The sun is shining, the deep cold is lifting, and the mourning doves are just sitting quietly taking it all in.
What do doves do all day? Just kind of hang out waiting for something to happen? The doves always seem to have some purpose beyond just sitting there, but sit they will for hours, moving only slightly, perhaps waiting for friends to join them.
These doves are waiting in the maple tree outside my bedroom window, a scene I often see and always enjoy.
The branches of the ancient maple tree vary in texture and even color, the larger branches and trunk carrying old gnarled scars from years of storms; this tree has been my guardian since I moved into this house. The details of the branches and twigs were so inspiring to me and I visualized a large, detailed pencil drawing, even imagining my pencil drawing the darker edges, blending the smooth areas and sketching detail in the rough areas to create the shadows.
Still, it was the doves who led me to the beauty of the scene and it was only a matter of time and lots of reference photos before I decided exactly which one I wanted to draw.
The scene I finally chose to draw was a bright overcast day when a snowfall had melted from the branches, leaving them a little wet and more colorful than usual with the little bits of moss that collect on the undersides, and the shadows are muted and soft.
I chose to create this drawing in pencil for the simple clarity of line and the delicacy of shadow. Pencil was my first medium and one I return to regularly with a comforting familiarity, losing myself in the variety of lines and textures a simple graphite pencil can achieve, and so it was with this drawing.
I added very slight watercolor washes to show the bird’s breast tarnish and the contrast of blue on the upper feathers, and the slight gather of moss on the tree branch. Loving the pencil, I still wanted to give the birds and branches dimension against the flat white background. Well I remember my hesitance with the first washes of color, holding the brush, filled with paint, away from the sketch, afraid to begin for fear either my idea of adding color wouldn’t be successful or I would simply screw up this pencil drawing I’d spent three weeks drawing. Eventually, I got over it, and it worked out just as I had visualized.
PURCHASE A PRINT
This drawing is entitled Biding Time, 15″ x 21″ , done in pencil on cold press illustration board. The original is sold, but prints are available.
[ss_product id=’1ff42e4e-b8b5-11e6-a2fa-002590787d08′ ]Wildlife, “Biding Time”, Pencil[/ss_product]
The original drawing was 21″ wide x 15″ high, matted with a 4″ tan acid-free mat with 1/8″ charcoal acid-free mat, framed with a 1″ burnished gold metal frame with silver inner edge and nailhead detail, and I would be happy to frame a print in that same combination.
I also have a full-size print in an 18 x 4 matte black frame with a parchment mat, shown above.
I have also shown a sample of an 8 x 10 print matted in an 11 x 14 frame, shown above.
SHIPPING AND CHARGES
Shipping within the US is included in the cost of each print.
Prints up to 16″ x 20″ are shipped flat in a rigid envelope. Larger prints are shipped rolled in a mailing tube unless otherwise requested; flat shipping is an extra cost because it’s oversized.
The giclees are printed on acid-free hot press art paper for a smooth matte finish using archival inks. Giclee is the highest quality print available because the technique uses a dozen or more ink ports to capture all the nuances of the original painting, including details of the texture, far more sensitive than any other printing medium. Sometimes my giclees look so much like my originals that even I have a difficult time telling them apart when they are in frames.
I don’t keep giclee prints in stock for most of my works. Usually I have giclees printed as they are ordered unless I have an exhibit where I’ll be selling a particular print so there is a wait of up to two weeks before receipt of your print to allow for time to print and ship.
Digital prints are made on acid-free matte-finish natural white 100# cover using archival digital inks. While digital prints are not the quality of a giclee in capturing every nuance and detail of color, texture and shading, I am still very pleased with the outcome and usually only I as the artist, could tell where detail and color were not as sharp as the original. Digital prints are only available up to 11″ x 17″ and some of the prints are cropped to fit standard mat and frame sizes.
Digital prints have at least 1/2″ around the edges depending on the size of the print. All are countersigned by me.
Because the standard size canvas prints are not proportional to the original painting, canvas prints of this painting will have a portion cropped off.
I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered because I have limited storage space. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting. This canvas mirrors the edges of the image around the sides.
I do all my own framing and can custom frame a print for you. Please ask.
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All images used on this site are copyrighted to Bernadette E. Kazmarski unless otherwise noted and may not be used without my written permission. Please ask if you are interested in using one in a print or internet publication. If you are interested in purchasing a print of this image or a product including this image, check to see if I have it available already. If you don’t find it there, visit “purchasing” for availability and terms.