A Solstice Walk at Chapman's

Circling a champion Tulip Poplar at Chapman's Forest--there is a third person behind the tree, but the circumference was so large, he couldn't join hands with the young lady on the left.

Last Sunday before Christmas the Maryland Native Plant Society (MNPS) did its annual Winter Solstice Walk at Chapman's Forest. I stayed at my friend Patrise's house for the weekend so I could be close-by, and Linda and I joined the group. Only about  six or seven of us had registered on-line, so I was shocked to see that more than 50 of us showed up!

Turns out that this is a very popular event and many of the local folk who worked for a long time to obtain the historic landmark preservation status for Chapman's have been doing this solstice walk for years. One lady told me this year was the best weather they've had so far, so that may account for the number of folk there. The day started out overcast, with temperatures in the upper forties, but after about an hour, a wan winter sun broke out and it began to warm up.

Our leader, Rod Simmons, talked knowledgeably about the different  types of forest and plant communities as he led us through the upper forests of shell marl, and told about the many species of oaks found in this tract, their distinguishing characteristics, etc. The leaves are the best indicators as to the species, though general shape, the terrain and the acorns also hold clues. I had no idea there were so many different types of oaks: southern red oak, chinquapin, post, pagoda, and chestnut oak, in addition to the better-known white oak, scarlet oak, pin, and black oak. Some of these are unusual in our area, and found mostly in old-growth forest such as Chapman's.

After a couple of hours of hiking around, we took break for lunch. Rod had announced we would toast the solstice toast during our break, and I thought he was joking, that it would be a symbolic toast with the water we had each brought along--wrong! A couple of the men in the group had brought bottles of Glenlivet single-malt scotch and some wine for the occasion, along with tiny one-shot plastic cups that they passed around for the toast.

After our repast, we continued on down a steep ravine. Sadly, a champion-sized Tulip Poplar that had stood there for centuries had been brought down by this past September's storms and thirteen inches of rain. There were still plenty of other champion-size trees to see.

Rod seemed to be able to navigate by these trees, which were probably like old friends to him. He allowed that he and several other men in the group had been hiking this tract since the early nineties. We stopped by a huge pagoda oak before turning towards the Potomac River, where a high bluff offered spectacular views of Mason's Neck in Virginia on the opposite shore.

We continued along the river, down another steep ravine to an area with a couple of old abandoned houses. We were told these cabins were an old duck-hunting camp that President Hoover used to frequent in his day. There was an Osage orange tree growing near the shore, and the largest sassafras tree I'd ever seen--the bark exhibits unusual ridges when the trees get to a certain age. If one flakes off chunks of the bark, one can smell the spicy scent of sassafras.

Eventually we worked our way up another hillside where I recognized the old brick chimney near the place where Virginia bluebells bloom in the spring, and realized were were now very close to Mont Aventine and our starting point. The sun was low on the horizon--we had been hiking for over six hours and who knows how many miles over some fascinating terrain. A few folks had dropped by the wayside due to other commitments, but I was surprised by how many of the group finished the course, including several elderly among us. I was bone-tired, so I can imagine how they felt, yet it was such an enjoyable experience!

I hope to explore more of Chapman's next the spring, and definitely repeat the solstice walk next year. For more photos of the Winter Solstice Walk at Chapmans, click on the link to my Flickr album.

Blue Holly, Red Holly

Blue Holly

Red Holly

The approach of winter signals the end of the outdoor painting season (at least for those of us who don't like to freeze our patooties). Other years I've made the effort to get out to paint despite the weather,  but after a particularly hard year, I'm not feeling motivated to endure the additional  hardships of cold-weather plein air this year. I'm hard-pressed to find something new for the blog, and populating it with work from my botanical illustration classes seemed fitting, especially because holly is so symbolic of this season.

These are works from yesterday's class. We were tasked with painting a value study of a sprig with fruit or flowers (previously sketched in pencil) using only one pigment, either Permanent Rose or Windsor Blue.  The idea was to use the darkest value for the leaves, the middle range for the berries with the stem being the lightest value. We were to practice various lifting techniques as well as flat and graduated washes.

I tried one sketch with each pigment, and found the Permanent Rose to be much harder to work with. The color was so bright that after a time my eyes were totally strained, and it was harder to get a really deep value even using several layers of washes.

This is a particular variety of holly planted at McCrillis Gardens that I like--the leaves have a variety of unusual shapes, some more rounded, others with three points, and pendulous branches.

Botanicals with Color

Botanical studies with color pencil

The past couple of weeks have been particularly hard--the daily road warrior commutes from my new job in Virginia have been horrendous, averaging close to three hours each evening. One evening set a new record--a four hour struggle on that quaint slow stream of traffic locally known as The Beltway. It's left me little energy for painting on the weekends, except for my Botanical Illustration classes, which I am enjoying tremendously.

A couple of weekends ago Herb and I went for a walk on Rock Creek Park (see photos on Flickr Fall Walk on Rock Creek Park) and collected some interesting botanical material: an assortment of leaves, twigs and nuts. The assignment for the Painting 103 class in the Certificate Program, which I finally decided to enroll in, is to create a "scatter composition" using leaves and flowers or fruit and paint it in watercolor using flat and graduated washes. The above is a page of studies for the elements I plan to combine.

We were given some lovely Lumochrome coloring pencils at the first Painting 103 class last Saturday, and I colored parts of the leaves in my study so I could record the colors before they changed. I'm still working on the final composition--I'll try to post my finished assignment this weekend or the next. This  drawing was scanned rather than photographed--I think this may be a better way to reproduce these small delicate drawings.

Burnt Gold in the Woods

Burnt Gold in the Woods, oil on canvas panel, 11" x 14."

 I have been waiting a year for just the right autumn day to return to paint the beech woods on Rock Creek Park where I had taken those marvelous photos the previous year that inspired two studio pieces (Beech Wood at Sunset and Golden Beeches).

The Beech Woods on Rock Creek Park

Yesterday was The Day--I packed my paints and set out towards DC in the afternoon to capture the majesty of the place at this time of the year. I had the pull-off all to myself as I walked across the bridge to find the best view for my painting. The ideal spot was right in the middle of the bridge, but of course that was too dangerous, so I set up on the far bank where a trail crossed the road.

The afternoon sun illuminated the distance, and the foliage seemed more burnt gold than last year, although there was still a smidgeon of greens on some leaves.  After quickly sketching in my composition in vine charcoal, I set to work--there was not a moment to lose--the light would be gone in a couple of hours. I laid in the trunks of the foreground trees first and then the orangy leaf cover on the ground, covering the white of the panel as fast a possible in fiery strokes. Then some very light yellow for the sun on the distant slopes, and deeper yellow-orange for the tree tops, leaving some white for the sky.

At that moment the painting looked so garish--but every painting goes through this ugly stage after you've blocked in the masses, and I've learned not to despair. I would break up the mass with the distant trunks later, after establishing the contours of the sloping hills with a bit of lilac for the shadows. The light was fading fast, the sun barely skimming the treetops as I started painting in the distant trunks.

At that moment, an owl interrupted the silence of the forest, "Who-cooks-for-you, who-cooks-for-you-too?" This is the call of the barred owl, one of the birds we saw at the Soldiers Delight refuge a few weeks ago. A concert of owl calls from several different directions followed. I looked up to see if I could spot anything in flight, but there was no movement anywhere. There must have been two or three other barred owls answering the first one's call. This went on for a bit, then the owls became silent.

I left small details such as the sprinkling of leaves on the branches in the foreground for last, figuring they could be put in later in the studio if there wasn't time on site, which turned out to be the case. It was becoming dark as I put away the painting and packed my kit. The owls called a few more times while I was walking back to my car.

Here is the painting. I may put in some finishing touches with the aid of my photos after it dries, and then again, perhaps not. It manages as is to capture some of the magical quality that drew me there.

End of the Season

Tridelphia in Fall, oils on linen panel, 11" x 14"

Friday morning was cloudy, but the sky started to clear in the afternoon. I grabbed my paints from the freezer, got my kit and drove out to Tridelphia Reservoir, to a spot where the Howard County Plein Air group had painted last summer. The summer session had been in the morning (see my summer painting here for comparison); I wanted to study the changes brought on by the season and a different illumination.

For some odd reason, perhaps the inordinate amount of rain we had in September, this year our usually spectacular maples and tulip poplars have been rather subdued in color. But to make up for it, the oaks, which normally turn dull shades of brown, have taken on some of the loveliest colors--golden caramel, yellow-ocher with hints of olive, rusty reds and orange.

The breeze was chilly, and I layered up with an extra jacket so I could be comfortable. There were a couple of fishermen out on the water, but other than that, I had the place pretty much to myself. As the afternoon wore on and the sun started going down, those last rays of light seemed to set the foliage on fire. I hate seeing the days become shorter as the winter solstice approaches, but at moments like this, the brief autumnal sunshine, to paraphrase Emily Dickinson, burns with such a lovely light...

Botanical Illustrations

In September I started taking classes at Brookside Gardens' School of Botanical Art and Illustration. The program offers an optional certificate upon completion of three years of study and submittal of a portfolio. The program was developed a few years ago by well-known botanical artist Margaret Saul, and the classes are usually held at McCrillis Gardens in Bethesda.

Since childhood, I've loved and admired plant and flower illustrations. My interest increased after my sister Silvia gave me a wonderful book about Margaret Mee, an amazing botanical artist who explored and painted the flora of the Amazon jungle. Recently, while I was hanging my show at the Brookside Gardens Visitors Center, I met the director of Brookside's adult education programs, and right then I decided to join the school and try my hand at botanical art. It's a rigorous study, as it requires a certain knowledge of botany and great precision of rendering as well as artistic ability.

They make everyone start with Drawing 101, regardless of how much experience one may have. I enrolled in the Saturday classes, which are two classes back-to-back and last all day. We're now doing Drawing 102, and here's a couple of practice sketches of leaves and sprigs from my homework.  Unfortunately, the pencil line drawings did not photograph very well, but I'm having a lot of fun with it. Can't wait until we get to work with color & shading.

Plein Air Buddies Paint Out

Huntington Creek Lake, oils on canvas  panel, 11" x 14."

A group of artist members from the Plein Air Artists website called Plein Air Buddies MD/DC/VA/PA/WV got together this past Sunday for our first paint-out. The group was formed by PA artist Jeanean Songco Martin with the idea of providing opportunities for its members to get together on a monthly basis to paint at a different location each time. I had suggested the Catoctin Mountain area for us because I'd hiked and painted there a few years ago and remembered how lovely it was in the fall; in addition, it is easily accessible from PA on US Rte. 15. Jeanean remembered the waterfalls at Cunningham Falls State Park as another beautiful site for painting.

Our outing took place last Sunday and what a gorgeous day! Bright and sunny, with just a touch of crispness in the air. The season was more advanced in the mountains than in the lowlands and many trees sported bright fall colors. I had a bit of a late start, despite packing my gear the night before, and by the time I arrived at the lake, Jeanean and two other painters were already set up and painting. In fact, their paintings looked to be fairly well-developed.

I walked around the picnic grounds looking at other views, but the spot where Jeanean and her friends were seemed to have the nicest, so I joined them on the strip of beach. Shortly after, a few other painters arrived and set up near us. I think we were about eight in all. We all worked until a little past noon and then brought out our lunches to eat while we showed our paintings and got to know each other.

Artists share the morning's paintings: (l to r, Jeanean, Carol, Mary Ann, and unamed artist)

 After lunch, we organized how to get ourselves and our gear to the falls. The trail from the lake is about a mile's hike through the woods, a little too long for carrying all the gear we artists usually pack. There is a small parking area for the handicapped close to the falls, and a couple of the artists had legitimate permits, so we car-pooled up there to take advantage of this. I rode up with Paul Tooley, a wonderful watercolorist from Braddock Heights, near Frederick.

The falls were swarming with people on this warm afternoon, many climbing up and down the rock faces and crossing the creek--it was hard to find a quiet spot where one could set up away from the crowd. I got off the boardwalk and stepped on some rocks over the stream to reach a quieter spot at the base of the falls, where I could feel less hemmed in.

Cunningham Falls (work in progress), oils on linen, 12" x 9"

 Painting the falls was far more challenging than painting the lake--difficult to compose and render so that the water looks like water, and the jumble of rocks gives a sense of the folds where the water spills down. The very high horizon of this piece is something I've not dealt with before. I didn't get a chance to finish this painting, and as the others were wanting to leave, I wrapped it up when I had this much down, hoping to have a chance finish it later. I think it needs a few people on the rocks to give it scale, and many other touches, I'm not sure what all at this point.

I had not realized just how tired I was until I got home, but it was such an inspiring day! Thank you, Jeanean, for planning it and for the opportunity to meet and paint with you and the other artists. I hope we'll do another paint-out real soon.

If you are interested in joining us, become a member of the Plein Air Artists website--it's free--and sign up for the group Plein Air Buddies MD/DC//VA/PA/WV.

* * *

Here is the finished version of the Cunnigham Falls painting. It only took me a few weeks to get around to it; I added some laciness to the foliage and a few figures to give some scale to the falls. The color key of the painting wasn't changed, but this version was photographed on a sunny day so overall the painting looks warmer (the study was photographed on a cloudy day).

Cunningham Falls, oils on linen panel, 12" x 9."

An Excellent Adventure at Soldier's Delight

Soldier's Delight area

Last Sunday was a gorgeous fall day such as we haven't seen in weeks. Herb and I went out in afternoon to enjoy it and since I wanted to get some field practice for the classes I've been taking at Brookside Gardens' School of Botanical Illustration, we decided on a hike at the Soldier's Delight Natural Area west of Baltimore, one of the few places in Maryland where the endangered Fringed Gentian can be found.

We hadn't visited this area in several years, so after we parked, we were heading for the visitor's center to pick up a trail map when a young park ranger came up to us and asked if we needed to use the restrooms. "No," we responded simultaneously, "but we do need a trail map, if you have one." He got one for us and then said if we were interested, he was about to show an eagle they had "out back" for a presentation to a small group. Naturally, we were intrigued and followed him.

Sticks, as the young ranger styled himself, instructed us to stand behind some picnic tables at the back of the visitor's center to give the eagle a bit of space, since he said this bird "wanted to kill him" and had in fact attacked him a few times before. The bird was a golden eagle, which along with the bald eagle is the largest bird of prey on the east coast. This poor creature had been shot by poachers for his feathers, prized by native Americans, and lost one wing. He would never fly, and defenseless, would have perished long ago had it not been for this DNR facility that keeps these disabled creatures for their "Scales and Tales Aviary" educational programs.

The presentation was fascinating, and the eagle quite vocal--Sticks explained that a particularly plaintive souding cry was actually an aggressive warning, that he wore those 1/4" thick special leather gloves because the eagle's talons could put something like 600 pounds of pressure per inch on his hand. This one was a male and weighed about four pounds; the females are generally larger than males in this species.

There were some other rescued birds in the cages out back: a bald eagle who had been shown earlier and was in a holding cage waiting to be put back in a more spacious cage, some vultures and a beautiful barred owl. After the presentation, Herb and I went back to see them--the owl flirted with us, batting the loveliest feathery eyelashes I've seen.

Fringed Blue Gentian (Gentianopsis crinita)

With the better part of the afternoon gone, it was time to look for Fringed Gentians. The trail from the visitor's center was closed, so we took another part of the Serpentine Trail that follows the top of a ridge, and walked down to the stream where I remembered seeing the Gentians growing. The Fringed Gentian is a biennial, only plants in their second year of growth bloom, and October seemed a bit late in the season to find many. We were lucky to find one very nice clump with a few blossoms and some spent  flowers that appeared to be setting seed.

I took out one of my new ultra-fine lead holders and sketch pad, and sat down on my camping stool for a closer look. Herb kept me company reading nearby, sitting on a Daniel Smith chair. The warm afternoon flew. While I was putting in the last flowers on my sketch I noticed that the petals were already starting to close as the sun went lower on the horizon.

Fringed Gentian pencil sketch

I took more photos of the clump after I finished my sketch--the flowers had closed even more. I looked around for other plants farther upstream, but saw only two more. It seemed to me there had been more Gentians growing here just a few years ago. The posted signs did say non-native invasive vines as well as foot traffic were taking their toll on this population of Fringed Gentians. I wonder if there might be a way of cultivating these rare plants and then reintroducing them to their original sites to ensure their survival? This makes me want to document other rare and endangered species with sketches as much as possible.