six basic


cool red, yellow and blue.

each other on the color wheel).

colors

1.

Gamboge

2.

Thalo Yellow Green

3.

Yellow Ochre

4.

Sap Green

5.

Thalo Green

6.

Burnt Sienna

7.

Sepia

8.

Brown Madder

9.

Burnt

Umber

10.

Payne's Gray

11.

Thalo Red (hard

I
to duplicate

by mixing)

12

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17

BENEATH THE TREES,

S"X9Vi" (20.3cm X 24.1cm),

watercolor washes textured with


18

salt

and penwork

CHAPTER TWO

THE FOREST FLOOR


Pause

moment

for a

the

in

deep

branches sway

forest. (>oniter antl hariiwooil

overhead, easting dappled leaf patterns across the forest

floor.

mosses, ferns and vine-like ground cover spring from the rich

among

bark of fallen giants. Look carefully

woodland wildflowers.

X'iolets, lilies

hiding places

splendor. Bold

in (|uiet

Here, lush

humus

or the

the greenery and see the shy

and dwarf orchids peek out from

their

mushrooms pop up and stand guard

like toy soldiers in oversi/cd helmets.

On

the forest floor, a cathedral quiet prevails, broken only by a chorus of

thicket birds, the preaching of a zealous squirrel and the


tree frogs.

It

invites the

wanderer

to linger,

and the

with a variety of shapes, hues and textures

where

laid

out

amen echoes

artist to
in

fill

of the

sketchbook

earthly elegance. But

to begin.-*

In this chapter

have "zeroed in" on

subjects and suggested

some easy ways

and fauna can be broken down

lifelike earth

to bring

them

to portray

my

favorite forest floor

them. (Complicated

into basic shapes, or in the case of

plants, simply "printed" into place.

and texture

few of

to life.

Once
I'll

hues and the creation of

flora

some

they're sketched, just add color

guide you

in

the mixture of

realistic texture,

some

using a variety of fun

techniques.

When
I'll

the individual forest characters have

show you how

duplicate

my

to

combine them

paintings or alter

into the forest

w here the

them

sights,

the inspiration will lead your

become

into a composition.
to

fit

your

own

You

are

welcome

to

visions. Better yet, stroll

sounds and smells are

own

familiar old friends,

vivid,

and see where

creativity.

19

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11

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Cenf

LEAK

l.ri

TKR. S'x KT (20.3cm X

25.4cm). layered uatcrcolor

washes textured with spattering, stippling and pcnwnrk


31

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32

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34

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35

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Dorci.AS SoriRRKI..

8"

X 0'( 20.3cm X 25.4cm).


1

colored pcnuork

tinted with watercolor washes and detailed with India ink

37

LOW
38

TIDE, 7"X9" (17.8cm X

22.9cm), watercolor washes textured with penwork

CHAPTER THREE

TIDE POOLS AND


TROPICAL REEFS
It is

possible to wear a

because

that's just

full

smile of delight inside a snorkeling mask.

what happened the

first

into the fantasy world of the tropical reef.

believed.

Near the surface

to cobalt, then

it

undulated

deep ultramarine

backdrop swam wildly patterned


ited, as if

they had been designed

box of crayons. In
free
are

and

artistic license

takes on a

donned one and

colors

my

be

to

in a creative

this

frenzy by a child with a

watery realm, the imagination

new meaning.

azure

were completely uninhib-

new

is

set

Obser\'ation and visual recall

doubly important because on-location sketching

Although

floated

shades of turquoise, changing

shadowy depths. Against

whose

this anything-goes,

found the water too blue

in vivid

in the
fish

time

know,

is

next to impossible.

photographs never seem to capture the colors of the reef

in

accurate splendor, they are valuable in recording shapes, textures and tricky
light patterns. Inexpensive, single-use

underwater cameras can provide ex-

down

cellent resource material and are effective

Perhaps you're

to ten feet.

landlubber and don't like the idea of swimming with the

denizens of the deep, tropical or otherwise.

There are alternatives. Most

marine aquariums have reef exhibits where the beauty of the undersea world

may be enjoyed and sketched

in

dry comfort. Or check out

pet store special-

izing in saltwater fish.

Along the rocky

coasts, the cold water

undersea garden: the tide pool. Here,

at

oceans form their

low

own

tide, the incjuisitive

type of
explorer

can find one visual treasure after another. Seaweeds, anemones, urchins,

mollusks and

starfish cling to the

craggy walls

in bright

profusion, while tiny

crabs scurry over a mosaic floor of broken shells and water-polished pebbles.

Tiny

fish in

sand-colored camouflage dart into the shadows to hide. Always,

there's the unexpected: Perhaps you'll spot a fragile jellyfish, trapped

receding

tide.

by the

As you walk out among the tide pools, keep the following

suggestions in mind. Slip-resistant shoes are a must. Polarized sunglasses will

help you see into the pools more clearly.


if

you plan

to sketch.

Above

all.

A campstool will

watch the tide

the

add

to

your comfort

receding water will

return, often with surprising swiftness.

.^9

i^

sm:

f\CcofioC

cinimiUs (poUjj^s)

u//iif/i/svirrotmC

proviAjt/5 its''cx)l^adibyVofijrtm^

ThMwOreMob

r
to ifmJx:} Cirei/namCliUc^

pooustuy curap,
'yfformuconJ.

(Vrqiect SciC^cjrowwi
ijuitlru a.pajpe/r

or

ifiLproucCure/

c(mtuC vuiihy
Cwey^ Gofd^C fiJLou;C
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tunsPi

^-^.

UdrttpO

of ZjtCCouJ Oolvrc,

stvpplctjork
Us,50)

^-x-:v

itximrt 01(16
i^jo(tcC
'..

withy

Tirown a/ncC

work.
(.26,. 36)

3tsidji5nwn&rotcs coraS -tapes,

ouer^nzlhnma

vcvricti(

tfiere cire o/n

ofsponats sea/mthjzrs
Vuddmavulfc
'Vnai

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mui stu iuaJc&r^ppuht dpatc^fi mrf^^
cksvar]/ CRje/T 'tfij^retfcoreo/. tc/ar^
on di^u surficco R/npC Cct tke.
tfiz

u/rdssc
fvsfu myfidSits
"ffiis Coorcjt

rtefs fru/n ^orik


CoiroCnia/ to

/^yorkmcj m svuvCC
tfion.^

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(iJdY'itcO

mixes

of 5im/mis^
mribtrs imd

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Textuufc

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t/uL

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smu.^

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ITlostoftkst -ftsfh^art

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ilrowitlru(tpapjMr

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1"

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{ScaJis

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(^AiCcmtio-

Trioorisfi

42

Ooamth Seaficrst

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5vtootflficu{ UncGorn/

Spdthtr

T^Mmd fkrrobftsfi/
(5oufurn

//''

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^
/

st\jU(S

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Tiiffer

3"

^
V^'

kai ovit

A\

lA/ert

skdcfbtcCfrompnows

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Tfwuj cjTOw to ciSovct

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uCiitcmt

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0[({ cardC

form^tumy^ tf^iu/reci

Und^ic/cL5h

tJ(V5 1 vciriioO

(to c^yrn^(MMi&ifeCl^>(AJColors: Ocfirt

Bwrni

UmSe/r i^/nfi

touA^kiS

44

oromaeoffcsJ^l Oc/ttc,
^/za(o B[ui^ a/ru^ 5roum5.

of Ora/n^e^.

I'VRVMin

Bl

TTKRFI.Y

ISH. 8"x 10" (20..km X 25.4cm). watcr-

color with salt and alcohol techniques and

pen and ink stippling


45

rook hrevtc^e.'^^ 5ij misiiza izm{^oc^ma


tfvur 5pmuj aorsctCj^md.

fT^^^^

BiA/miV/mSe/r:

m. ct
of 7)iaJh

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of T^lh TS/m^ MlJi^lrayn(;C ''cicHu

pizCMt

SrouM-s!'

Vm. work ouerreefts JncCioy^^


46

62^;

'%^-*;;
TRIGGER FISH. S'x
color with salt

10" (20.3cm

25.4cm). water-

and alcohol techniques and penwork

5
rookij shores, wbfiy

iuvifi/5e^ wcuercmipCsm/
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59ml, withy p(jti^iC Srmfi/


48

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works^u^dCwc:(ftcti^hjt5C HujUu
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49

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twmjfry tfut mterttiplM'C


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.

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51

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52

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/
,

54

pt65[e.s

CorpiUpmy

IDK

I'ooi.

rKRRiroRY.

8"

10" (20.3cm

X 25.4cm).

layered

watcrcolor washes textured with penwork and spatter

55

fm'Pit [^Ccjfio pCci/nts [^e puSjmdcmJy


tipCciJ>cweAs wlwe. bfiuj oCma to

jfi)t

m/

tfvi

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0011565,

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56

ipfrpiujmcj,

6ou/mchypai^c^iiyr

IN(;()MIN(.

IDK.

Pen and ink drawing

7"

X 9'/;"

( 1

7.8cm X :4.1cm).

tinted with watercolor washes

57

l...(:'.vi'~

MKADOWLARK,

8"

flowers, watercolor

58

10" (20.3cm

X 25.4cm), masked

wash and Sepia ink detailing

CHAPTER FOUR

FIELDS OF FLOWERS
Like

patchwork

a bright

quilt cast across a bed, the spring wildflowers ripple

across the face of the prairie, dancing in the dappled light of the forest

ows and meandering


sun.

Wherever there

gaily through the

are

open

open countryside

mead-

to celebrate the

Some blossoms
hiding among the

fields, there are wildflowers.

are bold with carnival-bright colors, while others are shy,

grasses in subtle pastel dress. .Ml are beautiful. In nature's garden, there are

no weeds

each

Hach bud, blossom,

plant has a purpose.

leaf

and seed

is

potential subject for the sketchbook.


In the field, the flowers

studio with cut flowers.

have

The

a vitality that

still life is

just that

cannot be duplicated

the

life

still

in

the

force begin-

ning to ebb from the blossoms.


Sit

awhile

among

the flowers of the field and notice

how

the sun plays

The

across the petals, creating a translucent (juality not unlike stained glass.

colors are brighter in the natural light, requiring purer color mixtures on your
palette.

Linger long enough and you

only inhabitants of the

birdsong

is all

about.

.A

fmding mission, while

Wearing the earthy

fields.

and

of insects and the twitter of the

hummingbird may zoom by on an important


butterflies

flit

colors of the

They

hum

The

watch among the grasses. Don't be


flower paintings.

will see that the flowers are not the

among

the flowers in

soil, rabbits, prairie

afraid to

add

a silent ritual.

dogs and mice keep

a creature or

two

to

your

can provide an additional splash of color (butterflies

birds), create a point of interest (creeping insects) or

contrast hues (small animals). But don't try to draw

devoid of background,

nectar-

is

it

all.

provide earthy

simple study,

often more pleasing to the eye than an overwhelm-

ing tangle of foliage.

On

the following pages the weather

is

clear, the flowers are in full

and the animals arc cooperative, so don your sunglasses and

join

me

bloom
in

the

field of flowers.

59

I)rmnm

^fit

Tk^^Joujer

owiCM'p ds dfrmrui
vCossom.

omte^ t5 TnacH

3ujm/ Mifi/

{[/ymposvbc
^.ijpt

SCossom

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njcuru arejcitlAA nccorc

3) ii/nt5fv

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Ifii

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/>-

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m^

ojs a.

-prtCtmrncuru cCrcuuma /of


n cQjt(ii(ji( Ip&n amC^tJh^

siudoj or iA/a^ic/rcoihr pidmrn.


i/nttrcst mpCrenCtSTTTJ ic
skttcin/.

60

Vtt^C
SiijCe

-VistiC

OVfiTPj

5epiiu.

fiipi/rve/ryt.

3Cui ^[ac\
A) Becji/n ujitk/

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of

coCor. Jjib

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mpcwnte^C

om CoAJivr i/nib
UCtrayncunrnju

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1/M

shadows a/npC

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ofpdunt Ld6ich qlmj^


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Cdutr.

fUprevzons

UJitJ^clfi^
rovmcC 6ru5h orpe/fv

l/totjutmiTi

fmcC5ap Ijrcmy

tauejrs shou).
61

'

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expe/rmm^

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iAjv6li/

shape, (mpi5ii5t

rau
WLthy

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fieioiCe

(^prniSoaey.

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i\

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pure

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ilk,

ce/rdarcuim^ 'Broun

mix io
,

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t/k

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Caatris
ptmiTiofTJico
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l^ti^yitfvii toacfi

were 5oftemp{

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cp^emfroin

aitpB aMuiy.
cCeim^dmnp^/7o.

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with/ /ndtco

to p[iif(J7je^f^otuor
cemeyr.

mth cCamp 3u/rli!ico


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f^eA^c&nt&r

of droAsnWoMMr

ii^e5 ofiM. rm pe^,

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<

7^5

15

dpe^icmdBurnt

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7ni^/.

Cfiicoruroots ciyncC
cprowrwC thjum for use

us

J fas

a. c^offet

u/fiwisicup

fCadt '6taa/n cuttlu

n Sup Crcm u/as/i,

V/
thi Sasi's
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6tza/mJi

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to

tuicCb

thL"tui!^"

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mx

or
Use [tftfwpcn a/nfCJ^HjL Vwltt 7n/i/.

iJnm fcwniurwj wkitV, Oicij J-iowers,

tfii

Sackarowrid

'pet^rCi/j

App[u mcL^kmaflkicC to S[ock

Eiv&rCcistika

auot 6h.

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to Ccuj vrv ihn ecurthu

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SCossams.
Vrtj SrtLsh vri dztaiCs
i^mjcCpamt thifoCikcio
^ficidjL thjL

Cmji'^ to fLortnJur

cdfi^

tkjiflbujer5. Kiubp tt Cicjfib,

Coo5t a/nd a/yu.

[jTMA

Quern/

Insects
(Och/rca/rwCiyoyrujpO
^

Insects i^twou&tmdriuPiitl^^

browyiujajshiis,

Mo tJkfl^(lCiaptsirvj of tJij^^
c!fr[i55Lpmi^5.
cii^iib^

^e

plHallkO

llwefore if: 15

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epiLWe^eoCon 5ffhrc pen

O/ft 5Cf?n o-f /mfiwiyrl66$.

tjra.'osfiopper

pm

tjar^^

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6roum

Indicb Inkpe/nuxirlQ,.)

J3tGji/ro

otct,

with

showikcj

J^MpaJjL

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5ectloyi5,
fltCcui rutitorccC

SlincCurwi. Ctt

Ujtwnt 5uJ[i[CovuiiiiC
'FkCeitt: [/mon Ifedciu,
OoPi/rt, !fru/m6cccyher
66

'ka

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hi

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Cook of u/etcfn-u/et o/ruCsuCt

tcoPmwu3 dcCoCf
(R^feJiCmcj of cotton.

Timjfed: itCCouJ
Svrii^ to perc^,
SiyOt

mt

lAJltl^^.

^e^thirs u/erc te?(.turecC


^c^thy the Snct5i>r?a
tecfmicjiMjiy.

'^cmaJjL

5tpicu /nA.

5[ip [jTU/n/ThiCo

u/itliyci Ctafit ^p&ncc(/

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cmUpi

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to

ci

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on

acCdt twruily wcishi^


to sfuu(e. iMocC /id^

contour^
of thbboc^.

vOifmjiy thji

1^st uympU/ne/ntdru
coCor5 to c^k(/rU

nnitturts.

2) lexbu/rt

thut pnAaMt<> ^tht LcustcA^n


hciCfof thtU.S.on

sfiort cri55-^

cross [mis m^
Brvum or 5cpaV
7n^. (./dor.zj)

69

bfcoCSr

wimftstwi^lx

i^Cami) su/rfdct

Uoytov5vs

coasn of^

5a/rl pCroMjrLfret

7^ Cowor a/rms ujuc


tty^iuA'tcC tuitlv 6roujn/

70

KI.()RA[,

KKS TIN

Al.. 8"

10" (2n.3cm

25.4cm). watcrcolor washes with colored inkwork


71

S
[jrou/nd mvrreCs
wrt

^ Mihe^

5iMil^m [^fpejiTfi^

tPi.

Cutter

terwCma to 6t C(W[je/r. BotPii^c SwrrotoeA^.


^fm smzCCprm'ihc^hr mouse. t5 fit
fhomt im^ony[j tl^cpra^e3^m^floajer5. 165

flump ijTiMj 60M ujowl^provu^a. nuz^


"pomb of iMert^b' "to cifCoriiCstudlj.
fmzi(y

'BCRyck-t[ii[edy ^

CcujCA'tdC

Vrij' Sru5fi
ujiz5pi5

diCailmcj cR/er

of t^e/CCok/ Oohre.,

"^wr piwtcitcC cucCh 5&piw


mkj wi a ^6 pon (Criss.

cro55 Ctm^s.)

apn^ipiy \prownuC

^mi^rtO[foumdm^
inji 'Dpucjtbrusia. cprc^sIviyrwC^

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mutLortb of

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T^i

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tfuL MuCwest. M5
cocut vmCtsfrom cfrnoj
io real's /v-5roujyi
vlSovc cmcCoo/iit^t^ btCouJ.
72

of??2onta/nci 60

/^ Casi&rn CoHaniniCis

tki
common "UtiXt^ 6roum ra^Sit ' of
tfitpmirizyreaioTv! 7t/2^5t5U7/^
thickit5 rnipC 6ru5hpi/<?^ f^oppmi
^
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of Biornt
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/? Ct'cjfiitAjcish

15

irrushidovora.
7)7015t: 5U/Kfa.u^

Cemjma
ufiiticireas

wnmrntecC.

Ltt
p(yu.

fl 5u:oncCtAja5h oftkn
savmjL liMi is cCrvjoricslyd
ovtr thjiftrst UMish t/?v

shadouJ aA't[i5 U5t


VL 3rmCCf^at or 5tro/^
Brush a/rwCdoTi 't ovc/r

thji

(wd 5>tpivu mlv io


add crisb- cross fwivr
dttc/ntion

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Vb 6li/np(ju^[M(nj^ thji

to flair di/rlctborv ^tncC

iCCwmmntiCfrb crt5cen

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vru withj a. mT.orr

iAjUfvPt f^n/mp rou/nd^

strohjL'?. Voi^

6rvcsk.
73

'RnwUi

flnc{ ^lornCluce.

~ Beslcpu

LoajowL'

VeoMUj EveA-Castma

Cexi,

' fmprtssed^

Impressed
Cea.f

74

RAHHl

AM)

I.OH

\l.

watcrcolor and

LACK.

X lU

Ju..km X 2.S.4cm

Scpia/I'aync's (Jray ink

>,

wash

75

76


CHAPTER FIVE

DESERT DRYLANDS
The word

"tlcscrt" suggests a dry, harsh landscape of rocks, sand

covered vegetation. Yet the desert can be


for those

Rocks

who

sheen by desert sand and wind. The variety of

are polished to a

to pick

it

of high contrast and beauty

take the time to really look.

types and colors are great.

need

a place

and thorn-

up and

To

feel the

fully appreciate a

warmth of

in

it

smooth desert pebble, you

the palm of your hand.

be speckled with quartz, marbled with minerals or simply tinted

It

may

a delicate,

pastel hue.

Raise your sights to the hori/on. Study the grand rock formations, carved

by the elements into statuesque shapes.

The

emphasizing the contours.

The

light plays

colors are subtle

over their surface,

and earthy, the same mix-

tures that linger in the corners of a well-used watercolor palette.

Stand very

among

still

and lower your gaze. Let your eyes explore the ground,

the scattered stones and cast shadows, until you spot

There, staring

at

you from the crest of

rhythmic movement of its sides signals

him with your pen, pencil

a rock,

life

or camera,

its

is

basking

movement.

lizard.

camouflage

is

Only the

perfect!

Catch

but keep your distance or

he'll

disappear.

The

thorny bits of vegetation look shri\eled and dead, but there

within. Spring rains are

splendor.

The

desert in

all

that are

needed

bloom presents

to

awaken them

a rich contrast

to

is

life

breathtaking

of austerity and deli-

cate beauty, unsurpassed elsewhere. Orange, yellow and white poppies, blue

lupines and magenta sand verbenas carpet the desert floor with color, while
stark cacti put on

crowns of

vivid, translucent blossoms. If

the earthy, prickly cactus pads portrayed

coming

to life in layered watercolor

then you're ready to appreciate the

SPRING DESKK T I.ANDSCAPK.

10"

7'/i"

in

washes

pen and

ink,

you can imagine

and the blossoms

the bold against the

artistic assets

fragile

of the desert drylands.

(25.4cm X 19.1cm). watercolor washes and

.Scpia

mkwork
77

Sim^sicm,
^fi3t5n[iCC5tom3u/erepu;k^

/-

5vorf{icz

5&rpe/ntmjiy

l/r^m^u/or^
Aaaiey

'

dCcofioC u/a6 SrtisfuicC


ifi/iataj/i

to

Cmfi6m^

?n

7nciiPUiMy
CofxTftcCvnJis
(yuvr Ua/nvp

Gtmrbi^
78

Once viow'ut musi&rtcC ifut vlpiobi/my


of tkse/rt roo^s^ uovtcari(iiioCui ^n^b
of ^ttrtst ujitnya- daskinpj Cizard/
^ThyOj pirt most Ci/zeyf(/ ^o ^SefamcC
Old iJro^ tfuL op/n darma ifui woA^m
vKyrnma hours or l^iit PiftC/Y^nocn.

'
,

Pe/n

imdmJ^ cross

h^tcfurm u/orks u^eCC 60


5 iccjcjts t 'tFuu/r 5cciCe.s.

Lv7jwc(y
La/rat ^ipLtftcC sc(i[5

7-IZ"

CoCCaredy tzwrcC~

^7^

^^f^^^^
dwrk

5a/ncCs. (Tncdc)

crossfidtcfi/

Lid)

U/ork,, U/pLsfuixC

Ciaftt^

i^/Ltfi^ Ocfir^'i^ Su/Tbruis

HcnrneoC Ciza/r(^

''Hornedtoad"
Z'Cp

79

U^,-^^)

color tAMskt^. 5pcvt!6er u/a^s i^e^^l^

80

/ARD ON ROCKV GROl ND

II. <>'

.V

5.J^iu

a 20..km).

1mu>.. l^^ iji.iN>ini;

(mlcil "Itn

.ItCft.

'

ijnr \N.)sncs

81

im^isurrpwncCi/zmz.
^ec>b GP(/mjywfi^iMjt

f)i^5

ofocmrc^

for 5n^d^ bkut

pe/nu/or^.
,

/itki^

'Onwrb

Miilz fins p[mk-

arclk/m 5uff
i^oMj Im
m2^5

~~

Oontawrfm5

''//u

Onsscro55

Cms

'Hwms

'-[ookmoj

5oiotfiwc5vern uC^5erte^
fCo(^kmcj 6ocjiJwrm^
coveAyjs.

^Iwur ec^ih'iom

W'/'''4'h

'

^/'/f.i' ,/h'\

'li

5o(^tC5

3u/rni UmS'&r
c^seA'iflouytrs,
82

rou/rwC 5ri4^5pi/ are eastj uya(^s

YnSlz sdCt
a/rwC6rti5/v

Ocictios UJren

5pYmkCtcCm6o a.
'?noi5t Burnt UmSer
toush

3u/rrowma OujC

iAjUfiy5epuiy
Grv'55 cross

pen Cm^s.
(.ZS)

3wrrvt

'K/fnSeA^

l^oaciTU/Tzne^
yi(/ra.CCe.Ca/ncCoori6our-

[mts /^t(f> to 3fuxu thj^


Tnotumy cf tht Sac^
Cea.
'^gJrtii^'^Vi
83

md^pjo to stcpConw ape/r 3U'ffic>i&rU:'


3[^e. iJdsfi

dCoom i'5 cirM'C

stafU:,

of 5cif^ Cfrem

uyorthu of^

Cfrez/n /ora/n^^

OpiCvforntPi/

Voppu

CfTM

fCcii uasfi of Ciicmlu/rn

wct'fb a, u/a^h

of

3wmt 5wrw.ci/
fUCcCCjrimSdolw
'Ka^C to ci5aiye.
mtxtbore fmci
[^Ufmpe.ti[
cotor
nnw cmhr.

'

aCuxes of
tfiz orimat
-mtAturt "Twzr
tki Suae of eojck pe6a.C
UJcCC izd(c:oCor t^ncu
T%ji

foppvj

ce/nttrcs c(zfmecC

ijjUfv Vu/rntStmnay
or3rouMthik.(A/or/ey,

84

VriokCi/j

"Jt'AtiorccCtjtifiy

Thdo

'RdC/ Thio

l/tottt

mixturt^

toucfuwCto wet^

jfotutr PiM^

3roujnvnk.

5iA/rf(ZO^ tAjith^
tfui
t?o.

(.Z6)

tip of a.

y rou/n[

ijork.

brt/isfi/

pCrmn/m 6tam.
pe/nciO

skttC'fb.

Smu{Vtr5e/)v^ (Above)
[oi/t^

5cmM 50i(y.

}65

briafit mciae/n6a.
cffuj[itcru)[br

iiAmcdrfocC adc{iicm'^
to pt^trt Oz/mthcape^
rou/ncC diicuC

texture u/crc

Lwpvruu

cmvC biui

cirwC
pCa/rvi3

nnimu

i^c ibu/rwCm/
te/rrcvOrz'^

cmcC

tfiur ptorpl.- h[ajL

6Co55ams proiHxO^ n.
ptrftct oontrasi io
tfuL cfm/ncjc

popptis tfwu

85

Hncki^^owncC-

Um6e/r^ Burnt StrnnMy^^m^Pi^ toucJi


of 5{ip (jrem,)

MaskotU
Ua/i/es Pi/ncC

3 flppkjpi ifwn cjfuze ofow/mjt.

biidsu/fiili

UriM
f^)putci/

86

ol

QUAIL AND POPPIES. 8"X

10" (20.3cm

X 25.4cm). mixed media com-

bining India ink. layered waterculor washes and brown ink stippling

87

3e^i/n tkt cuoius -ffowcr

7^ f^rsi/ im^Hrw{^ cornSinlfia

of [^iid7?uc(J^Uea^ /m(^

ifuL -zexbiA/i^ts cfpe/Ti

om^cmpC^

c^im

waJ;&rcoCpr wiis
tfk
skttcfivncj cfa. ci^tus m/Siam/

iMt(;aAy u/cdcr-coCor 6Cos50m'?tA/as5o "^^tur^C"


mpit it re7mm5 ont ofm^
tfiorn'? pu^izmsi?

Sktbckyhnfimb:
\.

7?705t cJvcti i^c

TItl tfi^ym^on

O/rramtt^my

to ieTiu/Tc tk^
[Contou/r fimpC

Crosshputchy

PidcCpiiowcfi

oforcmqt^ ((/nd

Vwrpfc

'Ifwdo X/iolittd

Odctuuk
KcM) S[o55cnn Uafit

{frtiit is pwrp[t''j

mitC6ra/n5tiioeAt!
Pi/rt

tmtecC wcchy

iJiaib Ifreen, T/inlh


VooiJit

md

paXe^tix.
88

[{yrtij

onmmrcs

1^^^
OdctiA/p Sodif o/tipC thorns

rem^td'

Cantowr dm'? /% 3iornd5(irmvJnJi

3aG^[jrownc{tAy[i5 teAiurepC
ijjitiv ai6Ct sa^t cmcC rocky
5ciCt z^ sua ifest c{tata^6

ii*

'/

:^

XT'
\
/

^
*^

ji\i\

va/Tufrmi

dhp

VMiuyto

/^/

'rtdcCtih/ m/i^.

^jkf>coCpr

camSvnayduyn/'

io vidnU^uA^h/'
i/riimsiuf.

'V

re

>.
/^

IC \ \
i\

'fuYiaC

^\

\\

^f^=^^ Cocdiums

t/k tfiorns
/?) Ou^ifm^
uiitfb
18 or Z5 pe/n.
PL

pe/ncily.

vn tfm sfuwt of

avvrCcippvna SCosscnvs
to prtstrut'' thiL
spojot.

^CouJtr

oiubCwiib vs

not

YfmCo

1h>t con6oijiror crossfwutcfi

Cmis to

^/

5/iade th 5odiyf of
thz coyctcis. 7^ th/yrns / ^
p(At shcu;(ju

ojc^ con {;our

w Vpu/nt

tfit SCosscrm tcsma l^ercc


lA/ashes, a/ni^Ctmt^ tfv^ cdctus
6o(yCoj

wii^ fta'/ii ii/as/tS of

i^Mp/unt^ ^WiU ctfCc^ic


ihz 6oC{^^ ihorm^ ofp^^ir^^^/^u^

ffui SbrpuA/SeA'nj HtplMfiooj

ccictus 15 5oyum?azfor^
tts rec'^ strciu/Sem/
fliiyorej;Cfrvtit^

90

91

'

5aqMi^o
7ht

5^ iAJdspa&netcCujtek a,
SCottedtuit/va.

iAJitfvi^

of

wasft

w/'xkuA't

UCirniniiriMjt'B^

mjcC "TlfiaCo UtoCtt.

wncC thorm

cure

uasha^

-ujithj l/jtCCow Ocfvrc

'Bwrnt U/m6t:
Vcicius So^

77?aCo yeCiku/
Cjramj

CjroAj.

Septpu mk. u/ork

92

SAGTARO. 8"X

10" (20.3cm

X 25.4cm).

layered

watcrcolor washes, textured with .Sepia ink

93

^.^

^wliK HIJI
1

^^^^^^H

'

V^l

l'

uhIII m\

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^Ht mJm

1
^'J,

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mmkI1f^Hlffl

CYPRESS WETLAND. 8"X

10" (20.3cm

X 25.4cm),

watercolor detailed with Payne's Gray penwork

94

-'F-

CHAPTER

SIX

PONDS, SWAMPS

AND MARSHES

Welcome

Here water

to the wetlands.

looks like

with pools of water,

it's

considered

moving water intermix with


in

the main feature. If the wetland

with varied grasses, sedges, rushes and cattails merged

a prairie

themselves

is

the soft

marsh.

forest lands,

mud, swamp

it's

When

bodies of

swamp.

still

or slowly

In order to support

trees like the Bald

Cypress and the

Tupelo have buttressed trunks and vast root systems. Springing from the
roots are gnarled

As seen

in

knees that

above the water

rise

wooden

like

stalagmites.

swamplands and marshes

the painting on the opposite page,

can be mingled. Towering Bald Cypresses yield to dense mats of rushes,

which
lily

in turn

give

way

to the

deeper waters of

pond and

floating rafts of

pads.

As an

artist

and amateur

naturalist,

am

fascinated by

all

types of wetlands

with their vast array of unique plants and animals. In the brightly

lit

marshes,

the earthy greens and browns of the graceful rushes set off the splendor of
the waterfowls to perfection. Water reflections are vivid and as varied as

kaleidoscope.

The
shadow

filtered light of the

swamp adds

the drama of extreme highlight and

to a habitat already rich in intrigue.

contrasts, unusual shapes

Here

is

treasure chest of value

and diverse textures. In your mind's eye, consider

sediment-stained waters lapping

lazily against a

rough and twisted cypress

knee. Present are the rich greens of water plants, mingled with dollops of
sunlight.

dragonfly hovers above the scene, adding a dash of iridescent color. .\nd

there at the base of the cypress knee, a turtle hides in subtle camouflage. If
this vision excites

your

artist's

imagination, then

it's

boots and venture into the wetlands. In this chapter,

some of my

swampy

favorite

make sketching them


.\

flora

good place

introduce you to
will

easier.

for the

might swim, crawl or

I'll

and fauna and the techniques that

word of caution, from personal experience

are not a

time to put on your

the southern swamplands

novice to explore alone.

slither out of those

One

never knows what

deep and mysterious shadows!

95

MC^d/? 5e/m io sftourc icjo

6a5to sPuxpes -

snupeU^

po^ntma iou/cora!

tfit t(jij

A/aiiioli^ujii^ier'

coior sfkjticin/

cfa

EmoumLarcb

tfou/TWi

(.le)

piviiiCdSlk

on

,^

"Muir^h^imcC h/d&rfowC
i/jaJjorcoCorpiite^^c

^fuLZi^izsiiAjit^Ctfc

pure

araUicr

ifiZ5

hjplc/sliitciv.

cmd

fooi:tcC sni/um/me4<B
stiCb ' CemtcC5t{iCkej^3

\/Uprt55

5tC(pfwzpose for lom.

rtcor(tfmyi

paJMik^s.

formic

7ju Stt^5

of i;{ooak5 o/ncCaeest

uCi'fferiMy 3fiac>c.

pU: tht iop

The

adosei&nds

cf ^/lu/r

6^^/^5.

rwri/

>
Cadmium
^rfui[o
I/] I

uu

of Bwy-rvtUrriSe^
Ibu/rnt Sii/rmji/

6lmc(edu/ctky

MCt

crv55croa3

mJ^

fwre o/rifC ihiJ^c 60


^vujatst fe^cthir 6e?(u/res

kitatl/mcj

(ASm/t)- mz/tMil^an^Ouok.
97

tmtccC

of-iextu/rc 6ecomes
e>ofi^

/Itcffif

UJl

/mjeyrej^Couaahzs

98

SMfroa
A/

T) PreCwima/Tij pe/nciO skticfiy

cfiarics

of croctli^ pon/^pi^

suddon. 5puz5fv an/notmces


tkt ^656^266 offrogs oky <^/^

Tlortfm'n LexypcurcC /raj5 c^w. 5&

colled e,itltr' ijrejm. or 6roum. T/its


onjL tuas cuaslvwCcud/i^ fa^tr^ of
wcbtarco^Cor^

tkjm [:(iLta,i&cC' cutchj

6roiAjnmk^

J^

marks

(.z^?)

^^.f^W

Ocicimimy

ove/rpiCC

witk

a,

ofljdhjOohrc

wabficff

Burnt

ljtC[ouj

Urr^eY'

Cjrem.

is (urc
_

niSwrmi

Swrurwu^

frcfni

T/tiuy,

[irwCiHkys
99

3mi/iv

tuUfiy [tpmctl/skitcfi
"Tnsi

5pa:tcoCtzed/ lecwts are.

ouit/i^ /Mera^CcufOy&riz)/^

.25' .55 ni5.

UcdmuM iJeJ^lM,
- '..

.-

..."".'"^*C>''<"' '

.'

-r^^-y^jjl/v

^^^^SM^^'^W^M^^^>
"'!.';:/

\
^3urn5imna^&
3a/p
towofiof 3pip

100

l/rc&n,

'nL3

(5)

A^ciac(j[{iluma,(/ Ccuije/r3 ofoJcUercoCoy

i/w pcuhl^chg.
HeMejOLk thohyMje/ri^tj Sefort adctmcj
to

5fijoucOL

curwC c(.ft^n^

wrwtfwK
T5(Muci/rwC5of6e/ri e,dije3 oui^ifva. o/^cm^ c^(k/mp

stroke or rou/rifC^Hs/i.

5ajp

UstOLpiisieC

iuiifo armature,

'3wrnty

of T^m>5 Cjrm >


3u/rntlM6eK

3m/m

3brokz

^usfu

v&r50(yrv of i/215 vifA

60 oi/erCmj ikeflowi

pttuCs.

'

lUI

Ik th,

Jj^ PmcC

iJnk/ u/drH u/a^6

'ompji^e6cc{fprs^,

^<9e

tfum oyerl^ciicC

~
itxtwrdC
CGntni5t tf^ florae

'for

complMninis //^

VmciC

.X

tfk 5t^CCfroa.

u/ork.

102

II.V

POM). 8"x

10" (20.

km

>.

J.S.-km). India ink

>

pled drawing, overlaid with layered watercolor washes

103

yhise pufuizico mstcts

ujctfiAd no.

o/rc ci

common.

Ctafit

ci

feMuC

rovmcC

pm

.1^
imcC /ncdcu
iAjitfi

Use [takiu/ask^

of SnollpproiMcC
coCor to

tmtr

VmnetCf/izs foCc{
6cickoJa/r[C

rest.
TJiio

iJloltt

&

UttroMO/rmo

3(ml

it/mcj
ifye/iri

mto
iAjitfO Pi

sUjlics.

'ptdadnfCij

X>r^onf/us
sprtoioCih^^
iAJtkas tAj/iiUyput rest.

T/ems
5rui5ti;C

i/itc(ci/9np

%rbl/et
Ofhe/rifouncC Siiskma

Uxi

m/ or

ma^ dMcCCmh 3toSfeci5


to 5ketcfit^thz

0[d 5li[[u{l5 faJjiii

tutZcC.

pmcCweatlwrai^^o

iL/e/rccisa^.

C6o:

peaked/ uic^ Iciwred


ijcUe/rcoCor uashLs.

to

fMJo i/- lP2ovecCcCo5eA^


Urbdbr3tc(vof
:3o7i Tu/riCt'^

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?7,5 [}rciij

zantowr Ct/riop^^/n tjork.


imttoCtAJcth. tAjcUercolbrr
r.25)

tos

Dilir

Si^a/mp^ac^cfrou^^^

fora^owmmiiJjes
2A. BrUySficyyipiseconcC

tsftntsfud/
[frm.

uMj douyni^ -m/rwOu/nsfi/


ofSup [frm^ anpCBwK'i

pCastCo torup

imcC5tac/rt.

crc&p
3A. 'furifu^A' i:iwrh/yi/

3B. Use.

moist
io

rtyoB

'/y

''

stro^

arwsf}/

iexitorc wncC

re^d^sHapps

wo t^

CcujtrccC

b(^ukcjrovunc(/>

15ioV
pe/yustrok&5. ^

(indiM/lkli^)

'T^e/)ncn/e

106

Ct^mcCiTi^5ku> tf/Ufiy

forcarownpitinia&5'

p{.Cona p[u5tu>

Itm/ts wrt tkiok/


pCa/nt arouJ5 ck^ skaXCow
ujfiter, cU th Jid^es of

Enst Const ponds

a/rtas

5U^^Siy

WfliL sCouJ ^trecwzs.


5fiM/yi/.

(DWafit wpbtercobr

brvish/^

Pi/rt

to

ci

ShicfiuC

dmip

diwmuC^

lAjitk/ [Idcdii/jruiC

pamt fillers.

DddO
pprtdfCower
1ruvutcCvut(y

CvafitUi

idth/'
\kmvriJd
CooH PuCvkjb/

^luorld

'

^kio

Vcuimu/rri/

ptus UCtrpi'

lidlcuJtmd.
3n/p\j Ywn

5\w

lAYO/fVpiuS

Siip

tjrtt/ri
^

p^5 Vmnts ^(MA


107

Jlite Is

ifit

ifiji.

disuinyl^a

''Vtckere.pLezd' ^

sudrnp l^omns u/i^ifhy


Tmsforu^ stwna

108

Hk

PK;kkrklnvkkI).

8"

10" (20.3cm

washes textured with impressed

x 25.4cm).

layered watcrcolor

plastic wrap, blotting

and penwork
109

lAJDubcA^

retcCs arow^

tfvrotAj^ifi

ovct Thrtk miwtcci/ T/w


stcurofiAA roots pmcvipu/yi^

pmd plkCtcwtof.

Crcuftsmmy

brownmJ^or

rtosfi stccts a/yicCizrh5fr5


6hjt sauscu^Cikty
/mtcCSj cot{;cm/ 5ej;C

ohfm-plarl^p^

fmcL

i)n ci(.ZS

nib)

frayicCs vrre^tsitS/h
'Vcmyb c^itcciO Cawes

uvdhj vOyfucO Mixts

of 5af ^rem^'TJ^alh

TreCwv/nouriJi

penciO skjdcn

1hnuC
skbtck of
a.

cottaruj

fwcuC.

..^

3roum
110

wMuiwithpm.
I

CATTAIL

H.ACis. 8'x 10" (20.3cm X 25.4cm). watcrcolor washes

textured with blotting and alcohol spatter, enhanced with brown stippled pcnwnrk

111

MP,

HOOD

IN SlJMMKR, 8" X 10" (2().3cm X 25.4cm), watercolor washes textured with sepia and India ink penwork

CHAPTER SEVEN

MOUNTAINS, CRAGS

AND CREVICES

High and rocky

arc the

two words

that best describe the terrain featured in

Rocks are the nature of the mountains. The higher you

this chapter.

more apparent they become. Near the

go, the

top, stony cliff faces peer out

from

winter cloaks of snowy white. Like ancient patriarchs, the faces are seamed

and weathered with age. Their children are the rock boulders that break away
and romp rebelliously down the slopes, coming

Above the
dens.
life is

Upon

Beneath the

rocks, eagles soar.

the rocks, alpine flora clings to

to rest in great congregations.

rocks, the creatures build their

life.

In the

mountain highlands,

spartan and fast-paced. Plants don't waste time growing

bright blossoms are their glory and reproduction their mission,

racing the time clock in a precarious climate.

the tenacity of

life

As the seasons
the rocks

in a

that flourishes

cycle, melting

rhythm

One

tall.

all

can only stand

Large,

the while
in

awe

at

amid such hardship.

snow sends cascades of water dancing over

as old as the

mountains themselves. Light plays across

the falling water and sparkles like the crystals of a chandelier.

Is

it

the sound

or sight of the tumbling water that catches the stride of the passerby and

causes him to pause and appreciate.'' Be you naturalist, poet or painter, the

mountains are

compellng

pages we'll explore

inspiration.

Linger awhile, and

in

few of the mountains, crags and crevices.

you'll plan a trip of your

own

to

the following

Then

perhaps

pen and paint the delights of the alpine

scene.

113

sternerov (Sei^oim'^mtil^)

IjirniSom

crtvtbt'b m/c^Cif/s, ^f^^


sCopts^ i^/mro[;leiA ou/t crops

from

formmcj

bfiort^^

Mnst moySs

of SlM^'Orejm.' ro5tiie.5.
coCor u/ashzs.

ScopCjranj

TTiPiCo

iULifi^ aro/rv

ufto%t
^dCow Ocfyrt
aJ-eas

uCmw

Sojckarownd to
amtidst pusttC
fCowus.

5tom.crop un'CO
piCCow tfit ScuykarowocC
to St (WpCmCftrstr
7^ choul^ts up 60 tkt

wfmvofi'ht
114

Oyrtt/st".

^frcf?7b

oudsfi ijjctlv

InduhMk
con-^rasmtcj
{tKtu/ro

ihjKmu^rock.
Scu:/Q6jroo(/nd/

l^aks Vook /kwOLiclm/


rook5 (^t

Tii((i':>

oCcC

tfuL

swrfkcL cucush of fiufm.5 {^ra^,


'Bwrnt UmSc/r a/r2C z/coQx^.

friicjTrmiitcC st^in^js tkcbt


6rtcik off
tu/r?26[jt,

md

form

cfrtdt

/UCcCuftou "cdricjpiiCcUc^'
Pjrpuj^ a/npC6roujr?5 Jbr

sCopvmpids.

7lk5t rocks SexuymjL

va/ruMj of [tcfim/

fl

UMsh ofSfjui'Chrwn

is [xddju;C/uA. cis cl

rtfCectcan of IhcaC
""

^c;^"-

(X)Cor.

Wfiiljb thji ujcish. L5

'>tiCC^mp,

ixsti^yicoffoC

on scptw
Cicjfit tmoC Cu:fi/n/

to sirohjL

^lurthw toduurt

cd^k broum-

rocks

(jjCth^

[jrnoje

mjimrtyiuj

rwns

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colhrof ^hc motmTiizmJ

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strife^

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117

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118

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TALI

ROCK AND

PIKA. 8"x

10" (20.3cm

X 25.4cm),

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washes textured with spatter, alcohol streaks and India ink pcnwork
119

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120

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126

c(isci(55ecC

-<fj^

BALD EAGLE AND PENSTEMON.

8"

10" (20.3cm

25.4cm).

layered watcrcolor washes and ink stippling

127

INDEX

Alcohol, 15, 44-46, 53-55, 78,


110-111, 115, 119

Fish, 41-47, 53

Paint, 8

Talus rock, 112, 115, 118-119

Flowers, 17,60-61

Paper, 8

Tide

Parallel lines, 10, 33, 83

Toad, 16

pools, 39-58

Algae, 40, 48-49, 54, 56

alpine, 124, 126-127

Armadillo, 17

aquatic, 54, 100-103

Pebbles, 48, 54, 78. 80-81

Tropical reef, 39-58

desert, 84-93

Pen, 8

Turtle, 105

74-75

Barnacle, 49, 54

field, 59-65,

Birds

mountain, 114, 118-119

desert, 82-83, 86-87, 92

pond, 107-109

eagle, 125-127

wildflowers, 70-71, 84-87

hummingbird, 68-71

woodland, 32-35

Pika, 112, 116, 118-119

Underpainting, 46

Underwash, 44

Rabbit, 73-75

Razor blade,

Unpainted
125

85, 101, 121

marshland waterfowl, 96-98

Frogs, 28, 30, 99

thicket, 20, 24-25

Fur, 11

Rocks, 113-127

Salt, 9, 15, 21, 32, 41, 44-46, 52,

Glazing, 13, 32, 68, 84, 120. See

Blotting, 9, 14, 24, 36, 42, 83,


also

63, 65, 68, 74, 83, 89, 97,

Layering

122-124

101, 106, 109-111, 126

Bruising, 9, 14, 21, 24, 43, 68, 70,

104

Hair, 11

Cattail,.

15, 22-23, 26-27, 40,

110-111

Chipmunk, 117
Clouds, 126-127

116-117, 122

Scraping, 14, 56

dirty palette, 36, 46, 80, 88,

Coral, 40, 44, 48

graded, 13, 40, 43, 56

116, 118, 121, 124

heavy, 23

Insects, 66-67, 104

Sea creatures, 49-55


Shading, 32, 44, 48, 60, 62, 84,

92,99

Layering, 10, 13, 20, 26, 32, 44,


48, 53, 61-62, 72, 99-100,

Shadow,

layered, 30, 35-36, 44, 48, 53,

55-56, 61-62, 65, 69, 72, 78,


90, 92, 96-98, 100, 105, 107,

10, 86, 107, 120, 122,

110, 114, 116, 118, 124,

126-127

103, 106, 117, \22. See also

Criss cross lines, 11, 20- 21, 36,


69, 72-73, 82-83, 97-98,

116-117

Shells, 48-50,

Glazing; Wash, layered

Leaves, 15-16, 29-31, 65, 74-75,

10, 33, 42, 79, 88,

Lichen, 115, 118

Liquid

frisket, 14, 106, 120,

123

Detailing, 46, 50, 58, 61, 72, 79,

116

varied, 13, 29, 46, 48, 65-66,

113, 120-122

85, 104, 107, 110, 124


13, 22, 50-51, 56,

65, 72-73, 85

Eyes, 41, 73, 125

33, 43, 48,

9, 14, 26,

50-53, 56, 58, 65, 74, 86, 89,

105-106, 114, 123-124

106, 118, 124

wet, 14, 21-22. See also

27

43-44, 48, 54-55, 64-66, 74,

Masking,

107
pale, 52-53, 66, 121

Spattering, 14, 27, 30-31, 40,

Desert drylands, 77-94

light, 44, 49, 73, 79, 90. 104,

82-83, 104-105, 107, 110,

Snow,
Soil,

Lizard, 79-81

54

Sketching, 16-18, 22, 28, 68, 78,

124

90

Dry brushing,

28-29, 32, 42, 50-51,

56, 70,84-85, 114, 124

44,56,62,65,67,73, 115-

124-125

Crab, 50, 54

Crosshatching,

Scribble lines, 11,21,24,26,30,

124

lines, 10, 56, 82-83, 88,

90, 105, 121

96, 115, 118


flat, 13,

44, 65, 74, 106, 109, 120,

Color chart, 12

Contour

surface, 53, 61-63, 65,

70, 86, 92, 100, 104, 107,

dark, 27,41, 52, 114

101

Impressing,

damp

Sand, 48

Scratching, 36, 53, 73, 78, 85,

Cactus, 88-93

Wash, 16
blended, 51. See also Blending

Blending, 20, 35, 66, 101, 122,


125

area, 61,73, 117, 122,

9, 36, 50, 53, 73, 78,

on-

Water

80,83,86,92, 110-111,115,

cascading, 120-121

119, 121, 123

techniques using,

Sponging,

9,

15,50, 115, 118

Wet-

wet

14, 17, 21,

27, 30, 83, 123

Mice, 72

Squirrels, 36-37, 72, 117

Watercolor techniques, 13

Moose, 17

Stippling, 11,22-23,27-29,31,

Wavy

Moss,

21, 118, 120

Hnes, 11,24,82,98

33, 35, 40-41, 43-44, 48,

Wetlands, 95

Wet-on-wet,

Mountains, 113-127

50-52, 63, 66, 78, 86, 99-

Feathers, 11,97-98, 125-127

Mushroom,

100,102,104,110-111,114,

54, 65, 68, 74, 97, 105,

Ferns, 22-23, 25, 118

Muting, 20, 100-101, 105

118, 126

122-123

128

16, 26,

30

13, 21, 24, 40, 46,

ART TECHNIQUE

Painting Nature in Pen & Ink with Watercolor


Celebrate nature's beauty

Nice

as

in

pen, ink and watercolor with Claudia

your guide. With Claudia's

clear, friendly

step-by-step

ifuM. ifnj craUwrstrt.


i

instruction, you'll feel like you're right there with her, painting

quiet forest scenes, coral reefs teeming

v^^ith color, prairies,

ponds and mountains...

in

This book

is

six

ecosystems

and so much more

leading

length projects alive with the beauty and joy of nature.

and

you'll see

why

31193

uuCrottefl tupcd.
TTosc UrresiTitU/

birds,

and

inspiring.

/ pmdCsMkfv

to full-

Look

inside

thousands of artists have found Claudia's instruc-

tion both enlightening

itIamiinMrs
6u/rro<iJ fuitr

all.

packed with step-by-step demonstrations

fish, shells, rocks, butterflies

deserts,

faimC til. eastern'

net

hit

fiiiiiiijaud'i'JiK'hL

todun..