Birds of the West by Molly Hashimoto

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Short-eared owl, block print by Molly Hashimoto

“….there’s nothing quite as inspiring as a bird in its habitat – the ecosystem and the bird belong together in a coherent and necessary way.”  Birds of the West: An Artist’s Guide, by Molly Hashimoto

This summer I was thrilled to find on my doorstep the exquisite Birds of the West: An Artist’s Guide by Molly Hashimoto, sent to me by her publisher Skipstone, the sustainable lifestyle imprint of Mountaineers Books.

 

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American goldfinch (Spinus tristis) block print . “…I attempted to express how moving it was to see the vivid colors of the male goldfinches visiting at the height of color in the garden, in May, with blooming poppies and clematis…In winter, the males are drab brown with a few yellow streaks on the wings – you may not even know you’re looking at the same bird.”

 

I became a fan of Molly’s when I discovered her Colors of the West: An Artist’s Guide to Nature’s Palette in one of the national park bookstores my husband and I visited on our trip West two years ago. Molly is accomplished in watercolor, block printing, etching and egg tempera – the media she features in Birds of the West – informed by decades spent exploring the landscapes, flora, and fauna of the West. Her art combines a naturalist’s expertise with a deep love of nature.

Molly is a dedicated art teacher as well, based in Seattle. I’m sorry I missed her last year at Roundabout Books in Bend when she spoke and demonstrated techniques from Colors of the West. She teaches regularly in her local community and at the Sitka Center for Art and Ecology, the North Cascades Institute, the Wenatchee River Institute, and the Yellowstone Forever Institute. 

Her love of teaching and her passion for birds shine through in this luminous new collection of nearly 100 bird species and more than 130 sketches, aimed for seasoned artists, beginner artists, and non-artists alike.

 

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Birds of the West is organized by habitat: Backyard and City; Wetland and Pond; Shoreline and Beach; Meadow and Grassland; Desert and Sagebrush Steppe (that’s us!); Forest and Woodland; and Alpine and Tundra. Each chapter includes an inspiring, even poetic, list of nature terms.

 

Exploring Molly’s new book was a bittersweet delight because, as I did so, the journal Science published a study revealing that one third of the birds in North America have died since I was in high school in the 1970s. A “staggering decline,” the authors of this study wrote.

Perhaps this sad development only affirms that the good work of Molly Hashimoto and other fine artists, writers, and humanists is more necessary than ever. We can hope that their love of art and nature will continue to be contagious – and more of us will be moved to observe birds and other wildlife with love and attention and become activists for and caretakers of the earth.

 

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Stellar’s jay and ruby-crowned kinglet, forest and woodland habitat, block prints (I took this photo underneath our ponderosa pine, which is why it is mottled with shadows. I love the dramatic PNW setting of the stellar’s jay habitat, on the left.)

 

Molly writes eloquently, honestly, and tenderly – her background as an English literature major shows – in Birds of the West about the ethic of stewardship she seeks to inspire in the world:

“I don’t belong to the art for art’s sake camp. I want to make art about birds that is accurate about the ecosystem and true to the bird’s anatomy, characteristic gestures, and plumage colors. … I want my art to be in the service of the living, existing bird. That’s not to say that mere representation is all I aim for – photorealism can drain the life out of a subject. There’s a place somewhere between the representational and the conceptual that expresses all the meaning that I’ve found in watching birds. I also make art for the sake of connection and to inspire an ethic of stewardship.”

 

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Lewis’s woodpecker, block print, and acorn woodpecker, watercolor, meadow and grassland habitat.

 

You don’t have to be an artist (I’m not) or a birder (I’m not) to fall in love with this fine collection. Molly shares inspiring nature poetry, quotes that capture the wisdom of famous artists and nature writers, and her own thoughts about great artists who have influenced her work.  Here is one example:

“Georgia O’Keeffe believed that we want to make art of things that have moved us deeply, even if we don’t know exactly why or understand the meaning of what we feel. It is only by recording it, writing about it, or making art about it that it becomes clearer to us what it all means and why it is so important to us. I have found this many times, with every medium.”

 

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Nest in an oak sapling in winter. “On that gray, drizzly day, the nest was a poignant memory as well as a sweet anticipation of the life-bringing season of spring.”

 

In fact, you don’t even have to live in the West to benefit from Birds of the West. I can imagine artists and nature lovers and birders in other parts of the country using this as a model for exploring and rendering birds in their own regions.

Since I’m a writer, not an artist, I found myself looking at Birds of the West through my own idiosyncratic lens. Molly’s beautiful text taught me specific ways to observe birds in my own wanderings, and modeled how I might capture what I see on the page, via the written word. I don’t know if this was Molly’s intention, but like all good works of art, I think that her book is larger and more resonant than its creator originally intended.

 

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Song sparrow on tall grasses, Union Bay Natural Area, Washington

 

I love Molly’s thoughts about how she chooses particular media to depict particular birds; I imagine that working artists especially will appreciate her insights:

“Every medium has a way of revealing distinct aspects of the birds. Etching utilizes fine lines that can precisely describe the elegant contours and feather groups of birds; watercolor, with its wide-ranging hues and many technical options of indicating trees, shrubs, grasses, rocks and all the components of an ecosystem, displays the manner in which they live and make use of their habitats. Sketches in pencil or pen, with and without added watercolor, convey, through their gestural quality, the attitude, demeanor, and movement of birds. Egg tempera, a centuries-old medium used in icons and altarpieces, can express the reverence I feel for birds and other animals. Relief or block prints, with their dramatic values, contrasts, and bright colors, help me share the surprise – sometimes even the shock – of encountering a new species.  As composers work with many different types of instrumentation, with widely varying timbres and colors, such as full orchestras, smaller string groups, or choral ensembles, I use different media to express a range of moods and ideas.”

 

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Red-breasted sapsucker. There were so many gorgeous bird scenes in Birds of the West it was hard to choose which ones to show you!

 

Molly includes a For Further Reading section that is especially rich, with field guides and books about natural history, ornithology, birds in art, and art techniques.

She has a helpful resources list too, with stores, supplies, and Pacific Northwest printmaking co-ops and studios that offer classes, workshops and press time.

 

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Trumpeter Swans (Cygnus Buccinators) Skagit Valley, etching. I love the simplicity.

 

I hope someday I have the opportunity to attend one of Molly Hashimoto’s art workshops or book signings. I’d love to meet her, wouldn’t you? The next best thing would be to get your hands on the lovingly created Birds of the West: An Artist’s Guide.

 

 

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Western sandpiper, egg tempera. “I set up a still life with a piece of driftwood and some weather-beaten beach pebbles and added the sandpiper by looking at one of my photos from the Oregon coast. The arched enclosure evokes the framing devices used in late medieval and Early Renaissance altarpieces, as well as the small diptychs and triptychs used for private devotions.” 

 

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Hairy woodpecker, sketch with marker and watercolor, and carved block

 

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Red-naped sapsucker, block print. “I used my imagination to situate the sapsucker on an aspen trunk, since I actually saw it in a birch tree near my home in Seattle. This bird is quite rare west of the Cascades….”

 

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Calififornia quail, block print, desert and sagebrush steppe habitat. “…I thought it would be perfect to combine the quail with the California poppies that put on such a show in springtime on the dry hillsides of Northern California. I felt I could take these liberties because of the bird’s very wide range. The combination of the paisley-shaped markings on the breast with the bright colors of the poppies made for a dramatic print.”

 

“The silence of the desert, the sound of wind through the high branches in a coniferous forest, the complex patterns of reflected color in ripples on a pond, the crashing surf, the austere beauty of alpine heights – all of these contribute to the great pleasure that comes with watching birds. In these locales and moments, we are sharing an environment with the birds, which gives us, earthbound as we are, a deeper connection with our fellow creatures.” – Molly Hashimoto

Birds of the West: An Artist’s Guide, by Molly Hashimoto

 

 

Colors of the West

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Bryce Canyon, sunset. “When we enter the landscape to learn something, we are obligated to pay attention rather than constantly to pose questions. To approach the land as we would a person, by opening an intelligent conversation. And to stay in one place, to make of that one, long observation a fully dilated experience. We will always be rewarded if we give the land credit for more than we imagine, and if we imagine it as being more complex even than language. In these ways we begin to find a home, to sense how to fit a place.” – Barry Lopez, as quoted in Molly Hashimoto’s marvelous Colors of the West: An Artist’s Guide to Nature’s Palette

 

I found Molly Hashimoto’s luscious book in one of the national park bookstores I browsed on our road trip across the country. It was a great companion as we toured the Southwest, even though I did no painting or sketching – just hiking and exploring.

Molly teaches at the Sitka Center for Art and Ecology, the North Cascades Institute, and Yellowstone Forever Institute.

 

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Molly devotes a chapter to each color: green, blue, gold, red, orange, and violet.

 

Molly Hashimoto had an epiphany that led to her artistic vision after encountering the work of Thomas Moran:

“This rendezvous with Moran compelled me to reconsider what it meant to be an artist – how to work, where ideas are generated, the purpose of art. I felt that I, too, had to create work in the field, to keep sketchbooks and journals to record my own experiences in the outdoors. Of course, I had a few doubts. After all, this awakening occurred in what I then felt was middle age, and I wondered if it wasn’t just a little late to be undertaking this new project. But enthusiasm won the day. And now I always tell my students it is never too late to start keeping sketchbooks.”

 

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Each national park, and every natural place, has a palette, says Molly Hashimoto. This is Rialto Beach in Olympic National Park. This watercolor painting appears in Molly’s “blue” chapter. “The deeper blue becomes, the more urgently it summons man towards the infinite…” – Wassily Kandinsky

 

I love Molly’s instructions for palettes of different landscapes:

Skies:

Clear: Use a very weak phthalo blue red shade. The zenith may be a redder, more intense blue, so try adding carbazole violet or cobalt blue to that part of the sky.

Dawn and sunset: Permanent alizarin crimson, hansa yellow, pyrrol orange, perylene red, carbazole violet, phthalo blue red shade, indanthrone blue and quinacridone burnt orange are all colors that may capture the varied shades seen at these hours.

Sea Stacks and Rocks:

Dark rocks seen in silhouette: Use phthalo blue red shade mixed with quinacridone burnt orange and carbazole violet. Or try ultramarine blue plus quinacridone burnt orange plus carbazole violet. 

 

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This is Sedona, Arizona and the view just down the street from the home of family members we visited on our cross country road trip. What a stunning palette of colors…..

 

Molly includes color instructions for trees and forests, rivers, creeks, tarns, and lakes, glaciers and snowfields, cliffs and rocks summer coastal prairies and meadows, sand, ocean water, and autumn hues.

 

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Red Rock Ranger District, Coconino National Forest, Sedona.

 

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Grand Canyon South Rim, late afternoon. It has many moods and an infinite number of palettes depending on the time of day, the season, the weather, and a host of other variables.

 

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Another view of the Grand Canyon, a different time of day. “Traveling and sketching in the off-season—when children and college students have returned to school and many people are back at work—feels so much more like the earlier artists’ and travelers’ experience of our national parks and monuments. The sense of discovery is keener when there are fewer people. And the visual thrill of brilliant fall colors is augmented by all our senses: the silence, the fragrance of dry leaves, the feeling of the chill morning air. Beyond that, we know that the shorter days mean that winter is coming, so we value these hours even more.” – Molly Hashimoto. (I agree. My husband and I explored these parks and places in November, which turned out to be gloriously warm with many sun-filled days. And not many people.)

 

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Bryce Canyon. “Ochres and siennas are colors made from earth compounds tinted with iron oxides and are found in some of the earliest art….”   Molly Hashimoto

 

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We met an artist and her husband. She was painting with oils.

 

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Life on the edge. This is a limber pine (pinus flexilis)

 

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The huge fireplace in El Tovar Lodge at the Grand Canyon. In the afternoon, after we’d hiked part of the South Rim, it got chilly and I appreciated this roaring fire. I sat on one of the comfy sofas and read a book.

 

Do you have a favorite national park? Do you keep a nature journal or sketchbook, or do you paint what you encounter in nature?

Old Florida

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Savannah, Georgia

BookLadyOn our road trip across the US (south to Florida, then west to Tucson, Arizona, then north to Portland, Oregon) we spent nearly two weeks visiting family in the St. Petersburg area. Along the way, we stopped in Savannah, Georgia, my first time in that lovely city. An afternoon wasn’t nearly long enough, but we did visit The Book Lady Bookstore on East Liberty Street.

They had a display devoted to the Catholic writer Flannery O’Connor, who lived most of her life in Milledgeville, Georgia, where she raised peacocks and wrote short stories and novels. Her shocking story, “A Good Man Is Hard to Find,” is taught in many high school English classes. If you haven’t read it, it’s well worth your time, I promise you. I’ve never forgotten that story, although I’m not a fan of O’Connor’s novels – her protagonists, obsessed with working out their salvation, are too strange for me.

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A Flannery O’Connor display at The Book Lady

But seeing the display called up memories and reminded me how much I enjoyed her collection of letters, The Habit of Being. Many years ago, when I lived in New York City, the assistant rector of the Episcopal church I attended taught a class on Flannery O’Connor. Fleming, our rector, who was from the South, led us in reading her stories and letters, and I was extra thrilled because The New Yorker writer, Joseph Mitchell,  a Southerner himself, was in the class, too.

St. Petersburg

There are many things about Florida that I love, but I’m allergic to all the over-development and the acres of generic condos and shopping centers. There is plenty to do near the beautiful St. Pete waterfront though, and when our sons came down we enjoyed some of the shops and restaurants. (They enjoyed the music and night life, too.) We bought red snapper, grouper, and shrimp from a local fish market that had dozens of ice chests overflowing with fresh catches, and our sons did the cooking.

In Florida, I always look hard for bits of nature and local culture, so I was extra happy when we rented a sweet little apartment in a hidden alley in one of the older St. Petersburg neighborhoods. Some of the streets are cobblestone and lined SleepingPorchwith adorable Old Florida bungalows, many being renovated. Even though most of the windows of our airbnb were painted shut, we had air conditioning, and two large windows in the sleeping porch let in breezes from Tampa Bay two blocks away.

In the yard, I found lots of angel hair fern. We used to add this delicate bit of greenery to the roses we sold by the dozen in my family’s flower shop in Ohio.

This part of Florida reminds me of one of my favorite books growing up, The Yearling, by Marjorie Kinnan Rawlings. Years later, I discovered, and loved, Marjorie’s memoir, Cross Creek. (There is a Cross Creek Cookery book, too.)

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I love angel hair fern.

 
The ‘burbs

We had many happy visits with extended family in the St. Pete suburbs after we left our airbnb.  We walked in the neighborhood every day. It was warm and humid, with occasional light rain that felt wonderful.

 

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A sandhill crane waits for a bus

 

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Ibis, following their leader

 

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After the rain

 

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They grow them big,

 

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My sister-in-law has a kitchen garden with herbs and veggies, including plenty of Thai basil.

 
We passed by this wind sculpture on our walk every day:

 

 
In the evenings, my niece, my sister-in-law and her mother, and I tried Chinese brush painting for the first time. We taught ourselves how to grind the ink, which is pressed into sticks and colorful rectangles, and mix it with water in an ink stone. Then we practiced brush strokes and painted our first, simple pictures. It was fun!

 

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My attempt to paint a chick

 

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My sister-in-law’s mother made a beautiful rabbit and this beautiful bamboo.

 
The Panhandle

Eventually, it was time to say goodbye to family and move on to the Florida panhandle and points west along our Deep South route. We stayed in Destin, our final visit in Florida, which had a lovely beach that we had almost to ourselves. It was beside a sea turtle breeding ground and state park, and there was a hidden garden teeming with Monarch butterflies.

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Destin, Florida. There are military bases in nearby Pensacola, so we heard jets taking off from time to time.

 

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In a garden on the beach in Destin, there were hundreds of monarch butterflies.

 

Tracks

Places to go….

 

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Sunrise, Destin, Florida. (Photo by J. Hallinan, who gets up much earlier than I do.)

 

TheYearling

Marjorie Kinnan Rawlings’ classic coming-of-age story, set in backwoods Florida, 1930s

 

CrossCreek

Her memoir.

 

TheHabitofBeing

Flannery was a great writer of letters.

 

The Invention of Nature

This is what I’ve been reading on the road. It’s wonderful! More about it later…

Coming up: Mobile, Alabama and New Orleans

Traveling, immersing in nature, visiting bookstores. Do these experiences call up memories of books read long ago?

 

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