Oregon High Desert Crossing Tutorial

Okay, here 'tis.
I have before me three versions of my Oregon High Desert Crossing Sketch Journal. The first one you may have seen and/or downloaded within the last three weeks or so, the straight sketch journal of my May sketching/journaling trip across Oregon (journal WITHOUT tutorial). Click on the sketchbook images to go see their descriptions and/or order.

Then, because several people expressed an interest, I've assembled a tutorial of how I did it (does that make it a "howdunnit"?) and inserted each howdunnit page across from its finished sketch page for a second version (journal WITH tutorial).

And THEN, since a) mebbe you downloaded the sketchbook hot off the press without the tutorial, or maybe b) you don't think you'll be wanting it but would like the option of changing your mind later, I'm offering JUST the tutorial (Tutorial ONLY), so you can add it to your journal if/when you decide you'd like both. You wouldn't want the tutorial alone, because it doesn't show the finished sketchbook page ~ that's in the Journal without Tutorial. aiieeeee!!!

So. If you'd like to see how it's done and you already downloaded the journal, now download the Tutorial and you'll find out how I approached each page, and the obstacles I overcame to do it, and even some of the booboos I had to fix (or just sob over quietly before turning the page).








For instance, you'll find out what happened when I made some ghastly color choices for the background of this quail, what I did about it, what I wish I'd done about it, and what an artist friend suggested as an alternative fix. There's even a photo of me drawing the quail, to prove that I didn't just trace an image off the internet [grin].

Since the straight journal is $5.95 and the combined version is $9.95, I've priced the tutorial at $4 so that it costs exactly the same to download them separately ~ or to buy the combined version.

Have I totally confused everyone? sorry!

It's been easy to stay indoors this last week and work on this. Thursday and Friday it was 104 and 105 degrees (gasp, gasp), then Saturday and Sunday it was in the 60s and overcast (kinda not what you expect for August, and a bit chilly for skin accustomed to dry heat) then today it went whole hog and delivered rain drizzle at 50 degrees! Geez Louize! That's 54 degrees colder than it was just five days ago, in the middle of the day, and quite a bit wetter. I'm not complaining about the rain, because we really need it, but.....wow! And now I can't go get my daily fix of nirvana as I weed/prune/stake down at the nursery because everything is sopping and I'd get drenched.

After toughing it out for several hours this morning and saying "aw, c'mon, it's August!" I finally started a fire in my woodstove and at last it's comfortable in the house again. Maybe all the climate change poo-pooers will start to see what the climatologists have been trying to tell us ~ that global warming will deliver us wild and crazy weather, not just heat.

The forecasters are saying we should expect lots of snow here in western Oregon this winter. Good for the snowpack, which will melt all next summer to provide water for the streams, but not so good on my steep-hairpin-curves driveway, which will probably be too slick to skate down. "Cook up the beans and rice, Jessie! We done been snowbound agin!"

Enough digression! Come see my wonderful new tutorial. It was a joy to create, and I'm going to seriously consider doing tutorials for some of my future journals. And hey, if I get snowbound, mebbe I kin draw a snowflake collection. Huh!

Enjoy!

On Talking to Yourself

Yesterday was the second session in my current 3-session Nature Sketching Workshop, and I must confess I am having fun with it. I think my favorite part is bringing home the importance of cognizant observation -- and the amazement (of my students) that mere looking is not the same as cognizant observation.

Here's what happens in the class: As part of the landscape sketching instruction, I include (and stress) sketching foreground items such as sticks, pinecones, shrubs, grasses, etc.

I show the students a sequoia cone, and go through the thinking-out-loud process of observing the cone: what is the shape (egg-shaped, with a flat end), how are the scales arranged (diagonal rows, at cross angles in a grid), what does the perimeter look like (very jagged, outlining the scales), and what does the end of each scale look like (a bumpy diamond, with a "kissy-lips" shape). They help select and create the verbal descriptions, and say them out loud.

Then, as an exercise, I ask the students to choose either a sequoia cone or a gnarly stick from my gnarly stick collection and draw it for about fifteen minutes. We don't describe the sticks out loud, as each one is different. As they draw, I go from student to student helping them get the shape right, applying shading, showing gnarliness and wood grain, etc. The results are generally good, and the students end up being reasonably pleased with the results (NOTE: artists are way too hard on themselves).

But then I remove the sticks or cones and I ask them to redraw their subject on a fresh page from memory, without reference to the stick or cone or the previous drawing.

Amazingly, the students sketching sticks they had just examined and drawn for fifteen minutes, often cannot remember the shape of the stick, where twigs protruded, which way the stick curved, or other major landmarks on the stick.

Students drawing a cone, however, can produce a creditable drawing, right down to the design on the ends of the scales. They have developed an internal "template" of a sequoia cone which they can use for later reference.

You'd think that the stick image would be deeply imprinted in one's brain after fifteen minutes of intense study, but I think there is something else going on here, and it has to do with our highly developed left brain, which uses words and symbols to operate.

Since we described the cone in highly descriptive words and related features to known shapes and symbols, then drawing the cone from memory is easily accomplished by applying those symbols and shapes to the paper.

The gnarly stick however, hasn't been "labeled," so it is difficult to remember its amorphous shape accurately. This also makes drawing the stick a challenging task since each line has to be drawn on its own merit instead of as part of, for instance, a "kissy-lips" shape.

The solution to the drawing problem of a loosely structured form like a gnarly stick is to keep up an internal (or if you're alone, an external) dialogue while drawing. For instance, to tell yourself that "this stick is an inch wide and six inches long" or "it is five times as long as it is wide," or "it's shaped like an open-mouthed whale." And to describe protruding twigs: "there are two twigs on top, three on the bottom, and the middle top one forks." Additionally, "twigs emerge at a 45 degree angle" and "the long crack extends from the first twig to the fourth, and has a triangular break in it." "Two knotholes, one is oval, the other is round and both look like volcanoes." Sometimes a negative shape (the shape around the subject) can be described instead: "the negative shape at the end of the stick resembles a dog's head." Descriptions like that.

If you have words to hang a scene on, it is easier to remember for later reference, and it is also far easier to draw it the first time than if you are simply trying to push your pencil in the direction a line seems to go in the scene.

Next time you draw, talk to yourself. You may find the conversation quite stimulating and educational ;o}

p.s. The Journal/Sketching workshop is proceeding quickly -- I'm on the journaling part now! And I'm into the Common Moorhen (used to be the Common Gallinule) page in the swamp book illustrations -- did you know that moorhen chicks have blue foreheads and lipstick red bills? And bright candy-pink skin showing through sparse black hairs on the top of the head? They're a hoot!