Don't Give Up So Fast! Sketchbook Woes.

The Subject Matter: Great Horned Owl (Bird Acre Sanctuary Maine)

We all have a collection. Those horrid, horrid sketchbook disasters. Oh we started out with good intentions, but then, we lost focus, or stiffened up because someone was looking over our shoulder or the subject matter was just too darn complicated. I would challenge any artist out there to show me a *perfect* sketch book from cover to cover. Oh. Ok. I do have a few...if you don't look too closely you wont notice the remnants of pages that have been torn out.

The offending attempt at sketching him

Well there is no perfect solution. A noted, professional, fantastically good artist instructor shared this bit of wisdom: When we go out with our camera and take pictures, only a few out of the dozen snapped are noteworthy. The more we snap the more we learn about taking pictures and slowly, but surely, more and more pictures are keepers. The same goes for sketch books. And hold onto those bad ones too, because even if what you did didn't work or turn out as you desired, you still learned something.

And sometimes not all hope is lost...

Recently I had an opportunity to sketch some Birds of Prey at the Stanbrooke /Bird Acre Sanctuary in Maine.

As you can see, not all my drawings were masterpieces!

It wasn't until a few weeks later that I was able to sit back down and spend some time on my disaster. I was working with my traveling watercolor kit so there were some limitations with what I could do, but I just took the leap and started working unconventionally. Using watercolor like acrylics or gouache to help cover up my mistakes.

As you can see, he's not something for the museum, and even now needs more work on those eyes, but a great improvement from the first attempt. All because I didn't give up on him!

Selecting good materials for a sketchbook can be a great passive assist on projects such as this, when you need your substrate/paper and medium to go beyond its intended use and still hold up.

Pentalic puts out a series of "Nature Sketch"  books that I adore. They come in a variety of sizes to scale to your comfort. The cream colored paper is thick and holds up to repeated washes and still drys pretty flat. It can take pencil, watercolor, pastels, oil pastels, pen and ink....the works...

My brushes, I admit are a little mixed. A few high quality ones for details so they hold there point, but I also have some medium grade ones that I am rather abusive with pushing color around and mushing paint into the surface.

For water colors, I do like the Holbein series or M Graham series. The tubes don't seem to be as messy as the thinner tubes.


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Resources Tips for Drawing the Human Form....The Human Bean

I've been absent for a little bit, but had spare time today, on my Birthday (!) to sit down and share some recently learned tips and tricks for drawing the human form. Humans often seem to be a tricky subject for artists, myself included. I am consciously looking for sketching tips and resources to improve my work.

The "Human Bean" is a fantastic technique for capturing the action, movement and shape of the torso. Everything hangs off the torso, so getting the core right is critical in our work with the human form. I'm not going to explain the technique here, but will send you over to Proko.com .They do a much better job of explaining and giving examples than I possibly could. Once you are there you will notice an extensive library of other tutorials. Enjoy!

Once I did a little practice with this sketching technique I popped in one of my favorite action movie and paused the DVD occasionally to draw some "human beans" Within one sitting, I already felt my humans had improved by leaps and bounds.

At first I focused on just "the bean" but it was natural after the first couple pages to start adding on the limbs and head etc....

This works very well for the human form and I'm thinking that it might be applicable in some fashion to the animal form as well. The bean would be more stretched out of course, but the concept is valid. I'll give it a try and post my results in the near future.


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Working with Oil Pastels

Hello all-

I started working with oil pastels about a year ago with hit or miss results. There are a variety of ways to work with this medium, but I think the main issue to overcome is that oil pastels never really "dry out" I tend to frame mine with at least a single matte to keep the work from touching the glass. There are also several fixatives available. I have used the Sennelier brand with good results.

My first experiments with oil pastels was on paper. I just grabbed what I had lying around, which happened to be watercolor paper. This is the same scene done twice (something I rarely do) on watercolor paper with different finishes.

The paper with the smoother finish is very different that the same scene done on cold press paper. I used a scratch tool to draw in the branches on the shrubs. A big tip for working with oil pastel on paper: For archival purposes, you should apply a light coat of gesso to paper. Not everyone does this, but if you don't you run the risk of the oils seeping into the paper and discoloring it over time. Oil pastels can be loose or blended.

There are a variety of brands of pastels out there. They are all very different in texture and softness....additionally, they work very differently with each other as well. I find I can usually blend with Sennelier and Van gogh brands, but not cras pas.

For beginners, this is a nice resource for information.

This is a light smooth oil paint on gessoed illustration board.  I don't use any thinner when working with oils.  

Just blocking in basic shapes and color.

At one point, I realized that applying oil pastels over a loose smooth oil paint surface was a great way to work....I like the process a lot. Here is step by step process of hammerhead sharks:

Bit by bit, I work in the details with the oil pastels until I have the final piece:


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Ducks for Dad

Right now I'm busy working on duck paintings for my Dad. You think it'd be easier working for family, but I know my Dad has a very keen eye and, being an avid duck hunter, will be able to tell the slight error.

I'm lucky enough to live by several streams and lakes, so finding mallards to sketch and study was easy. I also recently had a chance to photograph some other duck species up at Presque Isle earlier this spring too. 

Through a series of quick email conversations, we settled on a size and species (pintail) and then it's up to me to work out the details.

Ducks as it turns out can be very elegant and graceful. They can also be awkward and amusing and downright funny too. I wasn't a big duck lover at the start of this project, but by the end, I think I'm going to find these creatures charming and a permanent entry on the "like" list.

A book that has also been of great assistance is Ducks of North America. Beautiful Illustrations!


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Sharks for Fun

Been working on some shark sketches in my free time. Really, really incredible animals, I'm pleased more and more public awareness is being paid to these creatures. I know we have so much going on in the world today, famine, violence, war: Important issues that need our attention. But hopefully we don't over look the other creatures that share the planet with us.

If you want to be involved here are some websites:
http://www.projectaware.org/

http://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions/Great-White-Shark.aspx?q=SharkAdoption&sc=AWY1200WCGO1&searchen=google&gclid=CLuqj56n6bYCFcJo4Aody1UAZQ&mpch=ads

These guys have been around since the dinosaurs. What a shame if the go extinct because we have no self control.

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Advice to a young artist

As artists, we are constantly striving to improve our skills. We might take classes, find a mentor, or spend arduous hours practicing. What I've discovered over the years, is that my mental blocks hold me back regardless of how much time and effort I commit to improvement.

We all have the voice of self doubt that whispers in our ear. They are our constant companions. Every interaction with other human beings provides these voices with an opportunity to  derail us from the present here and now. 'What did that person mean by that? Are they angry with me? I wonder if I have broccoli stuck between my teeth?

It's ok to listen to this voice moderately. Sometimes we do get carried away and this voice can moderate us. 'Am I talking too much?' 'Is it time to listen?' ' Maybe I've hurt this persons feelings, I should touch base again and clarify what I mean...'

But often this voice is destructive: 'There's no way you are going to get this job.' 'You aren’t very good, you know.' 'Why am I so dull? and ugly? and stupid?'

These voices need to be excised. Not repressed, mind you. You need to sit down with them and give them a very stern talking to and then find a way to come to terms with them. Another option, one that I find works well, is to journal and write. If you are really struggling with the voices, this is a great way to send them packing. Find a quiet place, sit down and write. Write down whatever pops into your head. Write it down. Doesn’t even have to be legable. Once it's written down, you can burn it up, tear it apart, drown it down or let the winds take it away. It's not going to solve any problems miraculously, but it does clarify and allow your mind to be clear.

These negative voices get in the way of your creativity. It's almost as if your brain is so occupied with the worry, it can't spare anything to relax, open up and allow the creativity to flow out.

Julie Cameron's book Artists Way is a fantastic tool for those of us struggling with those ultra-self destructive voices. Check out her website as well:

http://juliacameronlive.com/basic-tools/creative-clusters/

Journaling in some way is like meditation. It's another way to quiet the mind and bring your focus into the here and now. Mediation is simply bringing the mind to the present moment and each time it wanders off, bring it back again. There are specific breathing techniques for meditation and posture. I don't recommend meditation without initally finding instruction. There are a few websites that can offer guidelines, but I find meditation with a group is more constructive for beginners. 

http://www.shambhala.org/meditation/
http://www.vipassanadhura.com/howto.htm

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Sketching the Human Form

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Jim Byrnes: Original photography done by Weitzel Studios

One subject matter that many artists struggle with is the human form. Drawing people, whether in motion or at rest, can be a daunting task. I have often resorted to begging friends to pose and model for still pictures for reference, but these final paintings often lack the spontaneity and spirit of a live model.Additionally, when working from someone else's photography, you are bound by copyright laws. I did the oil/oil pastel study of Jim Byrnes for an exercise, but I cna not sell the piece sinc eits not my original work.

Perhaps, like me, you have dismissed this weak spot in our artistic abilities with excuses like: “I’m an animal artist.” “I draw plants, I don’t need to learn how to draw people”

That worked for a time, but as an older wiser (?) artist, I realize the need to be well versed in rendering the entire world around us, people, animals, flowers the whole enchilada etc.

So here are some tips I’ve picked up from several teachers over the years. The tips focus on sketching exercises, which are crucial in building an understanding of the human form, before contemplating a finished masterpiece.  This first one though is something I developed in order to continue drawing and sketching in the cold winter months without resorting to still photos.

Monks: Quick study sketches from DVD

DVD Sketching: Take a DVD of your favorite movie and sit down with your sketchbook. You can simply watch and sketch using a wire frame method (more on that later) or you can pause the DVD at points you like and spend a little more time on a more fleshed out sketch. One rule I have is that once the pause time runs out and the DVD resumes normal play, then it's time to move on to the next sketch. One quick note about copyright laws: I am advocating this as an exercise, not as a way to create sell-able art.

Wireframe Sketching: This technique works well when sketching movement such as people in a park or children at play. With a few quick strokes you can practice capturing the essence of the person’s movements.

Performers often repeat movements so it’s easy to start a quick sketch, move on to another as the performer continues and then return to flesh out the first sketch as the action is repeated: strumming a guitar, juggling, or delivering a passionate line.

Don’t Forget: Keep sketching using light pencil movements, correcting as you continue to observe your subject.

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Duck Duck Goose

 Recently I had the opportunity to accompany fellow artist/illustrator and friend Mark Klingler on a duck photo field trip to Presque Isle in Eerie, PA. Mark was one of the first scientific illustrators I'd met, an excellent teacher and avid ducker as well. Mark’s day job is rendering dinosaurs for various paleontologists at the Carnegie Museum of Natural History.

http://www.carnegiemnh.org/vp/klingler.html

Millions of Gizzard Shad line the shoreline

It's still pretty brisk out on the great lakes in mid-March, but the variety of ducks was an eye opener. I've been aware (from reading bird books) that there are a variety of ducks in the world beyond your standard mallard, but I was pleasantly surprised to find such a rich diversity of geese and ducks so close to home.

Because of the cold temperatures and lack of ice on the lake, there was also a massive die off of gizzard shad and the beaches were littered with dead fish for miles. A little unsettling to think you are walking on a snowy beach only to find frozen fish underfoot! This is a natural phenomenon brought on by the wintery temperatures, but still very unsettling...and a bit smelly.

http://www.thereporteronline.com/article/20130301/NEWS03/130309983/pa-dep-fish-kill-in-presque-isle-bay-natural-

 

Since it was so cold, we concentrated on recording duck behavior via camera for later drawings. Mark's camera skills are superior to mine, but even my blurry photos are enough to work from for quick studies. I mention this just in case you might be thinking you need to be Ansel Adams as well as Picasso. Your own photos are excellent resources for drawing and painting. I see so many of my students working from images from magazines, books or other photographers work, which is a no-no. You can't sell a painting that is just a copy of another persons work. But you dont have to be an expert with a camera yourself. And your skill will improve as you practice. 

Red-breasted Mergansers

 
You'll also notice I've taken the liberty to move the female ducks a bit closer to the males for the sake of composition. Don't feel married to the snapshot, as it is. You can take bits and pieces from several of your photos to create a solid composition.

 

Northern Shovelers

You'll notice the different bills on each species, but particularly the Northern Shoveler which has a wide fat spoon shaped bill. Their common feeding habit is to filter food from water through their bills which have comb-like projections along the edges. 

Hooded Mergansers

A nice surprise was these Hooded Mergansers. At the time we were snapping pictures, this gathering was well away on the other side of the lake and my telephoto lens was struggling to get a lock. At the time I thought they might be Buffle heads, but zooming in on it in Photoshop, I think they are actually Hooded Mergansers.

These quick studies were done with a variety of watercolor pencils. My favorites are the Stabilo brand (which they unfortunately no longer make). The Derwent Inktense line is a nice pencil too and I find I am often picking them up.

http://www.dickblick.com/products/derwent-inktense-pencils/

 Eventually, I might work some of the sketches up to a final oil or watercolor painting, but right now this is all I had time  to complete. If you are feeling frustrated by the time restraints of doing a full fledge work, try and take a step back. Field sketching and studies might not seem so glorious, but having a solid sketching ability is a foundation for later success.

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Fish facts: Spotted Drums (Equetus punctatus)

Spotted Drums (Equetus punctatus) are surely one of the more overlooked coral reef habitants around. Which is too bad, as they are as visually striking and elegant as any Moorish Idol or Angel Fish...well as juveniles, that is.  they are quick small and somewhat shy. It's tricky getting a good shot of these fellows. Check out soem links here from some more dediated photographers:http://www.uwphoto.net/pages/gallery_ci00-126.html

As adults, they are still very unique, but a little more clownish. They don't ever really grow into that
http://reefbuilders.com/2010/09/14/spotted-drum-equetus-punctatus/

Spotted Drums (Juveniles) Amanda Zimmerman

In the wild, they are often found in Western Atlantic's warmer waters: Bermuda, Florida (USA), and Bahamas to the Antilles down to Yucatan (Mexico) to Brazil.

I did have a chance to observe a few of these fellows while snorkeling in St Lucia last year. I'm glad I took the time to check them out, as I had a friend request a painting of the species shortly after.  I was able to use memory to compose an interesting group portrait and video and other references to check my anatomy for accuracy.


Here is the finished piece.


These fish for remarkable to study. Its hard to believe that they eventually grow into the slow plodding adults. They are from a family of fish called Sciaenidae, which have some common names such as  drums, croakers, or hardheads because of the repetitive throbbing or drumming sounds they make.

http://www.ehow.com/video_4961478_coral-reef-fish-juvenile-spotted.html


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Sketching 101

If you want to be a better sketcher, there is nothing to substitute for practice. Stop worrying about it being good. Stop judging and just start drawing and sketching.
Sketch anything and everything. Sketch what you enjoy sketching but also practice more difficult subjects too. Its not just practicing the actual skill of the pencil on the paper, but we also need to train our brain and eye to observe quickly and accurately and record this information. It will take many many sketch books before you end up with elegant, graceful, motion-full images.

Here are some links to some fun sketch exercises:

http://psychcentral.com/blog/archives/2012/10/20/4-silly-sketching-exercises-to-spark-your-creativity/

http://drawsketch.about.com/library/weekly/aa052003a.htm

I greatly admired a fellow artist who did a great deal of sketching with a ball point pen. It sounds counter-intuitive, but once I made the leap and started working with pen, it ended up improving my sketching abilities three fold.

It forces you to work lighter and ease into your lines. You can no longer back track, so you are forced to observe your subject more accurately. And when you do make a mistake there's no going back to fix it. You just have to move on.

To get started, it might be easier to start from photos before trying to tackle a moving subject matter.

These days I draw in colored pencil or pencil if I have a choice.







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Get Inspired!

I know as artists we keep rather caught up in practicing our medium of choice, but every now and then its healthy to step outside our artistic comfort zone and try something really different. If you are a sculpture artist-try printmaking? Oil painter? Try taking piano lessons. If you draw animals, practice drawing people for a change...even if you know the results will not be as good as your usual subject matter. It's this time spent just messing around and creative play without expectations that allows growth as an artist.

Being inspired needs to come from all facets of your life. From the moment you wake up to the moment your head hits the pillow...AND then of course your dreams are reprocessing of thoughts, feelings and visuals. 

Redondo Beach  photo Dan Zimmerman

 Try spending a day with your camera phone on stand-by, ready to click away those interesting fleeting moments of your day. Look for interesting angles to everyday subject matter.

Catalina Island photo Dan Zimmerman

 Or perhaps a venue or scene where you can edit or delete parts to make a more interesting finished piece.

Redondo Beach photo Dan Zimmerman

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Working with Chalk Pastel: Just the Basics

I've recently been doing a great deal of work with chalk pastels and have found them to be the bomb! I have numberous past pastel works that have been abandoned due to lack of a successful end. All because I wasn't willing to take time to learn a few basics.

Patricia Savage, an excellent pastel artist (http://psavageart.com/) taught a fantastic workshop a few years back in Raliegh, NC and much of this basic knowledge is thanks to her!

Carcharias taurus, sand tiger shark

What you work on is critical with pastels. Some of the pastel papers have a slightly rough surface but its very limiting on the amount of pastels one can apply. I prefer:

1) Paper with tooth to hold pastels. This can be store bought or make your own. (http://www.explore-drawing-and-painting.com/pastel-papers.html) has excellent instructions. I have been working with Sennelier pastel card and really like the level of tooth. (http://www.cheapjoes.com/catalog/product/view/id/27116/)

2) Chalk pastels are all often refered to as "soft" pastels, but in truth there are three basic soft pastels grades:

Hardest of the soft pastels: such as Nupastels and Art stitcks
Medium soft (Grumbacher, Winsor & Newton)
Super soft (Sennelier)
Not sure what your pastel grade would be? As a rule, if it looks like its going to rumble in your hand, its super soft, if its edges are very clean and precise, its a much harder "soft" pastel.

The grade is really important because the harder pastels such as nupastels and art sticks will not work on top of the super soft pastels. I really only use the harder soft pastels for preliminary sketches.

3) Work BIG. You can actually do fantastic detail with pastel, but its much easier if you work big. I prefer 20 x 24 or so...

One thing is its hard to convince people to just start drawing sketching with the pastels instead of working from a pencil drawing. Roughing in the image in a neutral color and the blocking and refining as you continue to work.

I like to lay down colors with the soft and medium pastels and then use a medium grade pastel to blend the colors together loosely with quick crosshatching strokes. But you can also use a gum erasure or vinyl erasure cut into a wedge or point.

I hope to post a video shortly with a demo has that's much easier to show technique than trying to describe it.

Now you can get started too! Have fun!

Hamadryas amphinome, Red Cracker

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