Tag Archives: Barry Van Dusen

Songs from the Thicket

May 20, 2016

Nahant Thicket Wildlife Sanctuary, Nahant

Boston at Dawn from Nahant - at 72 dpi

The sun is just rising out of the sea and lighting up the tops of Boston’s skyscrapers as I drive over the causeway to Nahant.  It is 5 am.

Nahant Thicket is the smallest of the Mass Audubon sanctuaries at only 4 acres.  A walk down the sanctuary trail is over before it begins, so I poke along slowly, looking and listening.

Wilson's Warbler sketchbook page dropout- at 72 dpi

Wilson’s warbler sketchbook page, pencil and watercolor, 9″ x 12″

A Wilson’s warbler sings from a willow.  I recognize the song from that little trill at the end that drops in pitch.  I haven’t sketched a Wilson’s in a long while, so I spend some quality time with the bird, following it as it moves from tree to tree. The little black cap on top of its head seems to puff up slightly (my wife thinks it looks like a yarmulke!)

Wilson's Warbler - at 72 dpi

Wilson’s Warbler, watercolor on Fluid 100 coldpress, 9″ x 12″

The thicket is bisected by a ditch or channel of fresh water, and I pause on the wooden bridge to watch a thrush bathing along the water’s edge.

The Ditch at Nahant - at 72 dpi

A northern waterthrush sings nearby, and from deeper in the undergrowth a bird delivers bursts of a rapid staccato song.  A year ago I heard that same song along the Waterthrush Trail at High Ledges Wildlife Sanctuary in Shelburne.  It’s a Canada warbler, which fills another page in my sketchbook…

Canada Warbler sketches - at 72 dpi

Canada Warbler sketches, pencil, 6″ x 11″

The same species of warblers that were abundant at Marblehead Neck yesterday are numerous again today at Nahant Thicket: redstarts, northern parulas, magnolias and black-and-whites.   But I add some new species, too, including a yellow warbler and a black-throated blue.

Blk-Wht Warbler and Shelf Fungus - at 72 dpi

Sketchbook study, pencil, 8″ x 5″

N Parula in Oaks 2 - at 72 dpi

Northern Parula in Oaks, watercolor on Winsor & Newton cold-press, 9″ x 10.5″

By 9:30 am the neighborhood is waking up and along with it come the myriad sounds of humanity: lawn mowers, a garbage truck making the rounds, leaf blowers, and the general banging and slamming that seems a constant daytime sound in any busy neighborhood.   It’s time for me to migrate home…

Painting the Gutter

April 27, 2016

Rutland Brook Wildlife Sanctuary, Petersham

Connor Pond - at 72 dpi

After a balmy March, April has been colder than normal, with many frosty nights and brisk mornings.  Rutland Brook is the last of the Mass Audubon properties I’ll be visiting that is within easy driving distance of my home, and I’m quite familiar with the territory.  I’ve done drawings and paintings here before.  Here’s a drawing of Connor Pond made in August of 2008, while I was waiting for an artist friend to join me.  It was early morning after a wet night, and patches of ground fog were lifting away from the hills as the weather cleared.

Connors Pond - at 72 dpi, grayscale

I hike up along the brook, through the beautiful hemlock forest, and find a spot where some big fallen trees have formed an interesting arrangement of diagonals over the brook.   Old timers called places like these “hemlock gutters”, and it’s an apt name.  Narrow, steep little valleys strewn with boulders and fallen timber, they are cool, shady spots at any time of year.

Rutland Brook - at 72 dpi

With an intimate scene like this, the difference between the view standing and the view sitting can be the difference between a GREAT composition and a mediocre one.   I draw the scene first from a sitting position and establish the design.  Then, I clamp my watercolor book onto my field easel and work from a standing position to do the actual painting.  I prefer standing at an easel to paint landscapes.  It frees up the arm for more gestural brushwork, and encourages a loose, open painting style.

Set-up at Rutland Brook - at 72 dpi

The sound of rushing water plays tricks with my ears as I paint. Several times I think I hear someone approaching up the trail, and once even calling my name – but when I look up from my work, I am alone.  In fact, I meet no other person on the sanctuary today.  I’m a solitary wanderer in the forest.

Rutland Brook REVISED 2 - at 72 dpi

Rutland Brook, watercolor on Arches cold-press, 13.5″ x 10″

On my way back down along the brook, I pass areas where a worker has cleared fallen trees from the trail, lopping up the big boles with a chainsaw.  I like the strong volumes of these logs and do a quick pencil study.

Trail Clearing at Rutland Brook - at 72 dpi

Sketchbook study, pencil, 9″ x 12″

Keeping the trails open in an old forest like this must be a never-ending chore, and I bet this is property manager Ron Wolanin’s handiwork.

 

Springtime in the Valley, Part 2

This is from a series of posts by MABA resident artist Barry Van Dusen

Arcadia Wildlife Sanctuary, Easthampton March 22, 2016

Kestrel at Arcadia - at 72 dpi

Kestrel at Arcadia, watercolor on Arches cold-press, 10.25″ x 13.75″

As John and I are walking back to my car by the bridge, a slender graceful bird alights on a telephone pole – a beautiful male Kestrel!  I should have anticipated this species here – the habitat is classic Kestrel country.  In fact, I learn from the latest issue of Connections Magazine that Arcadia fledged 4 Kestrels in 2015, and is one of only two Mass Audubon properties where the species currently nests.  Whether this is one of Arcadia’s breeding birds is hard to say.  We’re right at the beginning of the period when Kestrels return to Massachusetts, so this bird may just be passing through…

After lunch at the visitor center, I hike the Horseshoe Trail to the Old Orchard, then follow the Fern Trail up along the Mill River.  The topography is a roller-coaster of humps and hollows, ridges and gullies.  These may be glacial in origin, or perhaps remnants of ancient streambeds and banks.

Old Coach Road Trail at Arcadia - at 72 dpi

Old Coach Road Trail

Along the River Trail, I play hide and seek with a handsome pair of common mergansers in the Silver Maple Swamp.  When I move my scope to get a better view, the birds move too, quickly putting some tree trunks or brush between us.

Common Merganser Pair - at 72 dpi

Common Merganser Pair, sketchbook study, 6″ x 10″

In late afternoon, I return to the grasslands by The Oxbow, hoping to see the Kestrel again.  No luck this time, but the sun has swung around and the Mt Tom range is now bathed in soft afternoon light.   I set up my field kit for some landscape work.

Set-up at Arcadia - at 72 dpi

watercolor nearly finished…

My view is the northern end of the Mt Tom range, where it drops down abruptly to the Connecticut River.  I’m looking across the field where I saw the Kestrel this morning.  Though not visible in my painting, The Oxbow lies just behind the trees at the end of the field, while the main course of the Connecticut River is on the far side of the mountain.

Mt Tom Range from Arcadia - at 72 dpi

Mt Tom Range from Arcadia, watercolor on Arches cold-press, 8″ x 11.5″

As I’m painting, one of the eagles soars in from the south and circles over Ned’s Ditch, then peels off to the west.  A FINE DAY at Arcadia!

 

Gull-ology

This is from a series of posts by MABA resident artist Barry Van Dusen

January 26, 2016

Eastern Point Wildlife Sanctuary, Gloucester, Part 2

I had brought along Chris Leahy’s excellent GUIDE TO WINTER BIRDING ON CAPE ANN, published by Bird Observer Magazine. This special reprint (I covet my copy), covers every nook and cranny along Cape Ann’s shore, with detailed notes on access, vantage points, and perhaps most importantly in this tight mix of public and private land – PARKING!  Although I spent most of my day at the sanctuary, I used this guide to explore adjacent areas, all of which are prime hotspots for birds.

Ring-billed Gull, Onset, Oct 2014 - at 72 dpi

Ring-billed Gull – one of the common gull species at Eastern Point

The area is of special interest to those interested in gulls and gull identification. Indeed, you could hardly find a better spot than Eastern Point in winter for a good variety of Larids. Today, and with Jim Berry’s help, I observed seven species of gulls in dozens of plumages. Besides the more common species – Herring, Great Black-backed, Ring-billed and Bonaparte’s – we found as many as six Iceland Gulls, two Glaucous gulls and one Black-headed gull!

Gulls at Niles Pond - at 72 dpi
Here’s the drill: You set up your scope at Niles Pond and methodically work your way through the throng of gulls loafing on the ice. You look for anything unusual or out-of-place: individuals of a slightly different size, odd colored legs and bills, slightly lighter or darker mantles, subtle shifts in overall color, and especially – pale wing tips.
The view of Niles Pond from the south end of Brace Cove was the best spot for studying gulls, today. Not only was this spot closest to the birds, but it was protected from the wind, and I could sketch comfortably.

Glaucous Gull studies - at 72 dpi

Sketchbook studies of a Glaucous Gull, pencil, 9″ x 12″

Iceland Gull, adult - at 72 dpi

Sketchbook studies of an adult Iceland Gull, pencil and watercolor, 9″ x 12″

Brace Cove Beach was also a good spot for gulls. The sub-adult Iceland gull in this painting was foraging in the waves just off the beach, and a nearby flock of Bonaparte’s gulls was joined by a single black-headed gull.

Iceland Gull, subadult - at 72 dpi

Iceland Gull (subadult), watercolor on Winsor & Newton cold press, 12″ x 16″

 

 

Winter’s Greens

This is from a series of posts by MABA resident artist Barry Van Dusen

Oak Knoll Wildlife Sanctuary, Attleboro on December 6, 2015
With two unseasonably mild days in the forecast, I head to Attleboro, MA, which is home to two Mass Audubon sanctuaries. The two properties are about a mile apart, and close to downtown Attleboro. Both are relatively recent additions to the Mass Audubon sanctuary system.

Ground Cedar - at 72 dpi

Ground Cedar at Oak Knoll

Entering the woods along the Talaquega Trail, I notice rich patches of green on the forest floor. These are club mosses – tree clubmoss and ground cedar. On closer inspection, I find teaberry and striped pipsissewa intermixed with the clubmosses – a rich plant mosaic!

The pipsissewa is especially distinctive, with its dark blue-green leaves veined in white. (technical note: the green of these leaves was achieved by mixing thalo green and ivory black – an unusual combination that captured just the right hue!).  From each whorl of leaves, a tall spindly stalk rises and is topped with globular seed heads.

Striped Pipsissewa - at 72 dpi, cropped

Striped Pipsissewa, watercolor on Arches hot-press, 14″ x 10″

Many of my students think of “backgrounds” as less important that the primary subject – a sort of space filler around the main attraction. But, as one of my college art teachers used to say: “There is NO unimportant part of a painting!”. Even ‘blank’ white spaces must be carefully considered, and must function as integral parts of the overall design. I often spend as much time designing and painting the “background” as I do the main subject, sometimes MORE, as in this case.
For this watercolor, I wanted to include a full background – the forest floor around the plant. I also wanted those little cushion-like seed heads atop the slender stalks to be prominent in the upper portion of the picture (in life, they are often lost against the complex background pattern).

Striped Pipsissewa - bkground at top (detail)

Pipsissewa – detail of background at top

I deliberately lightened the tones of the background at the top, and indicated the forest floor with an abstract arrangement of shapes and tones. The paler tones and softer edges, along with their position high in the picture, are all clues to the eye that there is greater depth in this part of the picture.

Striped Pipsissewa - bkground at bottom (detail)

Pipsissewa – detail of background at bottom

At the bottom of the picture, the forest floor is much closer to our viewpoint, and it is rendered in distinct shapes – you can identify each leaf and twig, here. The trickiest part was the transition zone, where the background changes from representational to abstract.

Brook at Oak Knoll - Talaquega Trail - at 72 dpi
I find another strong note of ‘winter’s green’ in the cress-like plants growing in the stream that crosses the Talaquega Trail. I sent some pictures of this plant to friend and expert naturalist Joe Choiniere, and with some help from botanist Robert Bertin, we identified this plant as a species of Water-starwort (Callitriche sp.).

Brook at Oak Knoll - close-up - at 72 dpi

Water-starwort at Oak Knoll

There are several native species of this aquatic plant, but identification can best be determined by examination of the flowers and fruits. Interestingly, the flowers can be pollinated either above or below the water’s surface!

Pepperbush Seed Heads, Lake Talaquega - at 72 dpi

Pepperbush Seed Heads, Lake Talaquega, sketchbook study, 4″ x 9″

Mallards, Talaquega - at 72 dpi

Mallards, Talaquega Lake, sketchbook study, 5″ x 9.5″

Talaquega Lake is quiet today, with just a few pairs of mallards feeding in the shallows. The lake is almost completely ice-free, with just a thin crust along the southern shore which will soon melt away in the afternoon sun. Scanning the pond with my telescope, I spot a single painted turtle hauled out onto the northeast shore, soaking up the rather weak rays of sun. A turtle sun-bathing in December! It has indeed been a mild winter so far.
I pause along the trail on the northern side of the lake and study the colors of the opposite shore. A big white pine dominates the view and supplies yet another note of ‘winter’s green’. I set up my painting kit along the soggy shore, and do a small watercolor, allowing the subtle colors to melt into one another.

Winter Shoreline - Lake Talaquega - at 72 dpi

Winter Shoreline, Lake Talaquega, watercolor on Arches rough, 9″ x 8.5″

Game Time!

This is from a series of posts by MABA resident artist Barry Van Dusen

Moose Hill Wildlife Sanctuary, Sharon on October 25, 2015

Chickadee Studies - at 72 dpi

sketchbook study, pencil and watercolor, 6″ x 11.5″

Moose Hill Wildlife Sanctuary in Sharon, is Mass Audubon’s first and oldest sanctuary – established by the Society in 1916 (The staff is looking ahead to the 100th anniversary next year!).  It’s a large, rambling property of nearly 2,000 acres with more than 25 miles of trails. Moose Hill is also in a densely populated area of the state, and is well-loved and heavily utilized by the surrounding communities.  Just the previous evening, a big pumpkin carving event had attracted hundreds of families and children, and their work was on display around the sanctuary.

Pumpkin Carving Display - at 72 dpi

It is raining steadily when I arrive at 9 am, but the forecast promises that the rains will be ending by 10. Without lugging along my paints, I take an exploratory walk while the weather improves. I hike the Billings Loop Trail, check out the pumpkin carving display in the “bat house” next to the Billings Barn, and stroll the boardwalk through the red maple swamp.
Back at the visitor center, I dodge the showers and draw the chickadees coming to the bird feeders. Chickadees are constantly in motion, and not easy to draw, so working with them is a good way to hone my visual memory and life drawing skills. Practice, practice…

By 11 am, it looks like the skies are clearing, so I pack up my field kit and lunch and head up the Bluff Trial. One lower section of the trail leads through a “tunnel” of arching witch-hazel turned bright yellow – a novel effect.

Witch-hazel Tunnel - at 72 dpi

along the Bluff Trail at Moose Hill

As I near the Bluff Overlook a small garter snake slithers across my path. I step into the woods to cut off its retreat, and then gently touched its tail. It immediately coils tightly into a defensive posture – a sign that I should leave it in peace!

Garter Snake - at 72 dpi

The rocky ridgetop of the Bluff Overlook (elevation 491 ft.) hosts a plant community quite distinct from the surrounding forests. Eastern red cedars are the most conspicuous feature, but there’s also a predominance of pignut hickory, and a small shrub-like oak called Bear Oak. Clinging to the rocks on this exposed ridge, the cedars have a craggy, weather-beaten look, with parts of their trunks and roots polished to a silvery white.

MooseHill Bluff - at 72 dpi

The Bluff Overlook at Moose Hill, watercolor on Arches coldpress, 12.25″ x 9.25″

Another prominent feature visible from the Overlook is Gillette Stadium. I arrive on the ridge about an hour before game time, and Gillette is lit up like a spaceship – glowing in the fog and light drizzle (yes, the rain persists!). Rock music drifts over the intervening hills from the public address system.

Gillette Stadium - at 72 dpi

I wander further along the ridge to Allen’s Ledge, where the golden yellow hickories form a dense stand. I hear a quiet “check” note, and one lone yellow-rumped warbler flies in to investigate my soft “pishing”. It eyes me warily from the top of a hickory and then flies off. It’s the only yellow-rump I’ve seen today, and I realize that warbler season is winding down for the year. I may not see another member of the warbler tribe until next spring.

Yellow-rump in Pignut Hickory - at 72 dpi

Yellow-rump in Pignut Hickory, watercolor on Arches coldpress, 9″ x 12.25″

On my way back to the visitor center, I encounter a flock of robins feeding on bittersweet berries near the Billings Barn, so I get to work with my scope. Although many New Englanders think of these birds as harbingers of Spring, they are really year-round birds in Massachusetts. I enjoy observing and recording their habits and behavior through all four seasons.

Robin and Bittersweet at Moose Hill - at 72 dpi

Robin and Bittersweet at Moose Hill, watercolor on Strathmore Aquarius II, 9″ x 11″

Addendum: In my last post, I mentioned a new book on Cuban Birds by Nils Navarro. Here’s a link:
http://www.birdscaribbean.org/2015/10/groundbreaking-endemic-birds-of-cuba-field-guide-available-now/

Blue Skies of Autumn, Part 2

This is from a series of posts by MABA resident artist Barry Van Dusen

Broadmoor Wildlife Sanctuary, Natick on October 15, 2015

After finishing my landscape painting (see Blue Skies of Autumn, part 1), I pack up and head further down the trail. Yellow-rumped warblers are moving thru the Old Orchard in good numbers, and I fill a page with them in my sketchbook. Though they are often the most common warbler in Spring and Fall migration, I never get tired of watching and drawing these birds!

Yellow-rump Studies, Broadmoor - at 72 dpi

Yellow-rump Studies, sketchbook page, 9″ x 12″

Palm warblers are moving through also, in slightly smaller numbers. They have a special fondness for ripe goldenrod, and I find more than a half dozen of them foraging in the unmowed field near South Street. I get good, close looks at these birds with my scope, and have a chance to study the variations in plumage.

Palm Warbler studies, Broadmoor - at 72 dpi

Palm Warbler studies, sketchbook page, 9″ x 12″

Most birds have rich mustard-yellow overtones, but a few are quite plain and gray, and some are bright below but dull above. All of them, however, dip their tails nervously, and when flushed, flash bright white spots in the outer tail feathers.

Palm Warbler in Goldenrod - at 72 dpi

Palm Warbler in Goldenrod, watercolor on Arches rough, 10.25″ x 14.25″

I get so involved with the palm warblers that I lose track of time. I had hoped to get out to see the Charles River on the Charles River Loop Trail, but I get only halfway there before I realize I’m seriously running out of light, and decide I don’t want to find myself on an unfamiliar trail in the dark.

Fall Reflections at Broadmoor - at 72 dpi
On the way back across the marsh boardwalk, the autumn colors, made even more intense by the setting sun, are reflected in the water and make a nice contrast with the cool blue-green of the lily pads. So much to paint, so little time…
That evening, I enjoy a fine presentation at Broadmoor by Nils Navarro, who has recently written and illustrated a handsome book on Cuban birds. It’s always a treat to meet and share thoughts with a fellow bird painter!

Blue Skies of Autumn, Part 1

This is from a series of posts by MABA resident artist Barry Van Dusen

Broadmoor Wildlife Sanctuary, Natick on October 15, 2015

Yellow-rump Studies, Broadmoor - at 72 dpi

sketchbook page of yellow-rumped warblers, 9″ x 12″

Autumn is coming on strong and touches of fall color are everywhere on this large reserve in Natick. The shortening of the days is ushering in the fall migrants: white-throated and swamp sparrows, ruby-crowned kinglets, palm and yellow-rumped warblers. Yellow-rumps are everywhere today, announcing their presence with soft “check” notes. I watch them forage high and low in oaks, maples, birches, cedars, and even poking around in the cattails near the All-persons Trail.

Fall Color at Broadmoor - at 72 dpi

along the boardwalk at Broadmoor…

Along the boardwalk, I meet Director Elissa Landre and she suggests the Old Orchard Trail as a good place for my artistic explorations. And, it proves to be a good tip. The open fields here are not only scenic, but attractive to a variety of birds. I set up my painting kit as overhead a Cooper’s hawk makes lazy circles in a deep blue sky before peeling off to the South.
A nearly unbroken swath of little bluestem grass carpets the gentle knoll of the Old Orchard, suffusing the landscape with a strange orange-pink hue. A rounded rock outcrop emerges from the grass, and scattered pines and cedars lend some dark accents. A few bright maples flare with crimson amid the softer greens of the field edge. The sky is so blue you could reach out and touch it. The scene is begging to be painted, so I get to work.

Old Orchard at Broadmoor - SKETCH - at 72 dpi

preliminary sketch at the Old Orchard, 4″ x 6″

Before starting on my sheet of watercolor paper, I do a simple pencil drawing in my sketchbook. This helps me figure out how to “crop” the landscape spread out before me, and to organize the elements into a satisfying composition. I almost always make changes to a scene that I’m painting – who says you can’t improve on Nature?

Old Orchard at Broadmoor 3 - at 72 dpi

The Old Orchard at Broadmoor, watercolor on Arches cold-press, 9″ x 13″

Once I get into the painting, I don’t hold back on the colors. I make the sky extra blue and the little bluestem a strong orange-pink. However, I’m also careful to provide neutral colors where the eye gets a rest – the muted greens of the tree line, and the cool grays of the boulder out-crop.
As luck would have it, Elissa comes by with Nils Navarro and Lisa Sorenson, and Lisa offers to take some photos of me at work. Thanks, Lisa!

Artist Barry Van Dusen at Broadmoor - cropped and retouched 3

A Skunky Place for Eels

This is from a series of posts by MABA resident artist Barry Van Dusen

Skunknett River Wildlife Sanctuary, Barnstable on October 11, 2015

When I mentioned to a friend that I was heading to Skunknett River Wildlife Sanctuary, he reasonably asked if I expected to see any skunks!  Actually “Skunknett” probably comes from an Algonquin Indian word meaning “a place to fish for eels” – which I’m sure it was in pre-colonial times.

West Pond, Skunknett - at 72 dpi

West Pond

As I ready my gear for the trail, I’m serenaded by red-bellied woodpeckers and Carolina wrens. The Bog Cart Path is bordered by oaks and pitch pines draped with old man’s beard lichen. Near the end of the trail, and adjacent to the outflow of West Pond, is one small spot where you can step out onto the shoreline and get an unobstructed view of the pond. I quietly set-up my scope and train it on a dazzling drake wood duck floating among the stumps and lily pads. The bird is in perfect light that brings out the purples and greens of its iridescent head. I take a few quick photos thru the scope then adjust it to start drawing, but in the process, my tripod makes a squeak. Instantly, the bird’s head snaps in my direction, and it flushes and flies off. DARN! I notice that the nearby mallards remain undisturbed. Wild wood ducks are WARY! Later in the studio, I work from my rather poor photos to construct this composition.

Wood Duck Drake (color correc) - at 72 dpi

Wood Duck Drake, watercolor on Arches rough, 9.5″ x 14″

Working in the studio, removed from the actual subject in the field, can be liberating in many ways. I am often more imaginative and inventive in my studio work, and this painting is a case in point. I’ve deliberately pushed the colors and shapes to bring out the graphic patterns suggested by this subject.

Closer to my end of the pond are at least three solitary sandpipers foraging in the grassy margins and on some exposed bars of mud. I enjoy sketching them for a time before proceeding down the West Circuit Trail and around the pond.

Solitary Sandpiper sketchbook studies - at 300 dpi

Solitary Sandpiper sketchbook studies, 9″ x 12″

At the far end of the pond, the trail passes by a modest stand of Atlantic White Cedars. Cedar forests once covered huge tracts in the sandy coastal plains of Massachusetts, but these days only scattered remnants survive. Their desirability as lumber and the rich, peaty soils beneath them (ideal for conversion to commercial cranberry growing operations) led to widespread draining and clearing of these forests starting in the mid eighteenth century.

Set-up at Skunknett River - at 72 dpi

painting in progress at Skunknett

Because of the small size of this grove, it lacks the gloomy aspect of larger cedar stands, and through the tightly packed trunks I can glimpse the brightness of the pond opening beyond. I set up my pack chair and settle in for some landscape work.

Atlantic White Cedar Grove - at 72 dpi

Atlantic White Cedar Grove, watercolor on Arches cold-press, 13.5″ x 10″

With my watercolors, I strive to capture the blue-green lichens coating the lower trunks and flaring roots of the cedars, and the dappled light on the trunks. Bright green moss growing over the roots adds a nice pattern in the foreground.

Chipmunk Season

This is from a series of posts by MABA resident artist Barry Van Dusen

Lincoln Woods Wildlife Sanctuary, Leominster on October 6, 2015

Wherever I happened to be along the trails at Lincoln Woods Wildlife Sanctuary today, I was never out of earshot of the persistent “chuck-chuck-chuck” of Eastern Chipmunks. At no other time of the year are these attractive little rodents more vocal. I’ve been told that the “chuck” call is given by males defending a territory, so I tracked one down (by ear) and put a scope on the animal. It occupied an inconspicuous perch on the forest floor and delivered it’s “chucks” at regular intervals, otherwise remaining quite still – a good model for drawing!

Chipmunk, Lincoln Woods - at 72 dpi

Eastern Chipmunk, watercolor on Arches cold-press , 8″ x 12″

My dad often used an expression to describe us kids when we got up early in the morning – “BRIGHT-EYED AND BUSHY-TAILED”. It’s a pretty good description of this little guy!

The woods around the parking area in this urban neighborhood are a nearly unbroken stand of Norway maples. The ability of this tree to grow quickly and seed-in heavily allows it to out-compete native trees and form dense monocultures.  As I head deeper into the woods, however, the Norway maples thin out and give way to native species. Heading out along the western side of the Elizabeth Lincoln Loop Trail, I pass through a stand of majestic white pines before the trail joins with Vernal Pool Loop.

Vernal Pool at Lincoln Woods - DRY (small)

A series of vernal pools can be seen on either side of this elevated trail, which runs along a glacial esker ridge. Most of the vernal pools are bone dry at this time of year, but two of the largest pools have some water in them. I wander down to the largest pool to get a closer look. Around the pool, I notice some interesting plants – marsh fern, swamp oak, sassafras, winterberry and dogwood.

Vernal Pool at Lincoln Woods - WET (small)

As I’m about to depart, a movement along the opposite shore catches my eye, and I focus my binoculars on two blackpoll warblers that have come to bath in the pool.

Blackpoll Warblers in Vernal Pool sketch - at 72 dpi

Sketchbook study of young blackpoll warblers, pencil, 5″ x 9″

The bright olive hue of the birds makes an unexpected contrast with the somber colors of the shoreline, and the bird’s reflections seem to glow on the dark waters. Within minutes the birds have moved on, and the pool is once again quiet and still. I make some quick sketches to fix the scene in my mind, and take some digital photos of the shoreline shapes and colors.  I use these references to help me work up this studio watercolor the next day.

Blackpoll Warbler Bathing in Vernal Pool - at 72 dpi

Blackpoll Warbler Bathing in Vernal Pool, watercolor on Arches rough, 10″ x 14.25″