#550 In the field: Birthday week . . . fishing

Today,  the sun enters Leo - the fifth sign of the zodiac - and tomorrow is my birthday.

This blogpost has been preposted and as you read it, I will be where I always am during my birthday week: Fishing.
This year,  the dogs, Trish and I are in the Colorado high-country, trout fishing.
We're staying in a little rustic housekeeping cabin near our favorite fishing area.

Most years, we are at the island studio on Lake of the Woods in Ontario, Canada in July but this year, due to
a belated departure to the north country which happens next month, we returned to a place a couple
of hours from our Colorado cabin where I've celebrated July 24th a few times in the past.
One thing is certain . . . when late July comes around, I'll have a rod in my hand!

Below, countless unforgettable outdoor experiences have occurred while on the water and
I yearn for and covet the time spent in wild places . . . it is the source of my creativity.
Happiness is heading out to a favorite fishing spot!

Below, is a photo taken a few years ago while trout fishing in a freezing cold rain at our favorite lake in
northern Colorado on my birthday.  The place is just below timberline and is heavily populated with moose.
These critters sauntered out to feed on the lush grass in the shallows.

One year, a yearling calf became enamored with our little motorhome and every morning while the coffee brewed,
she licked the windshield.  She may have been after the glue on the inspection stickers.  Photos are below.

Another year, we saw this beautiful bull in velvet in the meadow next to camp.

Below, gilled and gutted Brown Trout ready for the frying pan!

Below, is a watercolor painting of a Rainbow Trout.

To learn more about the subjects go to the links below.

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Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#549 In the studio: "Moose Junction"

This September, I'm introducing a new work entitled, "Moose Junction" at 

The National Museum of Wildlife Art's annual Western Visions Exhibition in Jackson, Wyoming.
http://www.westernvisions.org/

The sculpture was started almost three years ago at the Lake of the Woods studio in Ontario, Canada.

When we closed the island studio in the fall of 2011, the unfinished clay model was taken 

to the Wyoming studio and has since been tweaked and refined to completion for the upcoming show. 

My typical working method is to keep many pieces in progress at once and rarely is a studio work
session spent on a single sculpture. I move between several models and adjust them them as I see fit. 

  Occasionally, I create a one-sitting clay sketch that is deemed worthy of molding and casting. 

Below, are images of the clay model start-up of "Moose Junction" after a few hours of modeling at the 

cabin/studio in Canada in 2011 and another of the work in progress in Wyoming.

Below, the clay model has been backlit to show a strong silhouette revealing sculptural drawing,
positive and negative shapes, proportion, and important masses.  This method is used routinely in the studio.
When in the field, I typically see and identify an animal by observing large shapes and the silhouette.
The viewer must immediately perceive clarity and understand the species they are looking at.

Below, is an image of sandblasting the bronze casting before it goes to patina.

Below, are images of the patina process.  A traditional patina using liver of sulfur, 

ferric nitrate, cupric nitrate, and hot wax was chosen for the new sculpture.

 Above and below, liver of sulfur is applied to the unheated bronze.

Below, the bronze is heated, then cupric nitrate is stippled on.

Next, the bronze continues to be heated with a propane torch and ferric nitrate is stippled on.

The patina technician applies Johnson's Paste Wax while the bronze is still too hot to the touch.

Below, is an image of "Moose Junction".

Moose Junction
16"H 17"W 8"

To learn more about the subjects go to the links below.

For a complete list of the blog index go to the Index Page and

type the subject in the Search This Blog link on the right.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#443 In the field: "My Source"

The most important days of one's life are spent when one is young for
that is when the foundations of what comes later is laid.  My parents laid
that foundation by taking me to Lake of the Woods, in Ontario, Canada. Later in life I bought a cabin on the north end of an island across the bay from the lodge which we had stayed, many years earlier.

Typically, in the summer and again in the fall, I spend several weeks at the cabin and attached studio.
I'm very busy at the Wyoming studio headquarters this year and must be near the foundry . . . therefore,
I won't open the camp due to a commission for the Briscoe Museum and a fall trip to Africa.  I'm not complaining . . .
but O, how I miss the island, lake, and the wildlife!

My island on Lake of the Woods holds a special place in my heart.  It represents a place of solitude where loons call, eagles cry from high pine limbs, and moose thrive in bog and muskeg.  It is flooded with memories of spring portages, of summers fishing for walleyed pike and warm autumn days hunting ruffed grouse on lonely logging roads.

Above all, this place is "my source":  Ravens, jays, pelicans, partridge, ducks, geese, beaver, fox, squirrel, wolf, deer, kingfishers, otter, mink, mergansers, cormorants, osprey, herons, gulls, woodpeckers, black bear, and the ever-present loons and eagles are common in this rugged, watery wilderness.  I've experienced these creatures in their domain as the seasons change, for my island has given me a choice seat from which to observe them and the wonders of the great Northland.

Below, is an aerial view of the island . . . the light dot you see is my boathouse.

Below, is a group of watercolor-tinted mallard etchings inspired by "my source".
Note, the various hand-wiped ink plate tones.

 Mallards
Original etching

Mallards Coming In
Original etching

Gray's Sporting Journal 
backcover detail - 1979
Original etching

Three Mallards

Original etching

Mason Premier Decoy - Mallard Drake
Original etching

Pair of Mallards
Original etching


All etchings - copyright Sandy Scott

#346 In the field: Cabin life, con't . . .

Close up  . . .

The golden days of autumn were to be savored . . . 

but the icy north wind and a dusting of snow reminded me it was time to drain the cabin, close up, 

and return to our Lander headquarters.

Whispering wings flew overhead and we followed them south before our bay froze up.  

The Canadian island/studio is my source . . . spring will come.

Above, our boat house, the morning before we left the island

Below, a drawing from my sketch book

#345 In the field: Cabin life, con't . . .

Walleye are excellent table fare and when we are at the Canadian cabin on Lake of the Woods, Trish and I love to walleye fish in the fall.  We leave the warm cabin on sunny,
crisp days to not only catch our supper but to experience the abundant wildlife that abounds on the enormous, remote lake.

My sketch book and camera is always with me and over the years, I've relied on the reference gathered in this beautiful
area that I know so well.

Cold weather walleye fishing on Lake of the Woods: Trish with a 22 incher

Fishing puts me in touch with another of nature's species, 

in beautiful surroundings, that are as old as time.

That is where I want to be;

this is how I am renewed.

                                                        - Joan Salvato Wulff

#344 In the field: Cabin life

Glorious autumn days, solitude, and a warm birch fire . . .

cabin life in the woods is inspirational.

I keep clay, armature material, paints and supports,
and a sketchbook on hand when I'm there . . .

living in a constant state of inspiration.

Trumpeter Swan and grouse still-life in progress at the Canadian cabin

#343 In the field: Grouse, con't . . .

Most of our diet consists of wild game . . . venison and upland birds such as quail, pheasant, and grouse.  We have headquarters in Wyoming and a seasonal cabin/studio in the Canadian woods; both provide ample hunting in the fall. 
Shown at right, Trish holds three plump Ruffed Grouse.  

Beyond table fare and the wonderful experience of working with a bird dog is the opportunity to gather in-the-field reference for my art.  Hunting furnishes first-hand knowledge in the fall; coupled with a sketchbook and camera during the rest of the year, this combination has been my method of observation, experience, and adventure in all of my years as an outdoors woman and artist.     


Below is a great recipe for upland birds.  These birds are non-migrants and therefore, have white breast meat.

In a cast iron skillet, using butter or bacon fat, brown bird breasts and legs that have been dredged in flour, salt, and pepper.  After browning, add a prepared sauce such as mushroom soup, Ragu alfredo or four-cheese sauce.  Cover, simmer until cooked but not dry . . . usually less than an hour depending on the size of the bird.  During the last few minuets of cooking, stir in a cup or so of sour cream.  Can be served with steamed potatoes (as shown), rice, or poured over pasta.  Also, I've varied this method by adding either mushrooms, onion, capers, or parmesan cheese.  

Serve with Caesar salad, a tart side-sauce such as cranberry, and crusty bread.  

Don't forget a dry white wine such as sauvignon blanc.  

Original watercolor-tinted etching . . .  copyright, Sandy Scott

#341 In the studio: "Feelings"

A work of art should reveal something about the subject beyond being technically accurate.  Learning the fundamentals, such as anatomy and understanding proportion is the starting point . . .
simply recreating a specimen of the animal should not be the artist's goal or motivation

The figurative artist is motivated by feelings about the subject and must search for and communicate an authentic message.

At right, is a detail from Red Willows.

The animal is the design source. 

#338 In the field: Moose, con't . . .

The most important days of one's life are spent when one is young for that is when the foundation of what comes later in life is laid.  My parents laid that foundation by taking me to Lake of the Woods, in Ontario, Canada as a youngster.


Later in life, I bought a cabin on the north end of an island across the bay from the lodge where we stayed many years earlier.  Trish and I enjoy spending time at the cabin/studio . . . especially in the fall. The isolated and remote island location affords the solitude needed for inspired and thoughtful work.


Last month, after returning to the cabin from a moose hunt - see post #337 Nov. 3 - I was flooded with ideas and creative energy.  Although I have several sculpture projects in progress here, I felt a need for the immediacy of painting an oil study of the fieldwork gathered on the hunt.

 Island from the air, retuning from the moose hunt

Fireplace inside cabin

Working on the painting 

#337 In the field: Moose

Last month, Trish and I took a float plane to a remote lake north of Kenora, Ontario, to moose hunt.  Our hunt was successful and there will be plenty of venison in the freezer!

Being in the field is an important part of the animal artist's life . . . authenticity
and an accurate portrayal of the subject in the wild is not possible without "being there".  Somehow, the viewer senses in the artist's work if he or she has actually "been there".

As a youngster, I had the privilege of "being there" with my father, who instilled in me an understanding and respect for hunting, fair chase, and obtaining one's own food.

Below, moose camp at daybreak.

Red Willows was the result of research and reference gathered on previous hunts and field trips.

#59 Remarque: "Whitetail" . . .

Seeing things first hand or "being there" is vital to the wildlife artist.  Sometimes being there causes things to happen - sometimes things happen because you've been there.

As a young woman out of art school and undecided about where to go in the arts, I had the privilege of "being there" by tagging along with my father in the wilds of Canada.

While grouse hunting (or partridge as the Canadians call it) on a logging road several years ago a whitetail buck emerged from the woods (or the bush as the Canadians call it) and struck this pose before bounding off again.

Whitetail
12"H 12"W 4"D

Whitetail
12"H 12"W 4"D

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Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish