Hanna Park Heron painting

The Painting

This post is repeated from 2010 as I feel nostalgic today for this particular painting. Although I was thrilled that it sold to people who love it, both for itself and for its power to remind them of family outings to Hanna Park over the years, I still miss it at times.

The reference photo for this painting was a quick, drive-by snapshot of a great blue heron at Hanna Park Lake here in Jacksonville, Florida. As I studied that photo and others taken that day of the heron, the lake, and the surrounding trees, I knew that I could base a painting on them. But, just how should I compose the painting? Unlike some scenes, the focal point in this one chose itself. In spite of the appeal of dark, shimmering water, tall palm trunks, and jungle-like vegetation, the heron clearly draws the eye of the viewer. I felt certain, in fact, that the heron itself knew that he (or possibly she) had no competition for the starring role in this little tableau.

Reference Photo

In preliminary sketches, the main issues I worked on concerned how to arrange the elements--how much yellowed grass in the foreground? where to place the major horizontal elements? how much vegetation area in comparison to the water? And of course, just where to place the heron? In the photo, it is too near the center and is looking out of the scene--clearly unsatisfactory. Some of the other elements could stay more or less as they were in the photo.

The major change from the photo to the painting may not be immediately obvious. I decided to move the sun. The relatively short time we spent at the lake that day gave me no choice about the lighting, and I took photos with a bright overhead sun. However, I wanted more dramatic shadows in the painting and moved the sun, first to a point low in the sky behind the background trees and palmettos. Then, halfway through the painting, I moved it again--higher in the sky to the viewer's right. What fun! There is such power in creative projects--I can move the sun itself. However, the fact that I changed the light source as I worked caused a fair amount of readjustment in the painting along the way, as you artist readers can well imagine. Luckily, working in acrylics allows me to paint over nearly anything, which saves me and my paintings every time.

You will notice other differences from the reference photo. The background vegetation gradually took on a life of its own and became a sort of jungle fantasy instead of a literal rendering of what I had seen. Also, I realized late in the process that the varied greens in the background, despite touches of blue, yellow, and rusty browns, needed to be broken up by some other color. Given that there were winter-bare branches and dead trees nearby, I felt free to add a few fallen branches and to import a pair of dead trees from another scene. They help the overall composition in more than one way, I think, as they also echo the grey tones of the heron and add one other distinct vertical.  

Question of the day: When you pursue a creative endeavor, do you normally begin with a clear vision of the final outcome and then create that? Or do your creations change along the way? Are you comfortable and flexible if your original vision changes as you work?

Natural Beauty on Maryland's Eastern Shore

     We just returned from a wonderful visit with family on Maryland's Eastern Shore, in an area just about equidistant from the Atlantic Ocean and the Chesapeake Bay. Fascinating day trips abound there. The marsh shown in the first photo is just one scene from a large preserve called Blackwater National Wildlife Preserve, near the Chesapeake Bay, where we observed numerous osprey, about 6 bald eagles, countless egrets, maybe a dozen great blue herons, and many other birds. I so enjoyed seeing the birds and soaking up the beauty of these wetlands that I mostly left the camera in my backpack rather than trying to capture a blurry image of each one. 
     The other three photos (including the nesting osprey--click to enlarge) are from an afternoon at a county park and beach on the Chesapeake Bay near a wee town called Nanticoke where the Nanticoke River flows into Tangier Sound. Notice the heavy cloud bank to the north contrasted with the nearly clear sky to the south; the changing clouds are a magnificent feature of the Eastern Shore--due to the influence of two major bodies of water and numerous inlets, rivers, and wetlands. My kind of place, in other words. 

     Given the laundry, errands, etc. awaiting my attention today, I will leave more description and photos for a future post. Loved being with family and seeing so much natural beauty, but it's great to be home--particularly since a major tropical storm came through Jacksonville in our absence, giving us a bit of worry. Fortunately, we suffered no serious damage to our home or our trees--although it is taking Mark quite awhile to clear up tree debris in the yard.

Question of the day: Do you actively seek out bird sightings, or mostly enjoy the experience when it presents itself?

Exploring and Learning--Landscape Painting--Hanna Park Heron

Last post, I showed you a reference photo for a possible painting--a quick, drive-by snapshot of a great blue heron at Hanna Park Lake here in Jacksonville, Florida. As I studied that photo and others taken that day of the heron, the lake, and the surrounding trees, I knew that I could base a painting on them. But, just how should I compose the scene?

In the June 17 post, I described the creative process involved in a different painting and my difficulties choosing the focal area for the piece. Unlike that project, this painting had an unmistakable focal point. In spite of the appeal of dark, shimmering water, tall palm trunks, and jungle-like vegetation, the heron clearly draws the eye of the viewer. I felt certain, in fact, that the heron itself knew that he (or possibly she) had no competition for the starring role in this little tableau.

In preliminary sketches, the main issues I worked on concerned how to arrange the elements--how much yellowed grass in the foreground? where to place the major horizontal elements? how much vegetation area in comparison to the water? And of course, just where to place the heron? In the photo, it is too near the center and is looking out of the scene--clearly unsatisfactory. Some of the other elements could stay more or less as they were in the photo.

The major change from the photo to the painting may not be immediately obvious. I decided to move the sun. The relatively short time we spent at the lake that day gave me no choice about the lighting, and I took photos with a bright overhead sun. However, I wanted more dramatic shadows in the painting and moved the sun, first to a point low in the sky behind the background trees and palmettos. Then, halfway through the painting, I moved it again--higher in the sky to the viewer's right. 

What fun! There is such power in creative projects--I can move the sun itself. However, the fact that I changed the light source as I worked caused a fair amount of readjustment in the painting along the way, as you artist readers can well imagine. Luckily, working in acrylics allows me to paint over nearly anything, which saves me and my paintings every time. Such changes are more difficult or even impossible in some other media. 

You will notice other differences from the reference photo. The background vegetation gradually took on a life of its own and became a sort of jungle fantasy instead of a literal rendering of what I had seen. Also, I realized late in the process that the varied greens in the background, despite touches of blue, yellow, and rusty browns, needed to be broken up by some other color. Given that there were winter-bare branches and dead trees nearby, I felt free to add a few fallen branches and to import a pair of dead trees from another scene. They might look familiar to my regular readers--do you remember the post about an outing with my good friend Dee that yielded the reference photo for these trees? They help the overall composition in more than one way, I think, as they also echo the grey tones of the heron and add one other distinct vertical. 

This work-in-progress is not yet signed although I feel quite satisfied with it. The final version may be slightly revised, but I like it as it is and may leave it unchanged. On my computer screen, the colors do not appear nearly as deep as they are in the painting, especially the dark tones--I hope you can get a sense of the way it actually looks. 

Question of the day: When you pursue a creative endeavor, do you normally begin with a clear vision of the final outcome and then create that? Or do your creations change along the way? Are you comfortable and flexible if your original vision changes as you work?

Exploring--Right Near Home--Hanna Park

In my April 23 post, I wrote about the curious fact that many of us neglect interesting destinations near our homes. When we travel, we seek out the parks, botanical gardens, historical homes, birding sites, or whatever other types of attractions most interest us. Yet, we let our home lives get "too busy" to play tourist in our own cities, parks, countryside, and historic places.

Here in Jacksonville, Florida, we are fortunate to enjoy visits from a number of house guests who are eager to see the fascinating history and varied natural beauty the area offers. Entertaining visitors provides the perfect excuse to play tourist right here at home. As a painter of local landscapes, I explore often--with or without visitors. Of course, I carry a camera on these outings, alert for possible subjects for landscape paintings. I have written about the joy of exploring near home in several previous posts and have another lovely spot to show you today.

When my husband's youngest brother from Wisconsin came in March, we went to Hanna Park, which I had not visited before. Maintained by our city, this lovely park provides 450 wonderful acres to explore for an admission price of just $1. Its ocean beach, fresh water lake, trails, wildlife, and wonderful vegetation were just waiting to show off for us. The day we visited, this stately great blue heron stood watchfully at the edge of the lake. I was able to snap a few quick photos out the car window from a couple of different angles. Although they were not carefully composed photos, I believed that a painting might emerge from these quick snapshots. The photo above became the main reference for a painting I have almost finished. Note: remember that you can always click on a photo in the blog to enlarge it. 

In the next post, I will show you the painting that resulted. In the meantime, I will leave you with a question like one I posed on June 12 about choices in the artistic process.

Question of the day: If you painted, drew, or more carefully photographed this scene, what elements in the photo would you use? What elements might you feature, change, or delete?