It seemed appropriate to include the Black-throated Green Warbler (Setophaga Virens) in the illustration with the Black-throated Blue Warbler (Setophaga caerulescens) on the White Pine branch.

The Black-throated Blue Warbler (Setophaga caerulescens) on an Eastern White Pine branch was done to gypsy music, GYPSY PASSION by Sergei Trafanov and GYPSY EYES by The Fancy Toys. The energy of the music was a good match for this neo-tropical warbler’s movements…a fitting finale! I sketched from a photo by John Van de Graaff.

My challenge was to intersperse writing with the pen/ ink/watercolor illustrations of neo-tropical warblers. This is the INTRODUCTION to the Bonding With The Landscape Series: Children learn when their senses are stimulated. This stimulation assists in their appreciation and understanding of the natural world and their relationship to it. Sensory journeys into diverse habitats create a natural bonding with the plants and animals that live there, reinforcing familiarity and fostering trust. The sounds, smells, colors, and nuances mingle inside the mind/body of the child and eventually become the grounding force that brings happiness, a sense of being, belonging, and longing. This series contributes to the critical discussion on the development of an ecological conscience and it ‘a relationship to an ecologically sound and responsible society. This critical resource is recommended for students, teachers, parents, grandparents, school guidance counselors, naturalists, and environmental educators.

I worked on the first four warbler illustrations from day 1-36 then switched to writing narrative for these neo-tropical wood warblers. It took awhile to get comfortable with the transition. When I started writing, I missed the music of illustrating (literally and figuratively). When I resumed illustrating on day 75 with the Magnolia and Canada Warblers, I couldn’t stop thinking about new narrative. I’m learning to appreciate and respect the balance necessary to accomplish my goal of illustrating and writing the Bonding With The Landscape Series.

This experiment was exciting. The morning sunlight created both shadow and sun on the tree and warbler. These circumstances brought out the texture of the watercolor paper, while enhancing the bark and lichens.

The process is developing as each piece is created. My goal has been to practice every day and learn more about structure and color as it is applied to the neo-tropical warblers and their breeding environment. I worked to Asaf Avidan’s new album, DIFFERENT PULSES. The energy from his work helped me overcome the difficulty I experienced creating the Nuthatch-like pose of this Black and White Warbler on a lichen covered Sugar Maple tree. I used a photo I took at Presque Isle for the tree. The warbler was sketched after a photo by Sue from her blog, Backyard Biologist. With this piece, I learned that I like a more stylized look rather than a “realistic painting” (e.g., Stippling on bark indentations, pen/ink exclusively on the warbler). The Black and White Warbler is really this striking and distinct.

The Redstarts (Warblers) on a Hemlock branch was done to THE GOAT RODEO SESSIONS, Yo Yo Ma…a goat rodeo is when “multiple conflicting elements all must be choreographed and aligned to avoid a chaotic result.” For this context, those elements are the branch design, needle placement, position of the birds, the male and female reproductive parts of the Hemlock, color, ink. I recognize the process is gaining strength. In this third piece, I felt less hesitant in the overall approach to design and balance. However, I’m finding it difficult to adhere to the 3 hr./day rule and tend to work longer most days. This, of course, has it’s consequences. Overall, I’m pleased with the effort and see improvement.

I’ve decided to continue with sketching/painting the neo-tropical wood warblers for this 100-Day Project series. By staying with the warbler form, I’ve noticed improvements in both the sketch and the watercolor. I’m using my own photographs and Jim Flynn’s from Chris G. Earley’s , WARBLERS OF CANADA. I also consult Field Guides, such as SIBLEY and old Brooks and Fuertes illustrations. Creating a life-like pose has been a challenge. I’ve been sketching/painting to music, which I cannot do when I write. The first sketch of Blackburnian Warblers was to Zoe Keating (cellist) INTO THE TREES. This second work of male and female Bay-breasted Warblers was done to Nadia Sirota’s (violist), BAROQUE. The repetitious pen/ink detail required for the work is well suited to the sounds created by these artists (No lyrics).

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.