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Nature
Claudia Nice
v,^.V.
BELVEDERE TIBUROIUSlUiRY
^/
'H
DATE DUE
JUL Q 6 199j
MAR 072)01
AP^
2 5
mi
'.'
I
17(M
l-iinlr,! in
SA
M
Painting Nature t
in PEN & INK
with
WATERCOLOR
'/C^j^Mr
"^mr^m^-'frn
Claudia Nice
ly y
i
m
^BlSIIiK
4.
ABOUT THE AUTHOR
Claudia Nice
is
Northwest and
a self-taught artist,
when working
in
is
multi-media
developartist,
but
for
Grumbacher
Claudia has traveled across North America conducting seminars, workshops and
demonstrations
at schools, clubs,
and ink drawings have won numerous awards and can be found
oils,
watercolors
in private collec-
in the
Watercolor, both of
art instruction
books, including
as
main selections
art career,
Claudia enjoys
^y^^/r//-
and Ink
With
When
in
Oregon. Us-
Claudia
skills as a
has
developed
man-tracker and
is
in-
band Jim,
as
wilderness
Painting Nature in
Nice. Manufactured
No
Copyright
part of this
1998 by Claudia
book may be
in
01
00
99
98
Inc.,
cm.
p.
Includes index.
ISBN
1.
0-89134-813-1 (hardcover)
Pen drawing
(Asthetics)
I.
NC905.N528
Technique.
2.
Watercolor Painting
Technique.
3.
Nature
Title.
1998
741.2'6 dc21
98-12672
CIP
Edited by Jennifer Long
Production edited by Patrick Souhan and Michelle Howry
Alicz
wisdom, and
taught
My
me
f-
my
me
wilderness
meaning of kindred
deepest thanks
earth with so
to
the
my
who
spirits.
di\ersitv.
lather of
all
creation,
who
blessed the
8"
10"
INTRODUCTION
CHAPTER ONE
GETTING STARTED
CHAPTER TWO
18
CHAPTER THREE
38
CHAPTER FOUR
FIELDS OF FLOWERS
CHAPTER
FIVE
DESERT DRYLANDS
CHAPTER
SIX
PONDS, SWAMPS
AND MARSHES
CHAPTER SEVEN
MOUNTAINS, CRAGS
AND CREVICES
INDEX
jrv-^^iy.
:^*
//
58
76
37, 16"
X 20"
(4().6cm
X 50.8cm),
oils
INTRODUCTION
To become one with nature
enough
to
move
in close
roundings,
to
by and view
to stroll
to
is
enjoy
from
it
life to
afar, like a
me
it's
spectator at a game.
to touch, to sniff, to
if
begin to
j^-^"
need
my
my
not
surat
"artist's
eye." Familiar sights, sounds and smells recall nostalgic memories, while the
uithui to
damp
orchestrated
remember when
followed
to get close
forest sights
down
in a
my
and sounds.
back against
I
get
my
my
was
Vou
my hope
way around
who
a tree
little
There
sat, in a
my mind
fear,
deep
hesitation, they
tired of the
to rest.
and
a lake, trying
a while,
feet.
down through
photo.''
part
It's
and appreciation
to take a
a greater love
enough
Did
and
result
it all.
always
will
spring.
hair
The
puzzle pieces of this world and the touch of the Master's hand
for the
w indblown
come
bedded down,
bet!
It
that this
book
will
will
encourage you
artist's
C^a/i(^ ?^oay'
to
for
many
years to come.
CHAPTER ONE
GETTING STARTED
MATERIALS
Good
tools
and
The
a project.
Pen
art
equipment
or her art
in order to
artist
succeed.
is
what
in design,
backs for the Artist Pen are that you don't have a choice of
inks,
Dip pens
refillable.
range.
pen
tool,
some-
will provide a
good ink
steel nibs.
(fine),
line. It
the
cleans
Crow
up
Quill dip
easily
and
is
when many ink changes are required. The drawCrow Quill pens are limited in stroke direc-
useful
Watercolor paper
Choose
paper that
pen
the
up
clogging.
lint or
The
use
or heavier),
pH
spatter.
to allow
On
the
are used.
and
tion,
is
to a
board while
original shape.
its
medium weight
(125
lb.
neutral paper.
Ink
For mixed media work, choose an ink that
patible with the
manent
it
are using
is
lightfast,
com-
and "brushproof
or streaking. Per-
For
tested.
pen you
must be
recommend
For
The pen
The
ideal
pen has
a steady, leak-free
all
flow and
a precise
directions.
illustrated using
sist
and
a plastic holder.
shifts
a delicate
is
this
in parenthesis
in a variety
used
in
for
my
of
work.
each sketch
Two
drawbacks
Look for a watercolor paint that has rich, intense color, even
when thinned to pastel tints. It should be finely ground
and well-processed, so washes appear clean, with no particle
residue. Colors should have high lightfast ratings.
in this
comes
Paint
there are
pen
cleaning.
A more
It
choose compatible,
wire
technical
lines,
(Throughout
noted
is
softer,
Pen by Grumbacher.
The Artist
many
ber that
than
While
it's
remem-
Brushes
The
made
absorbent
amounts of
brushes
sable
of sable
while maintaining
fluid color,
A good
hair. Soft,
of holding
capable
are
large
sharp point or
a resilient
snap.
low-
when
wet, or are so
stiff
upkeep
hint
use
your
brushes
watcrcolor
only
for
watcrcolor.
-^
?or Suc^ojYov/ncCujdshes
for scr{u>i^a
(m 8^6 ) -
Liquid
(masking
frisket
fluid) to protect
white paper
areas
or
The
Incredible
Nib
applying frisket
Masking tape
for
liq-
uid frisket
Rock and
Tweezers
Razor blade
Facial tissue
for blotting
my
and
refer
all
& Ink
3i^5to
Vcri/
Shroimm ^ofmu^MS
Lvmj^TMMvm
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Lanon
n^fiio
The
Utimrmrm. ~B(My
1/toCeb
color chart
above shows
colors, consisting of a
warm and
violets).
colors,
browns and
(colors opposite
ite
premixed tube
colors.
is
conve-
Red, yellow
neutrals can
The
colors
1.
Gamboge
2.
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.
I
to duplicate
by mixing)
12
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strokm]
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13
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(pfwtr tou/tl)
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1/eirtou.'? Cicjfit
1/tiCutpfotterK'^.
14
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IS
use vwj
TTiiM/
(vilj)
Tnummionj, 7 recorpC
iW'pi^^e/ni
ciddik.
fowrnul/ papers.
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brown ail^i^S
fUdjijr [taf3tvtdiA
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tim (wt
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to 5park.
16
mo
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niilrcfi
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'pikkisk [ayoaj
Wa^e^ drop.
IDtCta 7u/nctiw,
fiCaskoy
17
salt
and penwork
CHAPTER TWO
moment
for a
the
in
deep
branches sway
floor.
mosses, ferns and vine-like ground cover spring from the rich
among
woodland wildflowers.
X'iolets, lilies
hiding places
splendor. Bold
in (|uiet
Here, lush
humus
or the
their
On
It
invites the
wanderer
to linger,
and the
where
laid
out
amen echoes
artist to
in
fill
of the
sketchbook
to begin.-*
In this chapter
lifelike earth
to bring
them
to portray
my
them. (Complicated
and texture
few of
to life.
Once
I'll
flora
some
guide you
in
the mixture of
realistic texture,
some
techniques.
When
I'll
duplicate
my
to
combine them
paintings or alter
w here the
them
sights,
become
into a composition.
to
fit
your
own
You
are
welcome
to
own
vivid,
creativity.
19
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of.
.
fk]Uitc/7/nifUi 5parrouy.
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Srtiehy
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rou/noC
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artist.
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11
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work omcCi^iiiCwj^.
5dt tatu/rmj
Ho. Z
~RoumC
maifivrt
aCnzt ~
Lmun
'ukjbmlfb
to
i^wn5pr
[JofimuA
^kis
ymp-up5)
forme
a.
thicks (^ou/ncC
A.
vcnn^(ji.m0niayri
^ ^Uc^U/
fCowtrsi
'z
forest/
pmibedon iJivs
z frwjilj^5tj
umtnietikcj ilw,
ac^wun^t Um5e/r Srovun
6ac/karou/rwCe icxi^rcd/
toCth^pe/n cmpCtMJ^
mLf[o{je/r5
u/eA't
miki
tUtmrnci^i^^, 'Bint
zarri5mt[i^i/aA^
u(/nj
ly[^l4/p5o
OrcfiwL/
imjbiA/ork/
3prma
Mli(/ [je/rcM^u(/my
Jm^H-lrt-llnji- Talfii/
V'.''J^'"'i'
wwmut
;0";.i'V;;.V-l.'^-.'''.vC-,-'
''..".';V.\v.v. ;.!,..,
34
-''"^^^
'
II
'"
-I
ni^i.J
or lm(uu m^.
crtaizs
3s)
art p(mouri Oy
fiUmoj tnivrfnims.
^pajccs
(.zs^.
^fii5
-^
,
ifit 6ac'k(rnMnc^.
Ort^on IjYdpc
IrtCCticmy
1^5criT)tCpfi(/kM<A7i.
35
SoijMfWpcwQ^
'
d mx of
9mc5/7/roopts.
'Pi^msCfmj
9kl:
coCora;Cpeo^
U.S.)
coork..
(.z^)
fl(f{f3roujrb
vrt55 cross
pe/jz
strops
pm
Vrts5 cross
sbrokts. Vfujcfiy
Cmj
Mrtcttaiy
imcCComt'h/
ofsira
"di/riuppiktU
lAJusfutsmd^
ScroitofTjiuCnv
-ujith^ PL
SrownmH
razor
tuorJz.
BCduCu
-^
.^^1.;:,.
iP
A\
tuorH with/
uji^sfWD
of
woyie/r-
coCoy?
1/jeCCou
pkis
OcMt
3mnt
Swmay
HepC Si;iiUrre'C
36
3wrn.tlM6&r
piks
Tfico l/coLtf
Dorci.AS SoriRRKI..
8"
colored pcnuork
37
LOW
38
CHAPTER THREE
possible to wear a
because
that's just
full
first
believed.
to cobalt, then
it
undulated
deep ultramarine
box of crayons. In
free
are
and
artistic license
takes on a
colors
my
be
to
in a creative
this
new meaning.
azure
new
is
set
Although
floated
whose
this anything-goes,
in vivid
in the
fish
time
know,
is
next to impossible.
in
accurate splendor, they are valuable in recording shapes, textures and tricky
light patterns. Inexpensive, single-use
down
Perhaps you're
to ten feet.
marine aquariums have reef exhibits where the beauty of the undersea world
in
at
low
own
type of
explorer
can find one visual treasure after another. Seaweeds, anemones, urchins,
mollusks and
craggy walls
in bright
crabs scurry over a mosaic floor of broken shells and water-polished pebbles.
Tiny
fish in
receding
tide.
by the
As you walk out among the tide pools, keep the following
you plan
to sketch.
Above
all.
A campstool will
the
add
to
your comfort
.^9
i^
sm:
f\CcofioC
cinimiUs (poUjj^s)
u//iif/i/svirrotmC
proviAjt/5 its''cx)l^adibyVofijrtm^
ThMwOreMob
r
to ifmJx:} Cirei/namCliUc^
pooustuy curap,
'yfformuconJ.
(Vrqiect SciC^cjrowwi
ijuitlru a.pajpe/r
or
ifiLproucCure/
c(mtuC vuiihy
Cwey^ Gofd^C fiJLou;C
"UJtt-GYl'UJtt
tunsPi
^-^.
UdrttpO
of ZjtCCouJ Oolvrc,
stvpplctjork
Us,50)
^-x-:v
itximrt 01(16
i^jo(tcC
'..
withy
Tirown a/ncC
work.
(.26,. 36)
ouer^nzlhnma
vcvricti(
ofsponats sea/mthjzrs
Vuddmavulfc
'Vnai
injL re.tf^
eacfi
(jiivcmjji)
were
-foCCotumcj tccfmiaujt/ (
dmfmtd
iuitk IruCicL
D 'Rtptdtm^
coCors ofihzftspL/
mui stu iuaJc&r^ppuht dpatc^fi mrf^^
cksvar]/ CRje/T 'tfij^retfcoreo/. tc/ar^
on di^u surficco R/npC Cct tke.
tfiz
u/rdssc
fvsfu myfidSits
"ffiis Coorcjt
/^yorkmcj m svuvCC
tfion.^
cCcurk u/ash..
(iJdY'itcO
mixes
of 5im/mis^
mribtrs imd
Vmmh Qrcwj.)
Stforc
movmaon.
Textuufc
orustouCs
oMcCCaojmcj
t/uL
moist
lA/asfi. ICsey
twtcze/r5.
crvj5toU5
m/
uark^
bojokcfrowncC' o/Ttcis if
mjuUi^mid/5tipp[c tkm.
wi^hy 3tpicu err /Tzduiy ^hk/.
Us,, -55)
io rtpttse^t^
smu.^
orm/yrc
cCistunt retfcrcPLiLCftS.
'Rf.e.i'
-^isfb
3ictcerfCiA
)\ l\i)?itCpkimnf
sketcJi^'
doA-k ta/rtku
ccmpCe/rm/n'tcirij
mzxtu/rts.
V
ITlostoftkst -ftsfh^art
Wi(i55 otfi/ruJC5cno6e.cQ
VOUJtC.
Orruftc
3wHe/rfkj
1"
3iittcrffuj fishy
{ScaJis
5"
cQ^iecC
cross Iv^ofumrj)
(^AiCcmtio-
Trioorisfi
42
Ooamth Seaficrst
3roujnmk/
5vtootflficu{ UncGorn/
Spdthtr
T^Mmd fkrrobftsfi/
(5oufurn
//''
'fCor'ipOi/
StippUiiujitfi/
coi^ecC
^
/
st\jU(S
AJfalb-spottuC
Tiiffer
3"
^
V^'
kai ovit
A\
lA/ert
skdcfbtcCfrompnows
nth.
CoCorsof
uCiitcmt
Ihck saCb
rttf tccfi/ntcimy
iMtthy
1rikuilMve/ri
iuark'dotfi
3iippCvm
TXstmt
rttf
0[({ cardC
form^tumy^ tf^iu/reci
Und^ic/cL5h
tJ(V5 1 vciriioO
Bwrni
UmSe/r i^/nfi
touA^kiS
44
oromaeoffcsJ^l Oc/ttc,
^/za(o B[ui^ a/ru^ 5roum5.
of Ora/n^e^.
I'VRVMin
Bl
TTKRFI.Y
fT^^^^
BiA/miV/mSe/r:
m. ct
of 7)iaJh
/llcofioC p(4vp5
di^i/mfujcisk
ofBiorntUm^e^
iJti'On-u/eJ: ua5fi
rowrwCSrusfi/
Hock
5a.C& iexiuTi/m
{:ecfin/{^^^JL^
U5eiC6o 5i^^&5&r^ef:
IMdjirjoa^/n^okjj ts a. va/ne^C(/as/^
of T^lh TS/m^ MlJi^lrayn(;C ''cicHu
pizCMt
SrouM-s!'
62^;
'%^-*;;
TRIGGER FISH. S'x
color with salt
10" (20.3cm
25.4cm). water-
5
rookij shores, wbfiy
iuvifi/5e^ wcuercmipCsm/
^??^ootli peSSUs
fmciMs
Lpujp(owri,pi^va/rted/C(/ii5fi',
of ^okm sfizCC.
PuM-pe/n stifptma
iTiuiedlwui^fnmdfity
forms
brvjfit^i
cii(k:u(/y?l/3cci[e3 cfn
ny Cower
witerttdMC pooCs.
TTljiskciwb
rocks,
lA/fuit&Mens,
(Burnet
AlcofioC
spayttor
3roumy
UmS&r
CCmjifU^
ie/rmoicvosfij
^o
tum/e.-
formvmtfuck^crustu col/mv^
^Un top oruouC tfit snaws a/ruCmpei^,
fmi4^^a on (zCaazy. Vjm. cfyrwC t/kk/
works^u^dCwc:(ftcti^hjt5C HujUu
(jftAJditrcoCaruyiCCy
&rm^tke/m.
toCifo^.
iiAjcst coast)
CuCiformiy MocsstO
^flortfuYn
iwistoocist)
(rlGrtfitcist
codei)
ibotfi codsbs)
T)oaiAJwikit5
ijoiomo Lwifd^
/
iSeCouj)
BmcmC
(custcoa^st)
^Ernaramatt^
3lkc-
UJtsb
const
(ftCqazorv
sfkC)
49
Om^s
ymt Vorue.lMm/C^Pi6
(u/est ooasi)
bnur' surrotmiimcjs.
5ponijma pro videos PiftM u/cuj wdiftb/t^
tfii^t vifitcfv
tlmrrodcjJi^ orU'SUj
iexiurL
Musk/
jomts
5immi/?motcpC
^^J
daokcfrou/ncC
nv 6Jky
^^)
^e/rmit Crfi5
^CrfiSskizdccf
!m.i[&ftmpO
lAytt/v^
^if drtishy
pe/nwori^
iV^tu.
uyitfu
rpuor 6I^cide.
nioCiepCshCCs
oj
urt
50
ofbmfoumCpk
pooCs.
tiiiey
5ei^Sht^5
/lyicClirpfivrie>
'e/n.
.
_^^
prtfe/r 5a/npC
mt seCdomfoumC
P00C5.
a/ncC/mikc
ifi^estma ci^'6kn^
Co
51
Smfimmoms
Se4?i iMmnonjis [oak. [vkji^ sijTmmiroaU'
TPimmafrom tidbpooCi^i^u^ers
ire/m:fits.
TM [/iimi
OiiUmv^
ttvL
tmi(w(ts
@ 'Wni:
driA.
Sodi/pmcC
ifui
(ft/
''
wash of TfmCo
\Armn, iTzpiCo
ZjeJ^Cotu
USMOTL iM 6op(Aj.)
i/JdS
lAjitfo
ci/rwC
maskmcj
ttht
{:cwt
thjL ^tmzacGie
Sa.5t i5 textureoC
with/ droujn
I'fubftsfUvsay
52
mA. stvpplmci.
c^a^ 6e
siAZ&pt M/i^lormc^/
tnmd-
mfu/n ofwiCCe/nac
072 dbhyrstouu Slcjcm/
^itfb Si Carujt cCrop of
vduoohjoi,
01
mopped^any
3riA^hjicCciCGohjoC
3irta/mejr5 ^efe ciMju
ho tfTJLJcCCij on t/yi rajfit.
TkidilxJnn ucis
ntooyi-feLfAAfisk/
(top vUcj)
cpt
combvrwtoarb ofmzpr
TrioariJlCCufvefi/
6Qidt5craicfij2s^ cCuppe/n
(bottom
vikiu')
i^pplMyC(yfitt&(/rik^ a/nd
lAMtc
cuo^ijCvo fiii/nt.
dovCvj
CmjerecCwasfiZ''^. Tfk
rauushy'
ttxturexC
'ioffr
3[wkptrowncCi5 cue^ on
tfwrt
V5
is^
nuccJi you
dtUmj
i!:fzt
c^ '^5a. tJkl
5piGli[frou/mC
Izfi!:
("This i^eoi
[men?or^e
u/as [jCazecC
H^
wtt
cwupC
Triton shzCC
itrocd^)
^tp(pooCfloor 15 Puidt
up offm^cfnii/^l,
5QMc{o/Tid Broken
5f?lCCs.
yfii/h Ci^f
Limpe.t
3urf po[t5fii
/
,
54
pt65[e.s
CorpiUpmy
IDK
I'ooi.
rKRRiroRY.
8"
10" (20.3cm
X 25.4cm).
layered
55
jfi)t
m/
tfvi
UjftcUCiA^
dCCoww"^
5qytay
ipcrtraAA(^(/
Vrvj Srvcstm^
iAivitvpi rw.
rou/ncCBru5fi.
ImertcC
u/a3k of5pup
hfuit
Cw&onikc upp&r
3u{jpir l^/racH^
(60 ta coasts)
0011565,
A fklpL/iili/
6Ccw(5afu^
liooku/teids
(botfly
GOd^ts)
toZfei^tw
pCcmbefim/c
51AJ0CI4V
tips.
HoftouJ ifyh'UJa.l2kpt<^5
ftCljtcCnair 61^ ivp Co'oth^'ms,
>p05l.lJU) (MptLorc.5
pmd.
^,^^,.....
^soLrdyums
Um6er
\
Ocfi/rtcmpC
5pup[jrmn/
56
ipfrpiujmcj,
6ou/mchypai^c^iiyr
IN(;()MIN(.
IDK.
7"
X 9'/;"
( 1
7.8cm X :4.1cm).
57
l...(:'.vi'~
MKADOWLARK,
8"
flowers, watercolor
58
10" (20.3cm
X 25.4cm), masked
CHAPTER FOUR
FIELDS OF FLOWERS
Like
patchwork
a bright
across the face of the prairie, dancing in the dappled light of the forest
Wherever there
are
open
open countryside
mead-
to celebrate the
Some blossoms
hiding among the
grasses in subtle pastel dress. .Ml are beautiful. In nature's garden, there are
no weeds
each
leaf
and seed
is
have
The
a vitality that
still life is
just that
cannot be duplicated
the
life
still
in
the
force begin-
awhile
among
how
The
across the petals, creating a translucent (juality not unlike stained glass.
colors are brighter in the natural light, requiring purer color mixtures on your
palette.
birdsong
is all
about.
.A
fields.
and
flit
colors of the
They
hum
The
among
the flowers in
afraid to
add
a silent ritual.
a creature or
two
to
your
devoid of background,
nectar-
is
it
all.
provide earthy
simple study,
On
is
join
me
bloom
in
the
field of flowers.
59
I)rmnm
^fit
Tk^^Joujer
owiCM'p ds dfrmrui
vCossom.
omte^ t5 TnacH
3ujm/ Mifi/
{[/ymposvbc
^.ijpt
SCossom
3) ii/nt5fv
cCrnujm/^ 5ij
uuMmcj pe/nciC o(ii(in^
Ifii
or UyStstcp iujo
/>-
feJMlstfidvi^ijm/
m^
ojs a.
60
Vtt^C
SiijCe
-VistiC
OVfiTPj
5epiiu.
fiipi/rve/ryt.
3Cui ^[ac\
A) Becji/n ujitk/
VmoiO
surfucjL
Cmovut
ix/asfiie
of
coCor. Jjib
J[mt
mpcwnte^C
om CoAJivr i/nib
UCtrayncunrnju
\
1/M
shadows a/npC
Ink/
ajddiiicriizl^ faofe^s
fUprevzons
UJitJ^clfi^
rovmcC 6ru5h orpe/fv
l/totjutmiTi
fmcC5ap Ijrcmy
tauejrs shou).
61
'
tjimim Core/ypst^
expe/rmm^
SCossomp to
iAjv6li/
shape, (mpi5ii5t
rau
WLthy
iAJusfi tfiz
fieioiCe
(^prniSoaey.
'^flpUT^faol/Mk
Umn6oat amCu5t
pure
Mo woist^mmt
ilk,
ce/rdarcuim^ 'Broun
mix io
,
%[mC''onto tkLomt/T'
t/k
c:Ocork qro/n
Tfii'o
^^^
'dlincC
PlP ^^
llnjitc TJeUouJ
l^reui
VmoljtCCotJ
Caatris
ptmiTiofTJico
^fiiedcjtsof^
l^ti^yitfvii toacfi
were 5oftemp{
ofU(;urle
cp^emfroin
aitpB aMuiy.
cCeim^dmnp^/7o.
iMAy 5crti66(iy
^lortkCcujevcs
?nzxepl/
Cduie/r
with/ /ndtco
to p[iif(J7je^f^otuor
cemeyr.
f^eA^c&nt&r
of droAsnWoMMr
/^
sfwidt ouncC
u(jifokb rmjpeiaCs.
i romc{ra5/7.
TambSrushy
l^rvm6achjir
OJoCcCecC.
mx
'Kjui/
yi^a^ iechnmut'?
fln PicticaCrose^iiiC,
p[K/nta;Cu/itfi^
TJmJ^ l^a^
ami5ta/rriptc{onio ihiL
papor t/n a ctA^ctdiz/r^
Pi
ddiccott 'ProA/rLu
l^stprmt^.
ytUouj/Ochre,j
stvpp[tcCpm
Broujn-pe/rb
[/miM^offloweA^
<
7^5
15
dpe^icmdBurnt
tuUhy5epck/
7ni^/.
Cfiicoruroots ciyncC
cprowrwC thjum for use
us
J fas
a. c^offet
u/fiwisicup
V/
thi Sasi's
-fortktsit/jna/ncC
6tza/mJi
fCowtr ducfCs.
"ihi Vttpits
5tr^
ofhfk CfiUX>Y\
to
tuicCb
thL"tui!^"
siro^Brusfi cmcC
waicrcoicfr u/asfi
of 'TM) Vtbdt'
-Demi/ Hkflixi/erwLtlv
d no. o ^ou/m pit-tcii(/
(nrusfi a/ncCifuL vcoltt
mx
or
Use [tftfwpcn a/nfCJ^HjL Vwltt 7n/i/.
tfii
Sackarowrid
'pet^rCi/j
Eiv&rCcistika
auot 6h.
Sdckorou/ncC washis,
Sew Ijrem,
UeUouj
ISu/rnt Swrnn/
in^.
SpO'ttf/r
TUums
SackarotmcC
uashis (Wtt-on-Jetcrdda/mv
Cmji'^ to fLortnJur
cdfi^
[jTMA
Quern/
Insects
(Och/rca/rwCiyoyrujpO
^
Insects i^twou&tmdriuPiitl^^
browyiujajshiis,
Mo tJkfl^(lCiaptsirvj of tJij^^
c!fr[i55Lpmi^5.
cii^iib^
^e
plHallkO
llwefore if: 15
rmtwmCio modc^
tjra.'osfiopper
pm
tjar^^
ton&cf
6roum
Indicb Inkpe/nuxirlQ,.)
J3tGji/ro
otct,
with
showikcj
J^MpaJjL
tA/citercoCor
5ectloyi5,
fltCcui rutitorccC
SlincCurwi. Ctt
Ujtwnt 5uJ[i[CovuiiiiC
'FkCeitt: [/mon Ifedciu,
OoPi/rt, !fru/m6cccyher
66
'ka
^uCvn dark
5ttppCtkcj
sofims
cjt5 ^/ncCf?cCp5
5'UMCfe3&
thjL.
on
tfiis vcdjt
'l5
^ttti4/rec{tAJLth/
thz
6t fowni^mJcjc^c^Cm'p
lAjarCcC-ujidiy.
mtxtoi/re
JfidCo
of
KtcCo
Mikimo of
3iMtrf[ijis
tvrdai^ (Jiih/
hi
l^uMMmj^m'ds
Vastus
HtminmnS-mi/
f/azpCts (i(/rae.
tcoPmwu3 dcCoCf
(R^feJiCmcj of cotton.
Timjfed: itCCouJ
Svrii^ to perc^,
SiyOt
mt
lAJltl^^.
'^cmaJjL
5tpicu /nA.
5[ip [jTU/n/ThiCo
slk.tch
cmUpi
6ci5t
cooUofpctmt^ appCudy
to
ci
Ce.t
da^mp 5Urj^a>cc,
c^u.
5ofie/nfuin{edaes
JCmjeAT
on
contour^
of thbboc^.
vOifmjiy thji
1^st uympU/ne/ntdru
coCor5 to c^k(/rU
nnitturts.
2) lexbu/rt
sfiort cri55-^
cross [mis m^
Brvum or 5cpaV
7n^. (./dor.zj)
69
bfcoCSr
wimftstwi^lx
i^Cami) su/rfdct
Uoytov5vs
coasn of^
5a/rl pCroMjrLfret
70
KI.()RA[,
KKS TIN
Al.. 8"
10" (2n.3cm
S
[jrou/nd mvrreCs
wrt
^ Mihe^
5iMil^m [^fpejiTfi^
tPi.
Cutter
'BCRyck-t[ii[edy ^
CcujCA'tdC
Vrij' Sru5fi
ujiz5pi5
diCailmcj cR/er
of t^e/CCok/ Oohre.,
cro55 Ctm^s.)
apn^ipiy \prownuC
^mi^rtO[foumdm^
inji 'Dpucjtbrusia. cprc^sIviyrwC^
EMyrihoj
mutLortb of
ikCCoJOcfyr<.,
Bmrib
T^i
lrwCicompen
smiCCT^otLSc is
founcC tfwouMjfiotot
tfuL MuCwest. M5
cocut vmCtsfrom cfrnoj
io real's /v-5roujyi
vlSovc cmcCoo/iit^t^ btCouJ.
72
of??2onta/nci 60
/^ Casi&rn CoHaniniCis
tki
common "UtiXt^ 6roum ra^Sit ' of
tfitpmirizyreaioTv! 7t/2^5t5U7/^
thickit5 rnipC 6ru5hpi/<?^ f^oppmi
^
Old a/mc.j tfuifCouj&rs a/rwi
|)
of Biornt
StMwwb/ 3wrkt I0r?76e/r
/? Ct'cjfiitAjcish
15
irrushidovora.
7)7015t: 5U/Kfa.u^
Cemjma
ufiiticireas
wnmrntecC.
Ltt
p(yu.
fl 5u:oncCtAja5h oftkn
savmjL liMi is cCrvjoricslyd
ovtr thjiftrst UMish t/?v
thji
Sti/rwCthnodhts. I'/kccjt
Vb 6li/np(ju^[M(nj^ thji
iCCwmmntiCfrb crt5cen
strohjL'?. Voi^
6rvcsk.
73
'RnwUi
flnc{ ^lornCluce.
~ Beslcpu
LoajowL'
VeoMUj EveA-Castma
Cexi,
' fmprtssed^
Impressed
Cea.f
74
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watcrcolor and
LACK.
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Ju..km X 2.S.4cm
>,
wash
75
76
CHAPTER FIVE
DESERT DRYLANDS
The word
Rocks
who
are polished to a
to pick
it
need
a place
and thorn-
up and
To
feel the
fully appreciate a
warmth of
in
it
It
may
a delicate,
pastel hue.
Raise your sights to the hori/on. Study the grand rock formations, carved
The
The
light plays
Stand very
among
still
and lower your gaze. Let your eyes explore the ground,
There, staring
at
a rock,
life
or camera,
its
is
basking
movement.
lizard.
camouflage
is
Only the
perfect!
Catch
he'll
disappear.
The
splendor.
The
desert in
all
that are
needed
bloom presents
to
awaken them
a rich contrast
to
is
life
breathtaking
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
coming
10"
7'/i"
in
washes
pen and
ink,
artistic assets
fragile
.Scpia
mkwork
77
Sim^sicm,
^fi3t5n[iCC5tom3u/erepu;k^
/-
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l/r^m^u/or^
Aaaiey
'
to
Cmfi6m^
?n
7nciiPUiMy
CofxTftcCvnJis
(yuvr Ua/nvp
Gtmrbi^
78
'
,
Pe/n
imdmJ^ cross
Lv7jwc(y
La/rat ^ipLtftcC sc(i[5
7-IZ"
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^7^
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crossfidtcfi/
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Ciaftt^
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''Hornedtoad"
Z'Cp
79
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80
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81
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tfiz orimat
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ce/nttrcs c(zfmecC
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or3rouMthik.(A/or/ey,
84
VriokCi/j
"Jt'AtiorccCtjtifiy
Thdo
'RdC/ Thio
l/tottt
mixturt^
toucfuwCto wet^
jfotutr PiM^
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ptrftct oontrasi io
tfuL cfm/ncjc
popptis tfwu
85
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biidsu/fiili
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86
ol
10" (20.3cm
bining India ink. layered waterculor washes and brown ink stippling
87
of [^iid7?uc(J^Uea^ /m(^
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to ieTiu/Tc tk^
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mitC6ra/n5tiioeAt!
Pi/rt
tmtecC wcchy
md
paXe^tix.
88
[{yrtij
onmmrcs
1^^^
OdctiA/p Sodif o/tipC thorns
rem^td'
3aG^[jrownc{tAy[i5 teAiurepC
ijjitiv ai6Ct sa^t cmcC rocky
5ciCt z^ sua ifest c{tata^6
ii*
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18 or Z5 pe/n.
PL
pe/ncily.
vn tfm sfuwt of
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to prtstrut'' thiL
spojot.
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not
YfmCo
Cmis to
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thz coyctcis. 7^ th/yrns / ^
p(At shcu;(ju
w Vpu/nt
ccictus 15 5oyum?azfor^
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fliiyorej;Cfrvtit^
90
91
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of
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92
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10" (20.3cm
X 25.4cm).
layered
93
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94
-'F-
CHAPTER
SIX
PONDS, SWAMPS
AND MARSHES
Welcome
Here water
to the wetlands.
looks like
it's
considered
a prairie
themselves
is
the soft
marsh.
forest lands,
mud, swamp
it's
When
bodies of
swamp.
still
or slowly
In order to support
Tupelo have buttressed trunks and vast root systems. Springing from the
roots are gnarled
As seen
in
knees that
rise
wooden
like
stalagmites.
which
lily
in turn
give
way
to the
deeper waters of
pond and
floating rafts of
pads.
As an
artist
and amateur
naturalist,
am
fascinated by
all
types of wetlands
with their vast array of unique plants and animals. In the brightly
lit
marshes,
the earthy greens and browns of the graceful rushes set off the splendor of
the waterfowls to perfection. Water reflections are vivid and as varied as
kaleidoscope.
The
shadow
swamp adds
Here
is
lazily against a
knee. Present are the rich greens of water plants, mingled with dollops of
sunlight.
dragonfly hovers above the scene, adding a dash of iridescent color. .\nd
there at the base of the cypress knee, a turtle hides in subtle camouflage. If
this vision excites
your
artist's
imagination, then
it's
some of my
swampy
favorite
flora
good place
introduce you to
will
easier.
for the
I'll
are not a
One
95
6a5to sPuxpes -
snupeU^
po^ntma iou/cora!
tfit t(jij
A/aiiioli^ujii^ier'
coior sfkjticin/
cfa
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tfou/TWi
(.le)
piviiiCdSlk
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(ASm/t)- mz/tMil^an^Ouok.
97
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98
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A/
cfiarics
of croctli^ pon/^pi^
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marks
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99
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towofiof 3pip
100
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(5)
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to
5fijoucOL
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stroke or rou/rifC^Hs/i.
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iuiifo armature,
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'ompji^e6cc{fprs^,
^<9e
tfum oyerl^ciicC
~
itxtwrdC
CGntni5t tf^ florae
'for
complMninis //^
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tfk 5t^CCfroa.
u/ork.
102
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10" (20.
km
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103
ujctfiAd no.
o/rc ci
common.
Ctafit
ci
feMuC
rovmcC
pm
.1^
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iAjitfi
Use [takiu/ask^
of SnollpproiMcC
coCor to
tmtr
VmnetCf/izs foCc{
6cickoJa/r[C
rest.
TJiio
iJloltt
&
UttroMO/rmo
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ifye/iri
mto
iAjitfO Pi
sUjlics.
'ptdadnfCij
X>r^onf/us
sprtoioCih^^
iAJtkas tAj/iiUyput rest.
T/ems
5rui5ti;C
i/itc(ci/9np
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m/ or
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pmcCweatlwrai^^o
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to
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tos
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2A. BrUySficyyipiseconcC
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[frm.
pCastCo torup
imcC5tac/rt.
crc&p
3A. 'furifu^A' i:iwrh/yi/
3B. Use.
moist
io
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15ioV
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(indiM/lkli^)
'T^e/)ncn/e
106
Ct^mcCiTi^5ku> tf/Ufiy
forcarownpitinia&5'
p{.Cona p[u5tu>
a/rtas
5U^^Siy
(DWafit wpbtercobr
brvish/^
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to
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ptus UCtrpi'
lidlcuJtmd.
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Siip
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^
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ifit
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''Vtckere.pLezd' ^
108
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8"
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x 25.4cm).
layered watcrcolor
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109
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fmcL
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frayicCs vrre^tsitS/h
'Vcmyb c^itcciO Cawes
of 5af ^rem^'TJ^alh
TreCwv/nouriJi
penciO skjdcn
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skbtck of
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110
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CATTAIL
textured with blotting and alcohol spatter, enhanced with brown stippled pcnwnrk
111
MP,
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IN SlJMMKR, 8" X 10" (2().3cm X 25.4cm), watercolor washes textured with sepia and India ink penwork
CHAPTER SEVEN
MOUNTAINS, CRAGS
AND CREVICES
arc the
two words
this chapter.
go, the
from
winter cloaks of snowy white. Like ancient patriarchs, the faces are seamed
and weathered with age. Their children are the rock boulders that break away
and romp rebelliously down the slopes, coming
Above the
dens.
life is
Upon
Beneath the
life.
In the
mountain highlands,
the tenacity of
life
As the seasons
the rocks
in a
that flourishes
cycle, melting
rhythm
One
tall.
all
Large,
the while
in
awe
at
as old as the
Is
it
the sound
or sight of the tumbling water that catches the stride of the passerby and
causes him to pause and appreciate.'' Be you naturalist, poet or painter, the
mountains are
compellng
inspiration.
in
own
to
the following
Then
perhaps
scene.
113
sternerov (Sei^oim'^mtil^)
IjirniSom
from
formmcj
bfiort^^
Mnst moySs
of SlM^'Orejm.' ro5tiie.5.
coCor u/ashzs.
ScopCjranj
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iULifi^ aro/rv
ufto%t
^dCow Ocfyrt
aJ-eas
uCmw
Sojckarownd to
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5tom.crop un'CO
piCCow tfit ScuykarowocC
to St (WpCmCftrstr
7^ choul^ts up 60 tkt
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114
Oyrtt/st".
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oudsfi ijjctlv
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Scu:/Q6jroo(/nd/
Tii((i':>
oCcC
tfuL
md
form
cfrtdt
/UCcCuftou "cdricjpiiCcUc^'
Pjrpuj^ a/npC6roujr?5 Jbr
sCopvmpids.
va/ruMj of [tcfim/
fl
UMsh ofSfjui'Chrwn
is [xddju;C/uA. cis cl
rtfCectcan of IhcaC
""
^c;^"-
(X)Cor.
'>tiCC^mp,
ixsti^yicoffoC
on scptw
Cicjfit tmoC Cu:fi/n/
to sirohjL
^lurthw toduurt
cd^k broum-
rocks
(jjCth^
[jrnoje
mjimrtyiuj
rwns
5pot5.
thjL
[ipp[w: vudh,
McoffOL, spaU&K'
spomi/n^ cMcC
5pcitU/mcj!
coCorehCoriliypm.
iAJork tAj(^tiL5eJi to
pm
Ctcm/ri adcCidoriiiC
Ctcm/n
pidcCu
i^fmiiioru!
Xt^cv
ipifesirtj
pltbicpT/,
Ctcfu^i
ofa^j^inu^
oCvm
to
^
rooks
tCst
tAjfmrt
nothmcj
wlCC i^frotJ.
rt^^
<
crdstost
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%ft05O or [aiffikfb ^
Cicfwru iuUhJfruitm
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i
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twt5
tfii
mownhm^of tht^
florthu/est u/Zkrc
amC
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misses,
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ifimi v^vrock crevice'^. Oni 15
Mort Ci^Q to /kar tkt
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to OL 3U(jflt[ij
uCojmpsu/rfpfhL.
-Q)
i4j(i5fiJi5
ofBiorni U?7i6e4^are.
tjhjt
roclQ.s.
116
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c^k
st'ropi
{note
strife^
VrtCvrrii/na^ij
CfTowrwC SchM/rrtCs
Coai v?^
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luipCrichji/njtcC
Wbdh^ Cautr(/ha
ttchniafjp-'=>
t areas
1n^
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7ndtcL?nA
117
story?,
col^i'^
pCcrtij pizCctlJiJ
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of'Paif?75 /^moj,
Burnt U^6or
Vestcfny
Bl^'Orwri
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arwns cmpC
miktwrts. V/vusc
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1^5tc^io
118
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119
S(w[jrejm
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sficwtf> 6tjpres5tMa turm^Udy
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120
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snouj storfkczs,
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127
INDEX
Fish, 41-47, 53
Paint, 8
Flowers, 17,60-61
Paper, 8
Tide
Toad, 16
pools, 39-58
Armadillo, 17
desert, 84-93
Pen, 8
Turtle, 105
74-75
Barnacle, 49, 54
field, 59-65,
Birds
pond, 107-109
eagle, 125-127
hummingbird, 68-71
woodland, 32-35
Underpainting, 46
Underwash, 44
Rabbit, 73-75
Razor blade,
Unpainted
125
Fur, 11
Rocks, 113-127
Layering
122-124
104
Hair, 11
Cattail,.
110-111
Chipmunk, 117
Clouds, 126-127
116-117, 122
Scraping, 14, 56
heavy, 23
92,99
Shadow,
126-127
116-117
Shells, 48-50,
Liquid
123
116
113, 120-122
65, 72-73, 85
9, 14, 26,
27
Masking,
107
pale, 52-53, 66, 121
Snow,
Soil,
Lizard, 79-81
54
124
90
Dry brushing,
44,56,62,65,67,73, 115-
124-125
Crab, 50, 54
Crosshatching,
124
Color chart, 12
Contour
101
Impressing,
damp
Sand, 48
Cactus, 88-93
Wash, 16
blended, 51. See also Blending
on-
Water
80,83,86,92, 110-111,115,
cascading, 120-121
techniques using,
Sponging,
9,
Wet-
wet
Mice, 72
Watercolor techniques, 13
Moose, 17
Stippling, 11,22-23,27-29,31,
Wavy
Moss,
Hnes, 11,24,82,98
Wetlands, 95
Wet-on-wet,
Mountains, 113-127
Mushroom,
100,102,104,110-111,114,
118, 126
122-123
128
16, 26,
30
ART TECHNIQUE
Nice
as
in
clear, friendly
step-by-step
instruction, you'll feel like you're right there with her, painting
in
This book
is
six
ecosystems
leading
and
you'll see
why
31193
uuCrottefl tupcd.
TTosc UrresiTitU/
birds,
and
inspiring.
/ pmdCsMkfv
to full-
Look
inside
itIamiinMrs
6u/rro<iJ fuitr
all.
deserts,
net
hit
fiiiiiiijaud'i'JiK'hL
todun..