claudia nice painting nature in pen and ink with watercolor
TRANSCRIPT
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Nature
in
PEN
&
INK
WATERCOLOR
Claudia
Nice
v,^.V.
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^/
'H
BELVEDERE
TIBUROIUSlUiRY
BEL-TIB
NEW
BOOKS
741.
26
NICE
1998
Nice,
Claudia,
1948-
Painting
nature
in
pen
ink
with
watercolor
31111017799550
DATE DUE
JUL Q
6
199j
072)01
AR
AP^
2
5
mi
»
'.'
I
17(«M
l-iinlr, in
I S
A
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Nature
in
PEN
&
INK
WATERCOLOR
Claudia
Nice
NORTH UCHT
BOOKS
CINCINNATI.
OHIO
a
i
K
M
t
'/C^j^Mr
1
1
^mr^m^-'frn
ly
y
\
4.
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ABOUT
THE
AUTHOR
Claudia
Nice
is
a
native
of
the Pacific
Northwest and
a self-taught
artist,
develop-
ing her
realistic art style
by
sketching
from nature.
She
is a
multi-media
artist, but
prefers
pen,
ink
and
watercolor
when
working in
the
field.
As
an art
consultant
for
Koh-I-Noor Rapidograph
since
1983
—
and
more
recently
for
Grumbacher
Claudia
has traveled
across
North
America
conducting
seminars,
workshops
and
demonstrations at
schools,
clubs,
shops and trade shows.
Her oils,
watercolors
and
ink
drawings
have
won
numerous
awards
and
can
be
found
in
private
collec-
tions across
the
continent.
Claudia has
authored
twelve
successful art instruction
books, including
^y^^/r//-
ing Your
Favorite
Subjects in Pen
and Ink and Creating
Texture in Pen
and Ink With
Watercolor, both
of which
were featured
as
main
selections
in
the
North
Light
Book
Club.
When
not
involved with
her
art
career,
Claudia
enjoys
hiking and
horseback riding in
the
wilderness
behind her
home on Mt.
Hood
in Oregon.
Us-
ing her
artistic
eye to
spot
de-
tails, Claudia has developed
skills
as
a
man-tracker and
is in-
volved,
along with
her hus-
band
Jim,
as a wilderness
Search and Rescue Volunteer.
Painting
Nature
in Pen and
Ink
With Watercolor,
Copyright
©
1998
by
Claudia
Nice.
Manufactured in China.
All rights reserved. No part of this
book
may
be
reproduced in 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
by
North
Light
Books, an imprint
of
F&W
Publications, Inc., 1507
Dana
Avenue,
Cincinnati, Ohio
45207.
(800)
289-0963.
First
edition.
Alicz
02 01
00
99 98
5
4
3
2
1
Library
of
Congress
Cataloging-in-Publication
Data
Nice, Claudia
Painting
nature in pen and ink
with watercolor/
by
Claudia
Nice
p.
cm.
Includes index.
ISBN
0-89134-813-1
(hardcover)
1. Pen drawing
—
Technique. 2.
Watercolor Painting
—
Technique.
3.
Nature
(Asthetics) I.
Title.
NC905.N528
1998
741.2'6—dc21
98-12672
CIP
Edited
by Jennifer
Long
Production edited
by Patrick Souhan and
Michelle
Howry
Designed
by Brian
Roeth
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ATTHE
EDGE OF
THE
MARSH,
8
X
10
(20cm
X 25cm),
VVatercolor
textured
with
ink
stippling, spatter,
plastic
wrap
and thread
impressions.
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INTRODUCTION
CHAPTER
ONE
GETTING
STARTED
CHAPTER
TWO
THE
FOREST
FLOOR
CHAPTER THREE
TIDE
POOLS AND
TROPICAL REEFS
8
18
38
CHAPTER
FOUR
FIELDS
OF
FLOWERS
58
CHAPTER FIVE
DESERT DRYLANDS
CHAPTER
SIX
PONDS,
SWAMPS
AND MARSHES
CHAPTER SEVEN
MOUNTAINS,
CRAGS
AND CREVICES
INDEX
jrv-^^iy.
:^*
//
¥
76
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THE YEARLING
—PSALMS
37,
16
X
20
(4().6cm
X
50.8cm),
oils
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INTRODUCTION
To
become one
with
nature
is
to
enjoy life
to
the
fullest. For
me
it's not
enough
to
stroll by
and
view
it
from
afar, like
a
spectator at
a
game. I need
to
move
in close
—
to
touch, to
sniff,
to ponder
and
become
part
of
my
sur-
roundings,
if
only
briefly.
Only then
can I begin to
j^-^
what
I'm
looking
at
to
perceive
the shapes,
textures, colors
and
contrasts
that
excite
my
artist's
eye. Familiar
sights,
sounds
and
smells
recall
nostalgic memories, while
the
uiifaniiliar
in\
ites
the
child
uithui
to come
out
and
explore.
The
result
damp
shoes,
dirty
knees,
w
indblown
hair
and
a
greater love
and
appreciation
for
the
puzzle
pieces
of
this
world
and
the touch
of
the
Master's
hand
who
orchestrated it all.
I
will always
remember
when
I
visited
Mt.
Lassen,
California, in
the
early
spring.
I
followed
a doe and her yearling fawn
part
way
around
a lake, trying
to
get close enough
to
take
a good photograph.
After a
while,
I
tired
of
the
chase and
settled
down
in a shady
pine
thicket to rest. There
I
sat,
in a deep
bed
of pine
needles,
my back against a
tree
and
my mind
tuned
into
the
forest sights and
sounds.
I
was
totally at
peace. vSilently,
from
the
edge
of
the
thicket, the
two
deer
appeared.
With
little
hesitation,
they
bedded down,
the
yearling
literally
at my feet. Her eyes held
no
fear, only
curiosity.
The
light filtering
down
through the
tree limbs
edged the deer's coat
in
gold.
Did I get my photo.'' Vou bet
It
has
been
the
basis
for
many sketches
and
paintings,
including
the
one on
the
opposite
page.
It's
my hope
that
this
book
will
encourage
you to
seek
out
and
sec
the
wonders of
nature
close
up. with
an artist's
eye, and that
the
hints, notes
and
examples on
these
pages
will help
you
capture your discoveries
with
pen
and
brush
so thev mav
be
shared
and
remembered
for
many
years
to come.
Best wishes.
C^a/i(^
?^oay'
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CHAPTER
ONE
GETTING
STARTED
MATERIALS
Good
tools
and
art
supplies are
essential
to the
success of
a project.
The
learning
process and the
joy of creation
can
be greatly
discouraged
when the
artist
has
to
fight
with his
or her art equipment
in order
to succeed. You
need
not
buy
the most
expensive
tool, but you must
learn the nature
of
each implement
to choose
wisely in
an
affordable
price
range.
Watercolor
paper
Choose a paper that
is compatible to
penwork,
as
well
as
wet washes.
The paper should
be
polished
enough to allow
the
pen to glide
over
its
surface
without snagging,
picking
up
lint
or
clogging.
The ink should
appear crisp.
On
the
other
hand, the
watercolor
paper must be absorbent enough
to
avoid permanent
buckling when wet-on-wet
techniques
are
used. Taping
the edges of the paper to
a
board
while
painting
will help
the
paper
maintain its
original
shape. I
use a cold-pressed,
50 percent rag, medium
weight
(125
lb.
or heavier), pH
neutral
paper.
The pen
The ideal pen has
a steady,
leak-free
flow and
a precise
nib that can
be stroked in all directions. This
book
was
illustrated
using Koh-I-Noor
Rapidograph pens. They
con-
sist of a
hollow
nib, a self-contained, changeable ink
supply
and
a
plastic
holder.
Within
the hollow nib is a delicate
wire
and
weight which shifts
back
and forth during use, bringing
the
ink forward. The
Rapidograph
comes in
a variety
of
sizes,
0.25
being
the one used
most
often in my
work.
(Throughout this book,
the nib size I used for
each sketch
is
noted in parenthesis near the
artwork.)
Two
drawbacks
of the Rapidograph
pen
are
cost
and
maintenance.
Like
any instrument, the
Rapidograph
requires
proper care
and
cleaning.
A
more economical and
maintenance-free version of
the
technical
pen
is
the
disposable
Artist Pen
by
Grumbacher.
It
comes
prefilled
with
a
quality,
brushproof
ink.
The
Artist
8
Pen is similar
in usage
to the Rapidograph,
but differs
some-
what
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 refillable.
Dip
pens
are very
economical,
consisting of a
plastic or
wooden holder
and
changeable
steel
nibs. With
Hunt
nibs
no.
102 (medium) and no.
104 (fine), the Crow
Quill
dip
pen
will
provide
a
good
ink
line.
It
cleans
up
easily
and
is
useful
when
many
ink
changes are required. The draw-
backs
are
that Crow Quill pens
are
limited
in stroke direc-
tion,
they must be redipped often and
they tend to drip
and
spatter.
Ink
For mixed
media
work,
choose
an ink that is lightfast,
com-
patible with
the pen
you
are
using
and brushproof
which means
that
it
can
withstand
the
vigorous
overlay ap-
plication of
wet
washes
without
bleeding
or
streaking. Per-
manent inks are not necessarily brushproof and must be
tested.
For
a
very
black,
brushproofIndia ink, I recommend
Koh-I-Noor's Universal Black India
3080.
For
softer,
more
subtle
ink lines, choose
compatible,
brushproof colored
inks.
Transparent, pigmented,
acrylic-
based
inks
are
preferable, as
dye-based
inks
often fade
quickly.
I used
Koh-I-Noor
Drawing Ink 9065 for
the col-
ored inkwork in this book.
However,
the white
and black
9065 are not recommended
for
technical pens.
Paint
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.
While
there are
many
quality brands to
choose from,
the
paintings
in this
book
were
done with
Grumbacher
Academy
and
Finest
watercolors. Whichever
brand
you
choose,
remem-
ber that
it's
better to
have
a limited
palette
of quality
paints
than
a
kaleidoscope
of
inferior
substitutes.
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Brushes
The
best
watcrcolor brushes
arc made
of
sable
hair.
Soft,
absorbent
sable
brushes
are capable
of
holding large
amounts
of
fluid
color, while maintaining a sharp
point
or
edge. They
respond to
the
hand
with
a resilient
snap.
I
low-
ever, they
are
expensive.
A
good 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
watcrcolor brushes
only for
watcrcolor.
'wiYtCCt
'pYt/^sfu
C/x-^i
)
—
?or
Suc^ojYov/ncCujdshes
for
scr{u>i^a
-^
Siroki
orffnt
bru.5hef>
(m
8^6
)
-
Other useful
tools
•
Pencils and eraser for sketching
•
Liquid frisket
(masking 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 for
placing rock salt,
leaves,
etc.
•
Razor
blade
for
scratching through dry
paint
•
Several
small sea
and
synthetic
sponges
for
daubing
•
Facial tissue
and paper
towels for
blotting
^or
cCttailA^a
curuCstvuCC
C4/ti5f?
oyriuis.
For
additional
information on tools and lechnitpies, refer
to
my other
books Sketching Your Favorite Subjects in Pen
and Ink,
Creating Textures in
Pen
&
Ink
With Watcrcolor
and
Drawing In
Pen and Ink,
all
published by North
Light
Books.
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The
color chart above shows a
simple
palette
of
six basic
colors, consisting of
a
warm and cool
red,
yellow
and
blue.
These
intense mixing
colors will
produce
vibrant, accurate
secondary
colors
(oranges,
greens
and
violets).
Red,
yellow
and
blue
can be obtained
by
combining
the
related
warm
and
cool
base colors together. Shading
colors, browns and
neutrals
can
be mixed
by
combining complementary
colors
(colors opposite
each other on the
color
wheel).
The
triangular-shaped hues
represent
a
few
ofmy
favor-
ite premixed
tube
colors. Having
them
on hand
is conve-
nient,
but
optional.
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
to
duplicate
by
mixing)
12
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BENEATH
THE
TREES,
S X9Vi (20.3cm
X
24.1cm),
watercolor
washes
textured
with
salt
and
penwork
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CHAPTER
TWO
THE
FOREST FLOOR
Pause
for
a
moment
in the
deep forest.
(>oniter antl
hariiwooil
branches
sway
overhead,
easting
dappled
leaf patterns
across
the
forest floor.
Here, lush
mosses, ferns
and
vine-like
ground cover spring from
the
rich humus or
the
bark
of
fallen
giants.
Look
carefully among the
greenery
and see the
shy
woodland wildflowers. X'iolets,
lilies and
dwarf orchids
peek
out from
their
hiding
places in
(|uiet
splendor.
Bold mushrooms
pop
up
and stand
guard
like
toy soldiers in
oversi/cd
helmets.
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forest
floor,
a cathedral quiet
prevails,
broken
only
by
a
chorus
of
thicket birds,
the preaching of
a
zealous
squirrel
and
the
amen
echoes of
the
tree
frogs.
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wanderer to linger,
and the
artist to
fill
a sketchbook
with
a
variety of shapes, hues
and
textures
laid
out in earthly
elegance. But
where
to begin.-*
In
this chapter I have
zeroed
in
on
a
few
of
my favorite forest
floor
subjects
and
suggested
some
easy ways
to
portray them. (Complicated
flora
and
fauna
can be
broken
down
into basic shapes,
or
in the case
of
some
plants, simply
printed
into
place.
Once they're
sketched, just
add
color
and texture
to bring them
to
life. I'll guide
you
in the
mixture
of
some
lifelike
earth
hues
and the creation
of
realistic
texture,
using
a variety
of
fun
techniques.
When
the
individual
forest
characters
have
become
familiar
old
friends,
I'll
show
you
how to combine
them into
a
composition.
You
are welcome
to
duplicate my
paintings
or alter them
to
fit
your own visions.
Better
yet,
stroll
into
the
forest w
here the
sights,
sounds
and smells are
vivid,
and see where
the
inspiration
will lead your
own
creativity.
19
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LOW
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CHAPTER
THREE
TIDE
POOLS
AND
TROPICAL
REEFS
It
is
possible to wear
a
full smile
of
delight
inside
a snorkeling mask.
I
know,
because that's
just what
happened
the
first
time I donned one and floated
into the fantasy
world
of the
tropical
reef. I found the water
too
blue to
be
believed.
Near the
surface
it undulated in
vivid
shades
of turquoise,
changing
to
cobalt,
then
deep ultramarine
in
the
shadowy
depths.
Against this azure
backdrop
swam
wildly
patterned
fish
whose colors were
completely
uninhib-
ited, as
if
they had
been
designed in a
creative
frenzy
by
a child
with
a
new
box of crayons. In this anything-goes, watery
realm, the
imagination is set
free and artistic license
takes
on a
new
meaning.
Obser\'ation
and
visual recall
are
doubly important
because
on-location
sketching is
next to impossible.
Although
my 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-
cellent
resource
material
and are
effective
down
to
ten feet.
Perhaps
you're a 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
a pet store special-
izing in
saltwater
fish.
Along
the
rocky coasts, the
cold water oceans
form
their
own
type
of
undersea
garden: the tide
pool. Here, at
low
tide,
the
incjuisitive
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
by
the
receding
tide.
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.
A campstool
will
add
to
your
comfort
if
you plan
to
sketch.
Above
all.
watch
the
tide
—the
receding
water
will
return, often
with
surprising swiftness.
.^9
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IN(;()MIN(.
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and
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tinted
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washes
57
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•l...(:'.vi'~§
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10
(20.3cm
X
25.4cm), masked
flowers,
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wash and Sepia ink
detailing
58
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CHAPTER
FOUR
FIELDS
OF
FLOWERS
Like
a
bright
patchwork
quilt cast
across
a
bed,
the spring
wildflowers
ripple
across
the
face
of
the prairie, dancing
in
the
dappled light
of
the
forest
mead-
ows
and
meandering gaily
through
the
open countryside
to
celebrate the
sun.
Wherever there
are
open fields,
there
are
wildflowers. Some
blossoms
are
bold with carnival-bright colors,
while others are
shy,
hiding
among
the
grasses in
subtle
pastel dress.
.Ml are
beautiful.
In nature's
garden,
there
are
no
weeds
—each
plant
has
a
purpose. Hach
bud, blossom,
leaf
and
seed is
a
potential subject
for the
sketchbook.
In
the
field, the flowers
have a vitality
that cannot be duplicated
in
the
studio
with
cut
flowers.
The
still
life
is
just
that—
still
—
the life force begin-
ning
to ebb
from the
blossoms.
Sit
awhile among
the flowers
of
the
field
and
notice how
the
sun
plays
across
the petals, creating a
translucent
(juality not unlike
stained
glass. The
colors
are
brighter in the
natural
light,
requiring
purer
color mixtures on your
palette.
Linger
long enough
and
you will see that the
flowers
are
not
the
only
inhabitants of the fields. The hum
of insects
and the
twitter of
the
birdsong
is all
about.
.A
hummingbird
may
zoom
by
on
an
important
nectar-
fmding
mission, while
butterflies
flit
among
the
flowers in a silent ritual.
Wearing
the earthy
colors of the soil,
rabbits, prairie
dogs and
mice
keep
watch
among
the grasses. Don't be afraid
to
add
a
creature
or two to
your
flower paintings. They can
provide
an
additional
splash of color
(butterflies
and
birds),
create
a
point
of
interest (creeping
insects)
or
provide
earthy
contrast hues
(small animals).
But
don't
try
to draw
it all. A simple
study,
devoid of background, is 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
bloom
and the animals
arc
cooperative, so don
your sunglasses and
join me
in the
field
of flowers.
59
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RAHHl I
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CHAPTER FIVE
DESERT DRYLANDS
The
word
tlcscrt
suggests
a
dry,
harsh
landscape of
rocks,
sand
and
thorn-
covered vegetation. Yet the
desert can
be a place
of
high
contrast
and
beauty
for
those who
take
the
time to
really
look.
Rocks
are
polished
to
a sheen by
desert sand
and
wind. The variety of
types and colors are
great. To fully
appreciate a
smooth desert pebble, you
need
to
pick
it up
and
feel the
warmth
of it
in the palm
of
your hand. It
may
be
speckled
with quartz, marbled
with
minerals or simply tinted a delicate,
pastel hue.
Raise
your sights
to
the
hori/on.
Study
the
grand
rock
formations,
carved
by the elements into
statuesque
shapes. The light
plays
over
their
surface,
emphasizing the contours. The colors
are
subtle and
earthy, the
same
mix-
tures
that
linger in the corners of
a
well-used watercolor
palette.
Stand
very
still
and
lower
your gaze. Let
your eyes
explore the
ground,
among
the
scattered
stones
and
cast shadows,
until
you
spot
movement.
There, staring at
you
from
the crest
of
a
rock,
is
a
basking
lizard.
Only the
rhythmic
movement of its sides signals life—its
camouflage
is perfect
Catch
him with your
pen,
pencil
or
camera, but
keep
your
distance
or
he'll
disappear.
The
thorny
bits of
vegetation
look
shri\eled
and
dead, but there
is
life
within.
Spring
rains are all
that are
needed
to
awaken them to
breathtaking
splendor. The
desert
in bloom presents
a
rich contrast
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
you
can
imagine
the earthy, prickly cactus pads
portrayed in
pen and
ink,
and the
blossoms
coming
to life in layered
watercolor
washes
—
the
bold against
the
fragile
then you're
ready to
appreciate the
artistic
assets
of
the
desert drylands.
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CHAPTER SIX
PONDS,
SWAMPS
AND
MARSHES
Welcome
to
the
wetlands.
Here
water
is the main feature. If the
wetland
looks like a prairie with varied grasses,
sedges, rushes
and
cattails
merged
with
pools
of
water, it's considered
a
marsh. When bodies
of still or
slowly
moving
water
intermix with
forest
lands, it's
a
swamp. In
order
to
support
themselves
in the
soft mud, swamp
trees
like
the
Bald
Cypress
and
the
Tupelo have
buttressed
trunks
and
vast
root systems.
Springing
from
the
roots
are
gnarled
knees
that rise above the water like
wooden stalagmites.
As
seen
in
the
painting
on
the
opposite
page,
swamplands
and marshes
can be
mingled. Towering
Bald Cypresses yield
to
dense mats
of rushes,
which
in turn
give
way to
the deeper
waters
of
a
pond and
floating rafts of
lily
pads.
As an artist
and
amateur naturalist,
I
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 a
kaleidoscope.
The
filtered light
of
the
swamp
adds the drama
of
extreme
highlight
and
shadow to a habitat already rich in intrigue.
Here
is
a treasure
chest of
value
contrasts, unusual shapes 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.
A
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 time to
put
on
your
boots
and venture into
the
wetlands.
In
this
chapter, I'll introduce you to
some of
my
favorite swampy flora
and fauna and
the techniques that
will
make
sketching
them
easier.
.\ word of
caution,
from
personal experience—the southern
swamplands
are not a good place for the
novice
to
explore alone. One never
knows what
might swim,
crawl or
slither
out
of
those
deep
and mysterious shadows
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CHAPTER SEVEN
MOUNTAINS, CRAGS
AND
CREVICES
High and
rocky
arc the
two
words
that best
describe
the terrain featured
in
this chapter.
Rocks are the
nature
of
the
mountains.
The higher
you
go,
the
more
apparent they
become.
Near
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
to
rest in
great
congregations.
Above
the
rocks,
eagles
soar.
Beneath the
rocks,
the
creatures build their
dens.
Upon
the
rocks,
alpine
flora
clings
to
life.
In
the
mountain
highlands,
life
is
spartan
and fast-paced. Plants
don't
waste
time
growing
tall. Large,
bright blossoms
are their
glory
and reproduction their mission, all the
while
racing
the time
clock in
a
precarious
climate.
One
can
only
stand in
awe
at
the
tenacity
of life that flourishes amid such hardship.
As the
seasons
cycle,
melting
snow
sends
cascades
of
water
dancing over
the
rocks
in
a
rhythm 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
a
compellng inspiration.
Linger
awhile,
and in the
following
pages we'll explore a
few
of the
mountains,
crags and
crevices.
Then
perhaps
you'll
plan
a trip
of
your own to
pen
and
paint the
delights
of
the
alpine
scene.
113
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-<fj^
BALD
EAGLE AND
PENSTEMON.
8
X
10
(20.3cm
X
25.4cm).
layered watcrcolor
washes and ink stippling
127
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INDEX
Alcohol,
15,
44-46, 53-55,
78,
110-111,
115,
119
Algae, 40,
48-49,
54,
56
Armadillo,
17
Barnacle,
49,
54
Birds
desert,
82-83,
86-87,
92
eagle,
125-127
hummingbird,
68-71
marshland
waterfowl,
96-98
thicket,
20,
24-25
Blending,
20, 35, 66, 101,
122,
125
Blotting,
9, 14,
24,
36,
42,
83,
101,
106,
109-111,
126
Bruising,
9,
14,
21,
24, 43, 68,
70,
104
Cactus,
88-93
Cattail,.
110-111
Chipmunk,
117
Clouds,
126-127
Color chart, 12
Contour lines,
10, 56,
82-83,
88,
90, 105,
121
Coral,
40, 44,
48
Crab,
50,
54
Criss cross lines,
11,
20-
21, 36,
69,
72-73,
82-83, 97-98,
116-117
Crosshatching,
10, 33,
42,
79,
88,
90
Desert drylands,
77-94
Detailing,
46, 50, 58, 61, 72,
79,
85,
104,
107, 110,
124
Dry brushing,
13,
22,
50-51,
56,
65,
72-73,
85
Eyes,
41, 73,
125
Feathers, 11,97-98,
125-127
Ferns,
22-23,
25,
118
Fish, 41-47,
53
Flowers,
17,60-61
alpine,
124,
126-127
aquatic,
54,
100-103
desert,
84-93
field,
59-65,
74-75
mountain,
114,
118-119
pond,
107-109
wildflowers,
70-71,
84-87
woodland,
32-35
Frogs,
28, 30,
99
Fur,
11
Glazing,
13, 32, 68, 84,
120. See
also Layering
Hair,
11
Impressing,
15,
22-23, 26-27,
40,
44, 65, 74, 106, 109,
120,
124
Insects,
66-67,
104
Layering,
10,
13,
20, 26, 32,
44,
48, 53,
61-62,
72,
99-100,
103, 106, 117,
\22. See
also
Glazing;
Wash,
layered
Leaves,
15-16,
29-31,
65,
74-75,
124
Lichen,
115,
118
Liquid
frisket,
14,
106,
120,
123
Lizard,
79-81
Masking,
9, 14,
26, 33, 43, 48,
50-53,
56, 58, 65,
74, 86,
89,
105-106,
114,
123-124
Mice,
72
Moose, 17
Moss,
21,
118,
120
Mountains,
113-127
Mushroom,
16, 26,
30
Muting,
20,
100-101, 105
Paint, 8
Paper,
8
Parallel
lines,
10,
33,
83
Pebbles,
48, 54,
78.
80-81
Pen,
8
Pika,
112,
116,
118-119
Rabbit,
73-75
Razor blade,
9,
36, 50,
53,
73,
78,
85, 101,
121
Rocks,
113-127
Salt,
9,
15, 21, 32, 41,
44-46,
52,
63, 65, 68,
74,
83, 89,
97,
122-124
Sand, 48
Scraping,
14,
56
Scratching,
36,
53,
73, 78, 85,
101
Scribble lines,
11,21,24,26,30,
44,56,62,65,67,73,
115-
116, 118, 121,
124
Sea
creatures,
49-55
Shading,
32, 44, 48, 60,
62,
84,
92,99
Shadow,
10, 86, 107, 120,
122,
124-125
Shells,
48-50,
54
Sketching,
16-18,
22, 28,
68,
78,
82-83, 104-105,
107,
110,
116
Snow,
113,
120-122
Soil, 27
Spattering,
14, 27,
30-31,
40,
43-44,
48,
54-55, 64-66,
74,
80,83,86,92,
110-111,115,
119, 121,
123
Sponging,
9, 15,50,
115,
118
Squirrels,
36-37,
72,
117
Stippling,
11,22-23,27-29,31,
33,
35,
40-41, 43-44,
48,
50-52,
63, 66,
78,
86,
99-
100,102,104,110-111,114,
118,
126
Talus rock,
112,
115,
118-119
Tide
pools,
39-58
Toad,
16
Tropical
reef,
39-58
Turtle,
105
Underpainting,
46
Underwash,
44
Unpainted
area,
61,73, 117,
122,
125
Wash,
16
blended,
51. See also
Blending
damp
surface,
53,
61-63,
65,
70, 86, 92, 100, 104, 107,
116-117,
122
dark,
27,41,
52,
114
dirty palette,
36, 46, 80,
88,
96, 115,
118
flat,
13,
28-29,
32, 42,
50-51,
56,
70,84-85,
114,
124
graded,
13, 40,
43,
56
heavy,
23
layered,
30,
35-36,
44, 48,
53,
55-56,
61-62,
65, 69, 72, 78,
90,
92,
96-98,
100, 105,
107,
110, 114, 116, 118, 124,
126-127
light,
44, 49,
73,
79,
90.
104,
107
pale,
52-53,
66,
121
varied,
13, 29,
46,
48,
65-66,
106, 118,
124
wet,
14,
21-22.
See
also Wet-
on-
wet
Water
cascading, 120-121
techniques using,
14, 17,
21,
27,
30,
83, 123
Watercolor
techniques, 13
Wavy
Hnes,
11,24,82,98
Wetlands,
95
Wet-on-wet,
13,
21,
24,
40,
46,
54, 65,
68,
74, 97,
105,
122-123
128
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ART
TECHNIQUE
Painting
Nature
in Pen
&
Ink
with
Watercolor
Celebrate nature's beauty in
pen,
ink
and watercolor with Claudia
Nice as your guide.
With
Claudia's clear, friendly
step-by-step
instruction, you'll
feel like
you're right
there with
her, painting
quiet
forest
scenes,
coral reefs
teeming
v^^ith
color,
prairies,
deserts,
ponds
and
mountains... six ecosystems in
all.
This
book
is packed
with
step-by-step demonstrations—birds,
fish, shells, rocks, butterflies and so
much
more—leading to full-
length
projects alive with
the beauty
and
joy
of nature. Look inside
and
you'll
see
why
thousands
of
artists
have found Claudia's instruc-
tion
both
enlightening and
inspiring.
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ifnj
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fuitr
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tupcd.
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til.
eastern'
/
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todun..