It took a few days to develop a rhythm and to allow a process to unfold naturally and without restrictions. I said “yes” to everything. This was the result:
1.) Sketched from natural objects (branches/study skins).
2.) Practice sketched in my journal to create a memory for color and form.
3.) Conversed daily with my husband/naturalist, Michael, to discuss anatomical accuracy and overall authenticity and first impression.
4.) Formulated ideas to support the narrative part of the project. What initially catches our attention can lead to a greater curiosity about parts of supporting organisms we might not otherwise notice and appreciate.
Bonding With The Landscape
Lovely, Raven. Enjoyed reading about your process too.
Much appreciated Ann!
oh gosh the details are gorgeous!
Thank you Janeen. I have been a naturalist since childhood and taught environmental/ ecological education for 20 years, but still miss so many vital details, like the four sides of a Spruce needle. Bringing this sort of detail into view has always been an exiting aspect of sharing that “sense of wonder” and awareness Rachel Carson (THE SEA AROUND US) and Barry Lopez (CROSSING OPEN GROUND) speak of. I’m using .13, .18, and .30 rapidograph pens for this series. The brushes are 00 and 000 Grumbacher rounds. Also, I wear an old geology optivisor. Yes, I know…weird 🙂 Final thought…My world changed dramatically when I discovered the Fibonacci Sequence on a tree, a beaver tail, a pine cone…