Mongolia Monday: The Five Snouts, Part 4

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Almost everyone has heard of cashmere. It’s traditionally been associated with other high end luxury goods, like silk and gold jewelry. What isn’t widely known, and I’m hoping this will change, is that the best cashmere in the world comes from Mongolia. Cashmere is superfine angora goat wool. But the goats are pretty special, given that they can tolerate winter temperatures down to -40F.

I’ve seen the goats mostly at Ikh Nartiin Chuluu Nature Reserve and found them quirky and fun to watch. As you will see, they come in all shapes, sizes, colors and horn “designs”. But the undercoat is the same on all of them, so the rest doesn’t matter.

While there are businesses in Mongolia that take the raw cashmere and turn it into a finished product, most of the wool is purchased by the Chinese and taken back to China. Our Earthwatch group got to visit Gobi Cashmere in Ulaanbaatar. I brought home a wonderful natural color cashmere neck scarf that is as soft as can be.

But here’s where it starts, with each goat being hand-combed in the spring. Other than the 30 minutes or so they are constrained for combing, they wander free in the countryside, adding a little character and humor to the landscape.

I took this photo on my first visit to a herder’s ger just outside Hustai National Park.

A “pinto” goat at Ikh Nart.

Goats and other livestock being herded through the research camp at Ikh Nart where they had been brought for watering.

There’s one in every crowd. This one just…had…to…see what was in the can.

These goats are part of a large two ger establishment near the Tuul Gol (river) just outside of Hustai National Park.

Answer to Friday’s question: Roses. Vintage Gardens in Sebastopol, California was having an end of season sale of roses that they might be discontinuing, so I’ve ordered a bunch that looked interesting to help preserve them. Most I’ve never heard of before.

Friday Features- FLASH!

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JUST RECEIVED WORD–“Morning Break”, below, has been accepted into the Mendocino Art Center Animal Art exhibit!  It will be on view there in Mendocino, California from Sept. 3-27.

AND…if you live in central Humboldt County, tonight is the opening reception for Wild Visions 2, a group show of nationally recognized nature and wildlife artists, including yours truly, at the Umqua Gallery, Arcata from 6-9pm. Lots of new work by all of us and some oldies, but goodies too. We snagged a great feature in the local paper this morning!

The other artists are Linda Parkinson, watercolor, who has done many commissions of birds and had her work published in American Falconry magazine; Shawn Gould, acrylic, who has done freelance art for National Geographic; Paula Golightly, oil and acrylic, whose day job is working as a biologist for the Fish and Wildlife Service; John Wesa, well-known local serigrapher; and Derek Bond, egg tempera, who has recently had work accepted into the first Artists for Conservation juried show.

This is the first time all of us have shown together and we hope it won’t be the last.

BACKYARD BIRD WATCH

The two Allen’s hummers are showing up right around 1:30 every afternoon. How do they know? Can you imagine how tiny their wristwatches must be? Right now, if I only had room for one hummingbird friendly plant it would be Crocosmia “Lucifer”. If you have a little room for a truly red, red, red flower, you might buy a few bulbs.

WHAT ARE THESE? Answer on Monday

Cocorico

Ivory Triumph

Lichterlich

Lili Marlene

Mazeppa

Leaping Salmon

Oiellet Panachee

Hamburger Phoenix

GREAT QUOTE

“Am writing an essay on the life-history of insects and have abandoned the idea of writing on ‘How Cats Spend their Time’.”

W. N. P. Barbellion (Bruce Frederick Cummings) 1889-1919

Well, here’s some evidence:

Eowyn and Michiko

Peregrin

Persephone

Leopard at Berlin Zoo

Lion in the Masai Mara, Kenya

I think you get the idea.

(All photos copyright Susan Fox)

Fieldwork for Wildlife Artists

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When I made the decision to specialize in animal subjects, I also took a deep breath and made a personal commitment to reach the highest level of excellence that I was capable of (still chugging away). Then I researched the approach and working methods of the best current and past wildlife artists, figuring the odds were that they knew a few things that would be useful to me.

And guess what, not a single one of them, (including Bob Kuhn, Carl Rungius, Wilhelm Kuhnert, all unfortunately deceased) like Robert Bateman, Guy Coholeach, Ken Carlson, Dino Paravano, Lindsay Scott, Julie Chapman or Laney, to name some of my favorites, rely on other people’s photos except to supplement their own for specific elements, only go to zoos or game ranches or work exclusively from photos to the exclusion of anything else. They GET OFF THEIR BUTTS, pick up their sketchbooks along with their cameras and hit the road to where the animals are.

This is not a field for the lazy. Even if your passion is the songbirds and squirrels that you can see in your own backyard, you still need to do fieldwork. Believe me, it shows in the work to those who know.

(Endangered Rothschild’s Giraffe and I at the Kigio Nature Conservancy, Kenya or Why I Like Fieldwork.)

There is no substitute for seeing an animal in its own habitat. This was brought home to me when I went to Kenya and saw lions, elephants and warthogs “in context” for the first time. The warthogs in the Masai Mara were the same color as a lot of the rocks. Thirty elephants emerged from trees lining a river bank. They had been invisible. The only evidence of their presence was that the tops of the trees were moving. We were at most 50′ away. The lions are very similar in color to the dried grass.

The prey species like wildebeest and zebra had a vibe that is totally lacking in the ones I’ve seen in zoos. In the wild they have to Pay Attention and work to survive. The zoo animals don’t have to do either and it shows in their body language.

You need:

A good digital SLR: Point and shoot won’t do it. Too slow to catch movement and you can’t change out lenses if necessary

The sketchbook of your choice: you may have to try some different ones to find a combination of paper and pen/pencil that works for you

Pens/pencils: So many possibilities. I use fine point gel pens for the most part because they don’t smear and I can’t fuzt around and erase.

Patience: In ten years, I have found that, on average, a given animal will do something at least mildly interesting or worth recording within about twenty minutes, but you have to be willing to sit and watch and watch and watch and……., even in zoos

Curiosity: Which translates into a willingness to learn about your subjects, not just settle for superficial appearance

Imagination: I’ve been in the field with other artists who seemed to be trying to capture “The Pose” that they would then faithfully reproduce on canvas. I often seemed to be the only one whose shutter was firing. Why? Because I’ve learned that you can never know in advance what you will find useful and when you’ve spent hundreds or thousands of dollars to get to a place, it’s crazy to stint on reference collection, especially with digital cameras and the ever dropping price of memory cards.

The Payoff? Great, unique reference (how many cougar paintings have you seen recently that were obviously from the same captive animal shot in the same locations? Yawn.), your memories of what it was like to be there which will somehow seep into your work, stories to accompany the paintings that will interest collectors and the possibility of seeing things very few people are privileged to.

Here’s a few examples of shots taken on the off-chance they might come in handy sometime. Not necessarily interesting to anyone but me.

The Gobi Desert near my ger camp. Useful elements: cloudy sky, distant mountains, September grass, lay of the land, gravely surface, rocks with red lichen.

Grab shot from Lewa Downs Conservancy, Kenya. It’s a little blurry, but turns out to be the only tree that I’ve seen with that trunk color. It will be the perfect element for something, sometime.

Photographing the animals is a no-brainer, but don’t forget their habitat. I know what animals live in the Conservancy where I took this picture, so I know who could be found in this neat waterhole setting.

On the banks of the Ewaso Ngiro river in the Samburu, northern Kenya. We have: a little of the water for context (where did I take that picture?), grass, some kind of spiky leaved plant just coming up (needs to be identified), doum palm nuts and frond droppings and…..elephant dung. This was taken right in camp.

And, nearby, is a doum palm that has been partly rubbed smooth by elephants.

And here are some elephants. Nothing spectacular by itself (well, other than the fact that I’m seeing them in Kenya, of course!). But the preceeding photos provide context and additional elements that could be used with the photo below to create something more interesting and memorable.

I realize that these are exotic locations that many artists can’t get to or aren’t interested in, but the principle applies no matter where you are. Get out into the field and see as much as you can of everything around you. Filter that through your interests and passions as an artist and it will shine through in your work.

ART THOUGHT FOR THE DAY

“Now the light was fading fast. We had to hurry to reach the gate before 7 pm, but just as we were leaving the plains, Dave said urgently, ‘Stop! Stop!’ Thirty yards from the road, a lion and lioness stood silhouetted by the setting sun. She moved against him, rubbing her body on his great shaggy main, and twitched her tail high in the air. Then, blatantly sensual, she crouched on the ground and the big male mounted her. The coupling was brief and ended with a climax of impressive snarls before she rolled onto her back in evident satisfaction.”

Simon Combes, from Great Cats: Stories and Art from a World Traveler

Thanks, Simon. (Photo from Oct. 2004 art workshop/safari led by Simon Combes two months before he was tragically killed by a cape buffalo. More images from the safari and a memorial page to Simon on my website)

Mongolia Monday: The Five Snouts, Part 3

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I’ll have to be honest and say that currently I don’t know much about Mongolian sheep. I hope to learn more on the next trip.

I did find a United Nations FAO report that included the following information;
Sheep in Mongolia may be grouped into five types. The common native sheep are multipurpose and low in productivity. The other four are used more specifically for their meat (mutton), carpet wool, milk and good-quality lambskins. Grazing is on year-round pastures with no supplementary feeding, even under severe winter and spring conditions. The sheep are well adapted to the unfavourable ecological conditions of steep mountains and poor vegetation.

One distinctive feature of the native coarse wool fat-tailed sheep is noticeable when new grass grows on the pasture: at this time they grow rapidly, are easy to fatten and have a remarkable ability to store 4 to 6 kg of fat around the kidneys, mesentery and the tail bone. This fat is drawn on in winter and spring.

Sheep are reared according to the natural and economic conditions of the different regions in the country. Improvement achieved by crossing exotic, fine and semifine wool sheep breeds has been rapid in Mongolia and the results reasonably good. The average fleece weight of improved (cross-bred) fine and semi-fine wool sheep is two or three times higher than that of the native coarse wool of fat-tailed sheep. Wool quality has also improved.

There are five distinct sheep breeding zones:

· the northern mountain and grassland zone;
· the central steppe zone;
· the southern semi-arid zone;
· the southernmost, semi-desert zone of the Gobi;
· the Altay Mountains in the west.

The northern mountain grassland zone and the central steppe zone are given over to the breeding of fine and semi-fine wool sheep. In the southern semi-arid zone and the northern enclave, Mongolian fat-tailed sheep are purebred. Selection of breeding stock increases the quantity and improves the quality of the carpet wool.

In the extreme south, the semi-desert area of the Gobi has been allocated to Karakul breeding for lambskins. The production of mutton, fat and carpet wool takes place in the western part of the country and includes the Altay Mountains.

Here are some photos that I’ve taken of sheep.

A small flock at the market in Hovd, western Mongolia

“King of the Mountain” at Khar Us Nuur, also western Mongolia. Goats in the foreground, but that’s for next week.

Part of a large group of domestic livestock coming down to the stream to drink at Ikh Nartiin Chuluu Nature Reserve, south of Ulaanbaatar

Finally, for comparison, a wild argali, the world’s largest mountain sheep. This old ram with the amazing horns let me follow him around for almost 20 minutes. As you can see, he is very thin. It was late April and a lot of the animals, wild and domestic were in rough shape from the winter.

One of the main uses of the wool is to make the big pieces of felt which cover the gers. Depending on the weather, there can be one to three layers. I’ve slept in a ger in cold weather with one layer and the next night, one with two layers and the difference was quite noticeable.

One of my most useful souvenirs from Mongolia are my felt slippers. I also got a pair of felt boots. Both are amazingly warm and comfy. I would recommend them to anyone who gets cold feet!

Friday Features

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BACKYARD BIRD LIST

Hot hummingbird action the last few days. Two Allen’s hummers competing for control of the plants outside my studio window. I have now found an absolutely reliable way for animal artists, or anyone else for that matter, to procrastinate. Plant hummingbird-friendly plants right outside the window next to your desk. Wait for that “humming” sound, stop work and watch. Perfect.

Outside my studio window is what I call “the tropical garden”. South-facing and it’s where I’m putting all the hot color combinations; red, orange, yellow, lavender, etc. Front to back is red verbena, crocosmia ‘Lucifer’, kangaroo paw and red dragon persicaria.

One of the little gladiators. I sometimes think that they are really Rottweilers in bird costumes.

Looked up a few days ago when I was outside and saw what looks like a northern goshawk escorting a turkey vulture, probably away from the nest. I got about six photos. This one reminds me of some I’ve seen in my husband’s aviation books of comparatively tiny American fighter jets “escorting” truly huge Soviet “Bear” bombers.

ART TALK

So, to follow up on the source of the Wednesday post title “Pot of Paint”. James McNeil Whistler (of “Whistler’s Mother” fame) had utterly buffaloed the art community in London with what he called his “nocturnes”, impressionistic paintings of night scenes which he showed at a time when the eyes of the public and art critics were conditioned to seeing a high level of detail and what was called “finish”.

The leading art reviewer and taste-maker of the Victorian era was John Ruskin, the first prominent critic to champion the Pre-Raphaelites, who never let the vein of a leaf go unpainted if they could help it.

In his review of Whistler’s show at the Grosvenor Gallery, then known for showing “advanced” work, Ruskin wrote that he “he never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.” So there.

Whistler sued for libel. What followed was one of the most celebrated lawsuits of the time. What makes it fascinating and relevant even today is that it turned into a monumental struggle between two very different philosophies concerning the creation of art. Ruskin represented the establishment view that art had a duty to be beautiful, uplifting and moral. Whistler adamantly insisted that Art had no duty outside itself, in other words, “Art for Art’s Sake”.

The trial lasted for eight hours. The jury deliberated for two and, in the end, returned the verdict for Whistler, but only awarded him only one farthing, approximately a quarter of a penny, in damages. Whistler mounted it on his watch fob. The good news was that the verdict saved him from having to pay Ruskin’s court costs, but it left him in debt, albeit with a moral victory.

If you would like to know all the delicious, gory details, buy, what else, A Pot of Paint- Aesthetics on Trial in Whistler vs. Ruskin, by Linda Merrill.

The debate goes on today, although without the level of consciousness that existed in the Victorian art arena. There has been more than one art show here in Humboldt County through the years that had a painting in it that someone found objectionable. The reason is usually some variation of the un-thought out idea that art is supposed to be beautiful, pretty and not make the viewer uncomfortable. Poppycock. Art has no responsibility other than to express the creativity of the maker. No one has the right to pre-censor what an artist creates or shows. No one has to buy what is produced, but they don’t have the right to demand its removal either.

ART FOR ART’S SAKE!

ART QUOTE FOR THE DAY

It is this sense of persistent life force back of things which makes the eye see and the hand move in ways that result in true masterpieces. Techniques are thus created as a need.

It is thus necessary to work very continuously and very valiantly, and never apologetically. In fact, to be ever on the job so that we may find ourselves there, brush in hand, when the great moment does arrive.

Robert Henri

A Pot of Paint

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Anyone who has been to art workshops knows that there always seems to be someone who is almost obsessive about finding out what paint, brushes and supports the instructor uses. The idea seems to be that if they can use what the teacher uses, by some kind of magical osmosis they’ll be able to paint like the teacher paints.

Fortunately, it doesn’t work that way. After all, if creating good work was only a matter of using the right combination of materials, it would take all the fun out of painting- for a sufficiently broad definition of “fun”. Sometimes trying to gain mastery or even competence in an art media is an exercise in frustration, disappointment and self-doubt. And then there are those too short times when the painting seems to paint itself and you’re just along for the ride.

With all that in mind, I thought I’d blog a bit about what materials I’ve ended up using after my first twelve+ years of painting in oil. Use any or all of it at your own risk. This week, I’ll start with paint.

I began with a pretty standard palette, courtesy of my first teacher. White, black, warm/cool red, yellow, blue, green, plus three or four earth colors and then some “fancy” colors that would have had Rembrandt spinning in his grave and Gauguin breaking into my studio in the dead of night.

Then I went to Scott Christensen’s ten day plein air intensive. Four color palette (plus a couple of tube greys): titanium white, Rembrandt Permanent Red Medium, Winsor Newton (W/N) Ultramarine Blue and Winsor Newton Cadmium Yellow Pale. And my “color choices” exploded. I discovered a whole world of more muted, restrained color that I was barely aware of before. A limited palette solves the “color harmony” problem, too, since every color probably has at least a titch (the technical term) of all the others in it.

Here’s my first four color study from before I left so I could see how it worked a little, followed by two 20 minute exercises done at his workshop-

These are two studies I did after I got home. I think you can see that one isn’t really limited at all as far as color and what you can do with it. Value relationships and color temperature shifts become more important than having a particular tube color.

I pretty much stayed with that palette for over two years. For me, the main limit I bumped up against is that I’m an animal artist, not a landscape painter, and I really felt the need for a color I picked up at a Paco Young workshop, Rembrandt Transparent Oxide Red. It’s perfect for so many animals that I do. Then I found that the warmer Cadmium Yellow Medium worked better for me than the cooler Pale. Then I found myself gazing longingly at the dioxine purple, then my beloved sap green……

Presently, having realized that I’m really more of a colorist than a tonalist, I’ve added more punchy colors back so my paintings will have the emotional content I want. These days I use, from left to right on my 18″z24″ glass palette:  Rembrandt Transparent Oxide Red, Rembrandt Permanent Red Medium, W/N Cadmium Orange, W/N Yellow Oxide Pale, W/N Cadmium Yellow Medium, W/N Titanium White, W/N Ultramarine Blue, Rembrandt King’s Blue, (sometimes Rembrandt Turquoise Blue, for extra warm blues), W/N Dioxine Purple, W/N Sap Green, W/N Viridian. I very occasionally use W/N Raw Sienna, mostly to tint my canvas before starting, but otherwise I mix my own earth colors, greys and black (ultramarine blue, transparent oxide red).

I do small (6″x8″ to 8″x10″) studies to try out painting ideas and for those I use the four-color palette because I can come back to them months later and I know exactly what colors I used. Here’s three, two of which went on to become finished paintings, so far. Yes, those are Roosevelt Elk on the beach north of where I live in Redwood National Park. The finished painting is called, what else, The Beach Boys, and is in a private collection.

The most important thing is not how many or how few colors you use, but that you know why you are using them and that you use them well.

The “Pot of Paint” reference in the post title is part of another of my favorite artist stories, which will be part of Friday Features.

Mongolia Monday: The Five Snouts, Part 2

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Most of us don’t think of Mongolia as cattle country, but I did see at least a few most places I went. Needless to say, they are as hardy as the other animals the herders keep. There are a number of breeds and they have also been crossed with yaks to create a hybrid the Mongolians call a Hainag. Here are some that I saw when I was at Ikh Nartiin Chuluu Nature Reserve in spring of 2005.

This cow and calf were part of a group that were coming down to the stream for water.

Here’s a black cow who looked me over for a minute.

And, of the most interest to me, since it demonstrates the competition wildlife can face from domestic stock, are a couple of argali down at the same stream with the cattle.

When I was in western Mongolia in Sept./Oct. of 2006 we stopped at a ger and I took a number of pictures, including a few of this beautifully dressed woman and her cattle. The man was one of my guides. As it turned out, what I had photographed was him buying milk…for us! When we were back in the van and on our way, I was offered a swig of milk, warm and right out of the cow. It was the best milk I’d ever tasted! It was also the first time this town-raised girl had ever had milk that wasn’t out of a carton. And no, I didn’t “pay” for it later, fortunately.

Friday Features

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BACKYARD BIRD LIST

Six or so red crossbills are still showing up most days. There was a group of fox sparrows last weekend. Our hummingbird-friendly plants are really starting to bloom. I was sitting here at my desk and look who showed up outside my french doors? I was able to grab the camera and get some shots through the glass. Sometimes lucky is better than good. Looks like a male Allen’s hummingbird to me.

Speaking of hummer plants, here’s my 50 cent, 4″ pot white verbascum that I rescued off an end-of-season sale table the year before last. Is that a happy plant or what? I’m going to have to move the poor little heather underneath it before it’s completely smothered. Or I may move the verbascum to a more spacious location. I didn’t think it would get quite this big.

ART TALK

I finished the bighorn painting and took it to the framer only a little wet in a few areas. When it was laying on the counter, I saw a spot in the sky I missed, which I’ll fix when I get it back. But it reminded me of one of my favorite artist stories:

Every year the Royal Academy in London has its Summer Exhibition. We were lucky to be in England and able to attend some years ago. The galleries looked like in old photos you see: work stacked from the floor to the very high ceilings. Those whose paintings ended up in “nosebleed” country called it “being skied”.

William Mallord Turner (b. 1755 d. 1851) was a regular participant, although his work mystified many of his comtemporaries and the general public. “Varnishing Days” were the three to five days before the exhibition opened when the artists could come in and put on a final varnish or touch up their paintings. Turner became somewhat famous for this and is said to have deliberately brought in unfinished paintings so that he could show off his technique. Imagine any of us doing that today? It would be like Robert Bateman showing up at the opening of his current retrospective, palette, brushes and paint in hand to add a few more snowflakes to his famous snow leopard painting. Turner showed up dressed for town and S.W. Parrott was inspired to create this permanent record, which is reproduced here in black and white. How do you dress when you’re in the studio?

PLANET SAVER TIP FOR THE DAY

Speaking of Robert Bateman, besides creating a lot of the best wildlife art of this or any other century, he is a tenacious advocate for the environment. You can read what he has to say at www.batemanideas.com

ART THOUGHT FOR THE DAY

If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.

Thoreau

Bobcat and Bighorns

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The bobcat painting is done. I’ve called it “Stepping Lightly”. It will make it’s debut at Wild Visions2, the group show with five other Humboldt County artists next month. The opening reception will be August 9 from 6-9pm. More later about the show and the other artists.

“Stepping Lightly”                   oil                               18″x24″

Now, a cautionary tale about reference and using captive animals as models.

I’m doing a painting that is a first for me, three panels. Here’s the reference I’m using. The animals were photographed at the Denver Zoo and the landscape is from up on Logan Pass in Glacier National Park.

Is that a great pose or what? It was morning, warm and sunny, and the ram was getting sleepier and sleepier and finally his head gently dropped onto the ewe’s back. She never even twitched. Click. Gotta paint it. But where to put them? I chose this rocky outcropping in Glacier because I liked the shapes and knew that bighorns were often seen in the area. I did a preliminary drawing of the animals with the idea of showing them on a shelf of rocks. I wanted to communicate how comfortable bighorns are in an environment that we would find “challenging”. Here’s an in-progress shot that shows my setup with my iMac.

It’s great because Aperture lets me zoom in and out as needed very easily.

Another in-progress shot with the side panels propped on either side. At this point, I sent a jpeg to wildlife artist Laney, who has said nice things about my work the couple of times I have met her. She specializes in bighorns and I wanted her to eyeball the animals for drawing or any other problems. She replied very promptly and said that overall it looked good, but that the ewe’s hoof was in the wrong position compared to the rest of the leg and that the ram’s muzzle was too thin.

I went back to my reference and compared what I had with an absolutely wonderful book, Mountain Royalty, by famous Alaska artist Doug Lindstrand. As you can see from my photo, the ram in particular is shedding out, so it was a little hard to see the structure. Doug’s photos solved that problem and there was even a picture of a ram in a similiar position.

What I ultimately found was that while I had accurately drawn what was in my reference, it wasn’t “right”. The ewe’s hoof was at that funny angle, but that didn’t mean I should paint it that way, so I fixed it. When I compared my reference ram’s head with the ones in the book, I found that his head was really quite odd. Longer, thinner and with a roman nose that was much more exaggerated than the wild sheep. So I fixed his muzzle and re-proportioned his head as needed.

The other question I had for Laney was whether or not this behavior might be observed in the wild. She replied that the rams were only with the ewes in winter, so maybe I’d like to add some snow. Ah, well. In the zoo, of course, the animals are pretty much together all year around. In the wild when I shot my reference at the beginning of May, it was unlikely. Cue the snow reference. And, what I found was that it was the frosting on the cake since it brought the cool of the sky into the rock area and helped pull the whole thing together. Thanks Laney!

The moral of this story is that you can’t have too much reference, don’t assume that zoo or captive animals look the same as wild ones, do your fieldwork and learn about your subjects and finally, it is tremendously helpful to have a knowledgeable eye like Laney’s to look over what you’ve done and to it keep on track.

I finish the painting today and it goes in for framing tomorrow. I’ll post an image of it once it’s on the wall at the show.

ART THOUGHT FOR THE DAY

Experience enables you to recognize a mistake when you make it again.

Franklin P. Jones