The Project
The time I spent living in New Haven, Connecticut reminded me to pay attention. For this reason, I am passionate about the ecologies of the Northeast and will take any opportunity to illustrate their beauty. This project was a chance to remember what I loved about the space I’d run in every morning. I wanted to capture the cool embrace of a shady patch of green.
Having grown up in California, I was unfamiliar with the possibility of how much green, how much seasonal change, and how much life you could find even in the smallest pocket of a park. I was an attentive student of the forest. I saw the forests and swamps move quickly through the seasons: the maitake started as small buds on the trees I remembered from last year and soon bloomed to large hens, skunk cabbages quickly grew from the mud to incredible sizes and numbers, and chipmunks were only gone for what seemed a short while before I heard their spring chirps again.
As a science illustrator, I claim to bring attention to scientific topics using my artwork. But sometimes I forget to explore and be curious. So there is nothing like a vibrant, northeastern forest as a reminder. I remember the thrills of jumping into a cool hollow, finding black trumpet mushrooms on rocky steps, and running through snow behind a red fox as it unknowingly joined me on the trail.
Others that I met in New Haven were welcoming and shared a wonder for the forest, so I decided to start a natural journaling club. Together we hiked, journaled, and reflected. We learned to be more attentive, not just to the outdoors, but to ourselves and each other.
Sketching
I started with a simple, four-color value study composed around a curved line. I wanted this patch to be restful and embrace the viewer, but also give a sense of movement and life. The curved line felt like an encouraging hug.
I then chose plants for each shape, that matched the height and value. Then I was ready to use reference photos to create a rough digital sketch in Procreate.
Adding colors to a sketch is one thing–greens, browns, and blues–but once I was done I added a new overlay layer and painted with bright blue and yellow in the shadows and light spots.
Painting
The actual painting of the sketch worked backwards from the digital sketch. I used the overlay as guidance for the first watercolor washes I put onto the paper. You can see my reproduction of the overlay below.
This step is scary, I wanted large areas of paint and contrasting shadows but didn’t want to lose too much detail from my sketch. In the end, I accepted some of the sketch would be lost but I would be able to carve the details out again. I used some of the random variations and layering of paint to inspire new details as well.
I used gouache on top of the watercolor to add light bits of color, trying to redefine shapes of leaves. Then I added colored pencil on top. Drawing with colored pencil is always a leisurely, contemplative process. I picked up a new color probably every 5 seconds or so. I loved that I could put my drawing down at any time and didn’t have to worry about paint, which is more time sensitive.
And here’s the finished image, once again. The colored pencil adds a cozy texture. I tried to make very soft textures and transitions between colors to keep it dreamy and cozy.
