Image

Cabin Birds (Earth Day 2020)

My love of birds was born by spending time at my family’s cabin above the backs of the San Lorenzo River in the Santa Cruz Mountains. My grandma put up a feeder on one corner of the deck that attracted the local chestnut-backed chickadees, pygmy nuthatches, and Steller’s jays.

While I was planning to spend my Spring Break traveling on the California Zephyr to Chicago, the coronavirus pandemic threw a wrench into the works (and changes the lives of others across the world). Instead I headed down to my cabin to shelter in place.

The spring is one of my favorite times at my cabin. Things are finally starting to dry out and temps are gradually warming up. You really start to feel, see and hear the changing of the seasons.

First you feel the air warm against your skin. You start to see the world of green slowly coming alive on the trees and bushes from the desk. And you start to hear the sounds of the neotropic migrants arriving on there summer breeding grounds.

These are the birdsongs that I have not heard in almost a year and I sometimes have to become reacquainted with them, like hearing the voice of a forgotten friend.

The most vocal newly arrived avian member is the diminutive Wilson’s warbler. This little flash of gold is a very vocal member of the spring choir. It calls constantly from the midsts of trees out back. The males at this time of year are setting up their breeding territories and also hoping to attract new-arrived females.

Another migrant is the Pacific-slope flycatcher, of the tricky genus Empidonax. Most of these similar flycatchers can be identified by call alone and I far more ofter hear the “pee-wheet” call of the Pac-slope. Welcome home.

A resident that becomes very vocal at this time is the diminutive Pacific wren, which boasts one of the fastest songs in the avian world at about 32 notes per second! What is amazing is that such a small, drab looking bird can create such a loud and splendid song. I painted a wren from a photograph of a singing male in my backyard bramble.

A pair of common mergansers roosting near the waters of the San Lorenzo River.
Image

Paradise Park

With the current pandemic and the shelter in place order, I chose to shelter in Paradise during my Spring Break. My family cabin is in Paradise Park, just up Highway 9 from downtown Santa Cruz.

Here I have more legroom than my digs in San Francisco and the population density here is far less than the 7 by 7 mile County and City of Saint Francis. Another factor was that San Francisco had almost 1,000 Covid-19 cases and the larger (by size) County of Santa Cruz had just 90 (at the time of writing). This seemed like a no brainer! Head to Santa Cruz for my two week Spring Break.

This move allows me to spread out, breath fresh air, and be amongst the redwoods and river. It also gives me a very familiar patch to sketch from. Here I know all the birdsongs and paths, all the secluded river beaches, and the places of solitude and rest. And I certainly needed both after three weeks of distant teaching.

Some of my favorite sketching locations in the Park are my redwood deck and different locations on the San Lorenzo River, certainly the most important landform that runs through the Park. A beach that I have always loved both as a place of repose and sketching is what is known in my own person geography as Corona Beach (this was named long before the infamous virus).

To get to Corona Beach involves heading up stream with some bush whacking, fording the San Lorenzo (which was trying to take my feet from under me), and then a little more bush whacking to arrive at a small, sloped river beach. Today it was occupied by a young couple, so I headed up stream (social distancing, dontcha know) and arrived at Upper Corona Beach. A smaller bit of sand on the river side. This is clearly a feral beach, wild, rugged, and something Mary Oliver might write a poem about. Well Mary is no longer with us so I guess I will have to give it a go. . . . a poem hasen’t blessed my brain at the moment (the trouble with poetry) so I did a sketch instead (featured sketch).

I also like to be in open air and sketch the green treescape of the view. This was a excise in creating depth in a sketch. In this desk sketch I included a poem:

With distance,

Objects fade,

Colors run cool,

Details become form,

Like the time,

ten years ago,

My father told me

something

Which I want

to remember.

With this deck sketch I tried to work with creating depth with warm and cool colors and tone. I also worked on my brush work to create the treescape.
Roof view of my cabin surrounded by big-leaf maple, douglas-fir and redwood. The redwoods on right contains Bird Box #2 (the redwood on the left). More on the box in a later post.

Cabin Birds Part Two (Audubon’s Birthday)

“Spring work is going on with joyful enthusiasm.” —John Muir

“to live in this world
you must be able
to do three things
to love what is mortal;
to hold it
against your bones knowing
your own life depends on it;
and, when the time comes to let it go, to let it go”. -Mary Oliver

Spending two weeks during my Spring Break at my cabin in the Santa Cruz Mountains gave me the opportunity to slow down and notice the most important things in life. That is life itself. (A nod to you Mr. Ebert)

Birding just adds another layer to experience. It is a soundtrack that not many hear. To those aware, the signs of spring are everywhere. To the calls of the Pacific wren and dark-eyed junco to the sounds of the newly arrived neotropic migrants like Wilson’s warbler, Pacific-slope flycatcher, and black-headed grosbeak. The latter bird I heard on my last day at my cabin, when I heard a district “clip” contact call. I headed out to the deck to see this beautiful flash of orange, back, and white.

This was a First of Season (FOS) bird for me. The males arrive on their breeding grounds from Mexico just ahead of the females and the males proclaim their place in the world with their robin-like song. This has always been a favorite cabin bird and it arrives in mid April most years.

The sky above the San Lorenzo River is filled with newly arrived swallows at this time of year. The most common species are tree and violet-green swallows. Swallows are insectivores and are aerial acrobats that catch flying insects on the wing. Like the Swallows of San Juan Capistrano, swallows are a sign of renewed and the turning of the season from winter to spring.

The aerial insectivore, one of North America’s most beautiful swallow.

Just as I was packing up the car to return to San Fransisco, the natural world gave me a parting gift. I noticed that a pair of chestnut-backed chickadees were cleaning out one of the nesting boxes that I had built and hung on a redwood near the parking lot. This gives me such a sense of joy that I have played a small part in helping to create life.

The two weeks I spent in Paradise was a great was to slow down and really appreciate life.

Image

End of the Line: Davenport

In these times of social isolation, I headed north out of Santa Cruz on Highway One. My destination was the small town of Davenport.

A branch line runs from the coast mainline at Watsonville Junction to Santa Cruz, north along the coast to the Davenport Cement Plant. The plant was built in 1907 by the Santa Cruz Portland Cement Company. This cement plant became one of the largest producers of cement. At the height of it’s production, during World War II, the plant shipped out 700,000 barrel of cement a year. Cement from this plant helped rebuild San Francisco after the 1906 earthquake and fire and also supplied cement for such major construction projects as Pearl Harbor and the Panama Canal.

The cement plant was later acquired in 2005 by Mexico’s CEMEX. The plant was closed for good, in 2010 and now the rails stand rusted, overgrown and the end of the line disappears into vegetation.

The Davenport railroad to nowhere sums up the plight of America’s railroads. At it’s height, in 1916, the United States Railroad network consisted of 254,000 miles of track, the largest rail network in the world. From 1916 to the present day, 160,000 miles of track have been closed down and abandoned. The current rail network stands at about 94,000 miles of trackage.

Railroad companies saw passenger service as a losing hand, as trains were competing with the automobile and the increasing use of passenger air travel. The railroads were in dire straights in the 1960’s and passenger service was saved by the creation of AMTRAK in 1971 (the year of my birth). This service is a government subsidized and controlled service which now serves an average of 30 million passengers annually.

Railroads companies still exist to this day but they earn their profits from freight and not passenger service. They keep America moving and most Americans are unaware both of their legacy in creating the United States and there present impact in moving goods around the county. As Christian Wolmar notes in his excellent book, The Great Railroad Revolution, “America needs to relearn the joys of railroads that have served them so well in the past and, indeed, continue to do so today, albeit invisibly.”

The American railroad stands at a crossroads as the plight of high speed rail in California seems like a far off dream.

Image

Art of Rain

Simplicity is not a simple thing. ― Charles Chaplin

I have always wanted to paint with rain. A cloistered spring break at my cabin in the Santa Cruz Mountains, with rain in the forecast, provided the opportunity.

All I had to do is create the stage and let nature do the rest. I love to think of this as a collaboration with something I can’t control. Which really sums up the medium of watercolor. It is a medium that often controls you. If you work in this medium, you have to accept the unacceptable!

In the past I have painted in drizzle and have loved the added texture which can be unpredictable. The last time I was on my school’s campus, before we were relegated to distance teaching, I painted the scene from my recess duty view. There was a light drizzle that specked the wash which really became an added memory of the time and place. This sketch was posted in my “Distance Learning” post.

This time I wanted to work with purpose. This meant that the process was not just left to pure happenstance. I had to plan and be prepared to capture spontaneity. Pure oxymoronic painting.

With the first few sprinkles hitting the deck, I used drafting tape to create a border on a Fluid 8 x 8 inch, 140 lb watercolor block. I laid in a thick wash of indigo. I walked out to the deck and exposed the still-wet-wash to the elements. Now the wet elements do her magic.

Setting the stage: a wash of indigo framed in with drafting tape. I held the paper to the skies and let the rain do the work.

When I look at this simple painting I’m amazed at its brilliance. And I say that without any ego because I had very little to do with the creation of this piece of art. And for me that’s why it is amazing and transcendent because it deals with the force that is beyond my control yet creates something absolutely sublime.

The painting grew into it’s finished state as the paint slowly dried. And the finished painting is something I could have never envisioned. It surprised and delighted me!

This experience has taught me that sometimes you just need to get out of the way! Let nature do the work, like she always does.

And to my artist friends out there. Go and make your own expressions and let Mother Nature be your guide! She is a great teacher!

Image

Riding West, Facing East

On the verge of comprehending that I may never see my students again this school year, I headed out toward Ocean Beach down Moraga Street.

The day was clear but extremely breezy. It normally takes 25 minutes to reach the sands of the Pacific but somehow, with my heavy mood and the western wind pushing again me, I think it really took 30 minutes.

I had done two recent sketches, facing west, looking out to the vast expanse of the Pacific Ocean, the Farallon Islands and container ships on the horizon.

Instead of doing that view, I turn 180 degree from whence I came and wanted to sketch Moraga Street, climbing up to Grandview Park and Sutro Tower.

This street (as all east/ west streets in the Richmond and Sunset Districts) is named after Spanish Explorer. José Joaquín Moraga  was part of the De Anza expedition force that came from Arizona to present day San Francisco in 1776. He stayed behind and helped to found the Presidio. In 1785, he died in San Francisco and is buried at Mission San Francisco de Asís (MissionDolores) which is the oldest structure in San Francisco.

Much of what I was drawing in the Outer Sunset was developed Post World War II, in the 1950s. In fact my day told me stories of coming out into this area when he was a child and playing amongst the sand dunes.

This was the second time I had sketched Sutro Tower on one of my “sanity walks”. It is the most prominent landmark on this side of town. The television tower was constructed in 1973 and at 977 feet, it was the tallest structure in San Francisco (Sutro has now been surpassed in height by the Salesforce Tower at 1,070 feet).

I plopped down behind a dune, on my Crazy Creek chair, and started to sketch. I tried to keep everything loose and not add too many details (sometimes I think I should have put the pen up five minutes earlier). I uses a lot of artist shorthand when sketching in the rows and rows of houses leading up the hill.

Image

Corvidsketcher Becomes a Bisonsketcher

On today’s walk I headed north to Golden Gate Park. My intent was to go to the Bison Paddock in the wild western portion near the Chain of Lakes and do some bison sketching.

Bison are good subjects because well, they just sit there allowing you some time to get a sketch in. They are certainly better subjects to sketch than say, a Wilson’s warbler, a hyperactive bird that is a challenge even to photograph well. I had practiced sketching American bison in the wild, on a fall trip to Yellowstone National Park in 2017.

This is a sketch from a photo of my October 2017 trip to American’s oldest National Park!

The goal I set for myself was to loosen up my sketches and apply some of the things I have learned in a book I am currently reading, Felix Scheinberger’s excellent: Urban Watercolor Sketching. He advises “less is more” when it comes to watercolor painting and I also take this to mean the economy of the sketch itself. I’m not sure if I succeeded but every sketch can be considered a success because you learn something with each one. And sometimes you learn what not to do!

I picked my spot near the fence and making sure I was at least 12 feet away from any other park visitors (The Bison Paddock is a very popular spot) and I started to sketch a lounging bison. I started using a Micron sepia PN, not using any underlying pencil sketch! I then laid in some color, making sure to leave parts of the sketch unpainted (featured sketch).

An overenthusiastic art lover walked over and would have stood above me breathing into my left ear had I not halted his progress by proclaiming, “I’m practicing social distancing!” He stopped and admired the sketch from a distance.

A bison wandered by, grazing as it went along. I couldn’t let this happen without getting another sketch in! This time I challenged myself to do a continuous line sketch. This means that I sketched the bison without lifting my pen (although the rules of continuous sketching say you can lift your pen for a rest but you have to return to the exact point where you left off). This type of sketching is good practice for loosening up your lines and injecting improvisation into your sketching life.

A continuous line sketch of a bison. To get to other parts of the sketch you have to retrace lines you have already drawn. This is such a freeing way to draw!
Image

First of Season (FOS)

The unfolding of the year
And now our season is here
All the balances are clear
Now that our time is here

~Season Song, Blue States

A student of mine, let’s just call her Amelia, keep requesting that I post more bird drawings. I’m sure she’s tried of trains and more trains. So I decided to do a bird sketch in these times of social distancing.

The previous weekend, before anyone really got the message about shelter-in-place, I headed out to the San Mateo Coast to do some sketching and birding. (Two sketches from that outing were posted in my blog: Sketch in the Time of Covid.)

I was birding mainly on the coast, looking for kittiwakes and northern fulmars but I decided to take a detour inland to do some birding in a riparian habitat.

I took a right turn off of Highway One on Tunitas Creek Road. I remember the first time I birded this road was on an afterwork excursion. When I told my fellow teacher where I was going. She said, “You going now?! I wouldn’t go there. Be careful.” She then told me that Tunitas Creek Road was haunted and she had grown up in Half Moon Bay and no sane local would ever be on that road at dusk or in the night. Yeah right, I though, sounds like the rural coast’s version of an “urban myth.”

I birded Tunitas Creek afterwork and had a nice experience and I didn’t see any ghosts. When I got back home I did and an internet search with “Tunitas Creek Road haunted” in the search window and I came across the website titled, “10 Scariest Haunted Roads in Northern California”. I looked at the website and I scrolled down, scanning the 10 entries, not seeing Tunitas Creek Road. I had to reach the bottom of the page until there was any mention of the road in question because Tunitas Creek Road was ranked number 1 as the most haunted road in Northern California!

There have been reports of a long-armed blue lady who had been seen haunting this road at night and also bodies strewn among the bushes, the spirit reminders of a long ago Native Californian slaughter. But I was here on a mild March Saturday to see what I could find in the roadside bushes. I was not looking for bodies but birds!

I parked in a dirt pullout and walked west down the road, birding by ear. This is the time when bird calls and songs that I have almost forgotten come back to me. These are the times when migrants from Mexico and Central and South American are slowly returning to their breed grounds, here in the trees and bushes of Tunitas Creek.

Across the creek came the song of a bird that I am very familiar with. A fellow birder described the call as sounding like one of those lawn water sprinklers. It was a call that I hear from the deck of my cabin in spring and summer. This was the call of the Wilson’s warbler.

This was the first Wilson’s that I had seen since the turning of the year and it would be noted as FOS, meaning “first of season”. This data provides ornithologist with an idea of the pattern of migratory birds over time. Are these warblers migrating at the same time every year or are the arriving earlier or later than usual?

I love this warbler. It’s one of our smallest warblers and the adult male is easily identified with it’s bright yellow face and body and it’s black “yamaka”. This warbler is always in motion and in the spring and summer, calling frequetly.

As I walked along the road I came across a loose feeding flock of bushtits and chestnut-backed chickadees. In the flock was a bird I hadn’t seen in a long while. This is a bird that is often confused with the over-wintering ruby crowned kinglet but once this bird sings, it is all vireo. This is Hutton’s vireo.

It was nice to see these migratory birds. It is nature’s way of signaling the changing of the seasons. From the cold dark days of winter to the longer, green days or spring. The air filled with the scent of flowers and sounds of birdsong.

A male Wilson’s warbler photographed from my deck in the Santa Cruz Mountains, last spring.
Image

Keep Your Distance

“The scariest thing about distance is that you don’t know whether they’ll miss you or forget you.” ~ Nicholas Sparks   

As part of my Daily Route, exercise and creative time are an important part of my afternoon (after my school work day ends at 3:15). I decided to combine both activities into one.

I planned to walk around my neighborhood and force myself to make one sketch per trip. I wanted to keep the loose and free style that I had been experimenting with over the weekend (see previous post: Sketch in the Time of Covid).

For my first attempt, I walked north on 27th until I hit Golden Gate Park. I entered the park, not knowing what my subject would be. I found myself drawn to the Polo Field which was now occupied by Canada geese. I sat in the bleachers in the northern side of the field, looking at a line of cypress trees and beyond then the rising trident that is Sutro Tower (which I have sketched many times).

After I did a quick pencil sketch, I laid in the sky and before the sky was completely dry, I painted in the trees with sap green and violet. The dark green grew into the sky like mold.

I then painted the lower scrubs and then the thin line of the footpath and finally at the bottom the bright green of the green. After the painting was mostly dry I added loose line work (again with a Micron 005). I loosely outlined the trees and scrubs and along the path, I added distant figures, my fellow San Franciscans, out to get some exercise.

I stopped and looked at my work. What I was really drawing was social distancing. The tiny figures were spaced out along the trail. They looked like isolated figures in the landscape. This sketch certainly captured this moment in time. A time of fear, anxiety, and isolation.

I add a few paint splatters add some motion and mood to the painting. It took about 25 minutes. Done!

The following day, Tuesday, I headed west down Moraga, toward the Pacific. As I crossed Sunset, it started to drizzle. And the closer I got to Ocean Beach, the more it rained.

I was not deterred, I kept walking. I was going to do my sketch no matter what the weather. Watercolor paining does prove to be challenging in rain. But at least I wanted to get in a sketch.

I crossed Great Highway and climbed up a dune to look out at Big Blue, which was now a dark blue-green furrowed with churning white. The Farallon Islands, which were visible on the horizon when I started my walk, were now shrouded.

I pulled out my Stillman & Birn Delta Series spiral sketchbook and started sketching with a Micron 005, I did not have time for a pencil sketch. The rain had abated a bit, it was now a intermittent drizzle and my pen lines ran and smudged. I loved this because it is a record of the making of this sketch and is now part of the process.

I again noticed walkers, spread out and isolated in the landscape, walking alone along Ocean Beach, despite the weather. Walking in rain is alway a wonderfully visceral experience and I see the rain did not deter other beach walkers. I would rather walk in rain than sit indoors.

Image

Sketch in the Time of Covid

It was the weekend and it was time to get out and bird and sketch. Both activities are paragons for social distancing.

Birding is done out in the open away from crowds of people. And for sketching, I sketched and painted in my car, to avoid people peering over my shoulder and breathing on my ear and asking, “Whadaya doing?”

After my humble breakfast of oatmeal and instant coffee, I headed down the coast on Highway 1 into San Mateo County. I planned to sketch and bird my way down the coast as far at Gazos Creek.

Most of the parking lots were closed and traffic was light. My first stop was at Devil’s Slide and I sketched the coastline with the ruined World War II bunker. I worked quickly, finishing the pencil sketch, line work, and painting in 15 minutes. I was able to do this because I worked wet-on-wet (not waiting for the paint to dry before adding another tone or color) and painted the scene just in sepia. In the end I was not trilled with the sketch. It was too standard and didn’t really leap off the page. So I looked at it as a warm up to get my sketching muscles moving!

I drove south through Pillar Point and Half Moon Bay and pulled off Highway 1 at Pigeon Point. I pulled off the road on a dirt shoulder. Through the windshield was Pigeon Point Lighthouse and the sprawling buildings at it’s base. Now it was time to sketch.

I started with purpose. I wanted to be freer and looser in my line work and painting. I first loosely sketched in the scene in pencil and then I wet the sky with clean water. I laid in Payne’s gray and purple clouds with no regard for the actual color or if paint crossed the line work into the lighthouse. I boldly painted one side of the tower in purple. I was not going for a realistic color palette but painting from a place of emotion and playfulness. I guess that what happens when you are cooped up at home for the last three days, peering at screens. I painted wet-on-wet, not caring if the color ran together or if I created blooms. There was a true sense of improvisation in this painting and I loved it! I flicked a loaded brush on the paper creating emotive paint splatter. I was painting like a kindergartner!

I after laying down the paint, I did a brief seawatch through the passenger side window. No northern fulmars or kittiwakes. I returned to the painting, which was still wet. I chose to use a Micron 005 (a very fine line) to loosely sketch in the forms, leaving broken lines and child-like scribbles. I completed the sketch in about 15 minutes. Done!

After a proper seawatch with my scope, where I did see a dark morph northern fulmar, about 300 yards from shore. I headed south to Gazos Creek, took a left at Gazos Creek Road and did some bucolic driving towards Butano State Park and Pescadero.

I drove through Pescadero and headed north on Stage Road. At the intersection of San Gregorio Road I found my next subject to sketch: the San Gregorio General Store. The store was opened in 1889 and was across the rode from the stage coach stop.

This buidling, which also houses the tiny post office, is literally a general store where they sell everything: books, brooms, beer, hats, gloves, scarves, groceries, seeds, rakes, hoes, pottery, glassware, cast iron skillets, postcards, posters, and the kitchen sink. Today the store was closed and would not reopen again until April 7 (hopefully). Apparently the San Gregorio General Store is considered a “non-essential” business. That could have fooled me!

I again used a very loose and free style while painted the store. The sketch to no more than 20 minutes.
Sketching in the Time of Covid-19. Say in you vehicle and don’t talk to strangers!