claudia nice painting nature in pen and ink with watercolor

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•I'illlllMng Nature in PEN & INK with WATERCOLOR Claudia Nice v,^.V.

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Page 1: Claudia Nice Painting Nature in Pen and Ink With Watercolor

8/10/2019 Claudia Nice Painting Nature in Pen and Ink With Watercolor

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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

18

Page 23: Claudia Nice Painting Nature in Pen and Ink With Watercolor

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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.

On the

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.

It invites the

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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Page 42: Claudia Nice Painting Nature in Pen and Ink With Watercolor

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LOW

TIDE,

7 X9

(17.8cm

X

22.9cm),

watercolor

washes

textured

with

penwork

38

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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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Page 60: Claudia Nice Painting Nature in Pen and Ink With Watercolor

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Page 61: Claudia Nice Painting Nature in Pen and Ink With Watercolor

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IN(;()MIN(.

I

IDK.

7 X

9'/;

(

1

7.8cm

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:4.1cm).

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and

ink

drawing

tinted

with

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washes

57

Page 62: Claudia Nice Painting Nature in Pen and Ink With Watercolor

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•l...(:'.vi'~§

MKADOWLARK,

8 X

10

(20.3cm

X

25.4cm), masked

flowers,

watercolor

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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washes with colored inkwork

71

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RAHHl I

AM)

I I.OH

\l.

LACK.

«

X

lU

(

Ju..km

X 2.S.4cm

>,

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and

Scpia/I'aync's

(Jray

ink

wash

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76

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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.

SPRING DESKK

T I.ANDSCAPK. 10 X

7'/i

(25.4cm

X

19.1cm).

watercolor

washes

and

.Scpia

mkwork

77

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QUAIL

AND POPPIES.

8 X

10

(20.3cm

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ink. layered waterculor washes

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brown ink

stippling

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91

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SAGTARO.

8 X

10

(20.3cm

X

25.4cm). layered

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washes,

textured

with .Sepia

ink

93

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10

(20.3cm

X

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with Payne's

Gray

penwork

94

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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

95

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textured with

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wrap,

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and

penwork

109

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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

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MP,

HOOD

IN

SlJMMKR,

8

X

10

(2().3cm

X 25.4cm),

watercolor

washes

textured

with

sepia

and

India ink

penwork

Page 117: Claudia Nice Painting Nature in Pen and Ink With Watercolor

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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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TALI s

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10

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washes

textured

with

spatter,

alcohol

streaks

and India

ink

pcnwork

119

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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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