Posts Tagged ‘flowers’

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The three days Nicole and I spent in Victoria were star-studded with beauty and color, but nothing was quite so breathtaking as the Butchart Gardens, just a few minutes north of the city.

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Now a Canadian National Historic Site, the Gardens were the private grounds surrounding the home of Robert and Jennie Butchart. So the place didn’t feel like your average botanical garden or arboretum. There were no exhibit signs, no identifying plaques next to the different flower types, nothing that created the feel of a museum—instead there was the perfect illusion of taking a stroll around the grounds of a palace, or traveling back in time to the days of manor houses and perfectly-maintained estates. Yet this was no exclusive world; the estate is named “Benvenuto” (Italian for “welcome”). The Butcharts welcomed to their home any visitor who wanted to see it, and they were famous for their hospitality. Jennie had reportedly served 18,000 cups of tea to friendly strangers before her family convinced her to charge a nominal admission fee.

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It wasn’t hard to see why the visitors came in droves. Nicole wandered off to admire the variety of blooms, but I stood mesmerized by the light.

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Usually gardens in the Northwest have a somewhat otherworldly glow, what with our silver skies and rainy mists. But in full sunshine, the place was an absolute riot of color.

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I could have spent the whole day just losing myself in the jewel tones all around me.

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But Jennie Butchart’s garden is so much more than a flashy display of color: it’s also a staggering feat of environmental design and land reclamation. Jennie was way ahead of her time.

You see, the Butcharts’ land began as a turn-of-the-century limestone quarry, which supplied Robert’s cement company with raw material. When the quarry was exhausted, all that was left was a barren pit. It was Jennie who had the idea to transform an industrial wasteland into a thing of beauty. She had many tons of topsoil brought in by horse and cart, and over the course of several years, she gradually, patiently reclaimed the land and shaped it into a thriving garden.

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The result is the stunning Sunken Garden, a masterpiece of earthworks and living sculpture. I was expecting the Queen of Hearts to appear around a bend in the path, a flamingo tucked under each arm. The perfect English garden.

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As I continued along the path, suddenly I found myself transported to Versailles

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—and then to Japan.

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Lest I lose my bearings, though, reminders that this is the Northwest were ever-present.

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Jennie’s garden has evolved far beyond a labor of love. It’s truly a national treasure, and an international curiosity—we heard well over a dozen different languages spoken that day, and struck up conversations with people from five different continents.

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Yet despite the flocks of travelers, it was never difficult to find a moment of peaceful, contemplative solitude. I can’t wait to return, and eventually visit Jennie’s garden in every season of the year.

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…it would be the unexpected blooming of an early spring.

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As I’ve mentioned before, I’m currently in the process of researching Mt. Rainier for my next artist book. This involves drawing and photographing the Mountain over and over (and over and over) again, in as many different conditions and from as many different vantage points as possible. I’ll get into the whys and hows some other time, but for now, suffice to say this is a huge challenge. Not only do we have incredibly unpredictable weather here, but Rainier also tends to play by his own rules, appearing and disappearing regardless of any logical connection to the forecast (which, somewhat ironically, is the entire point of my book…).

I’ve done my best to even the odds by doing the bulk of my research during the summer and early fall—traditionally the dry season here. This summer, however, has proven to be about as nontraditional as possible, and has thrown a whole lot of monkey wrenches into the works. For weeks I had planned a long trip to various points east, where the landscape is drastically different than here in the west. But here’s the rub: not only did I require a flawlessly sunny day to view the Mountain from so far away, but the best time to view Rainier from the east is in the morning—I’d have to leave too early to see that day’s weather report. So I waited, and stalked the National Weather Service, and packed and unpacked my gear. During our ridiculous heatwave we had day after day of beautiful sun, but hot weather makes the atmosphere so hazy that even from here, just forty miles away, Rainier was just a faint silhouette. And then it was one excuse after another; either I had an appointment or deadline I couldn’t change, or it was raining, or it was hot and hazy east of the Cascades, or there was a forest fire blocking my path (no joke!). Over a month went by like this, and I could feel my window of opportunity shrinking—many of the roads included in my plans are closed from October through June.

And then, a couple of weeks ago now, it seemed I’d finally get my chance. Every weather report promised dry, cool, sunny weather, for one lovely day, before the gloom closed in again. I packed my drawing paraphernalia, both cold and hot weather gear, a picnic lunch, a pile of atlases and topographic maps (you didn’t think I’d be using GPS, did you? When a letterpress printer marries a geologist, topo maps become a permanent fixture of both studio and science lab!), my camera, and plenty of music in the car, set the alarm for 3:15 am, and went to bed early with my fingers crossed.

By 3:30 I was ready to go. I poked my head outdoors, saw stars overhead, and decided to make a break for it. Two hours later I arrived at my first stop: Tipsoo Lake, just off the road in an alpine meadow. To my immense surprise I wasn’t alone, even at that absurd pre-dawn, Wednesday hour, with the entire meadow blanketed with frost. A pair of photographers arrived just minutes after me and set up tripods nearby, and a friendly Slovak couple emerged from their tent to introduce themselves while we waited for the sun to rise. The biting cold made me question the sanity of this trip, but when the light finally spilled over the ridge to dye the Mountain pink, all my doubts disappeared.

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I stayed just long enough to block in a composition and shoot a few reference photos before the light changed and I lost the moment (I was on a tight timetable all day, so I finished all of these sketches back in the studio). I checked my watch and hit the road again (and waved to the Slovaks as I passed them again, thirty miles later).

From here onward I had to work entirely on conjecture. Tipsoo Lake is a famous, oft-photographed spot, so I knew what sort of composition I wanted. But I had no photo reference for the rest of my guesses that day, only an idea of what I was looking for and a lot of half-memorized topographic maps. I was hoping to capture a scene of Rainier through the iconic apple orchards of Yakima, but I knew (from all the neck-craning I’ve done on previous drives through the region) that for the most part Rainier isn’t visible from the Yakima Valley, where most of the fruit trees are. According to my maps, though, there were some flat, gridded regions at the top of the bluffs overlooking Yakima—I hoped the grid meant farms, and that the extra 600 feet in elevation would be enough for a glimpse of the Mountain. So I made for Selah Heights Road—a hairline even on my most detailed map.

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The road climbed past rows of poplars, trees laden with fruit and sweeping views of the valley; so far, so good.

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And then I found it: just the tip of Mt. Rainier visible between the apple trees. I couldn’t believe my luck. And just as I finished roughing out my drawing (I still had a lot of miles to cover before my next destination, so I worked fast and loose), I glanced to my left and discovered another treat:

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Mt. Adams, for a little extra credit.

After a quick, desperate and delicious coffee in Yakima, I turned south. My next stop was a place I’d never been: the Centerville Valley, a high-plains agricultural area just beyond Goldendale.

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I knew that Adams would be prominently visible from here, but I could only hope that Rainier was as well—it sure would make a pretty picture if it were, I thought.

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Nope, still Adams—although from this angle it tends to fool people (and cows).

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I looked behind me, and saw that the farmland sloped upward a bit, before giving way to the Columbia Hills. So I headed south along a dirt road for about a half mile, parked, and trudged a few yards into a field of wheat stubble.

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Bingo.

The alfalfa blossoms were sheer luck, just like so many other things that day. And that irrigation rig was moving—so I was never more thankful for digital photo technology than that moment (as a die-hard darkroom enthusiast, I never though I’d say that!).

Only one item remained on the itinerary: a narrow, winding goat track called the Dalles Mountain Road.

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The spectacular vista of Adams, Rainier and the valley was just the beginning.

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The road snakes over the top of the Columbia Hills, providing views of five volcanoes (that’s Hood there)…

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pockets of stunning wildflowers…

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and plenty of road-side snacks.

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On the southern slope of the Hills the landscape turns suddenly rocky,

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and the mighty Columbia River bursts into view.

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My research had gone off without a hitch, and right on schedule. It was only just noon: mission accomplished. So to celebrate I stopped for lunch at one of the most stunning picnic spots I’ve ever seen.

From that little patch of grass I could have chosen to go home the way I came, or finish the loop and return along the western side of the Cascades—it was almost perfectly equidistant. So as usual I chose the unknown road, and zipped home via the historic Columbia River Highway.

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Fifteen hours, 515 miles roundtrip. And perfect conditions every step of the way. I think that after a summer of total frustration (remember the airplane incident?), maybe the universe decided to give me a break.

I’ll be sure to send a thank-you note.

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A year ago today our bright yellow moving truck pulled into Tacoma and turned the corner onto a new home, a new career, a new life. Here I am, 365 days later, and I’m still just as excited as on day one. To everyone in T-Town (and Seattle, and Portland, and everywhere in between!) who has welcomed me as one of your own: thank you, with everything I have.

I tend to be a list-maker, constantly looking ahead to what is yet to be done. And as I sifted through the thousands of photos taken over the past year, trying to narrow them down to a few favorites, a whole new to-do list emerged. Despite my best, most frantic efforts, I’ve barely scratched the surface of this new home of mine.

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So I’ve got my work cut out for me. Washington, I’d like to get to know you a little better.

In my (so far) limited experience, Washingtonians tend to be outdoor types—and with good reason. With so much beauty at our fingertips, it’s no wonder that with the first hint of a sunny day, we’re out in force. Add to that the near-clockwork arrival of the dry season by Independence Day, and the fact that huge swaths of the mountains are inaccessible for nine months out of the year—well, you can see where I’m going with this. Since the Fourth of July was kind enough to fall on a Saturday this year, the cities emptied and thousands headed Outward. And this year, though we’re normally Off-Season, Off-the-Beaten-Path types, the Tailor and I were no exception. Like zombies we staggered outdoors to pack our tiny Subaru sedan—must … go … camping!

We knew it was probably folly, but we had a goal in mind: find a beautiful, mountainous campsite away from the teeming hordes. We knew Mount Rainier would be out of the question, as were the Olympic Peninsula, Mount St. Helens, or any other popular tourist destinations—but even though we had a head start by leaving on Thursday afternoon, our hope faded as we saw the crush of fellow vacationers on the freeway. “Camper … camper … RV … canoe … RV … kayaks … cyclists … camper,” the Tailor droned, counting cars, “this was a dumb idea.” Yet as our route took us on smaller and smaller roads, the number of fellow travelers dwindled almost to none. It began to seem like our instincts were right after all.

Our destination? The Morrison Creek Campground, located on the southern slope of Mount Adams, Rainier’s slightly-smaller, lesser-known brother.

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While we were nervous of the possibility of any volcano attracting busloads of holiday tourists, our choice had a couple of points in our favor. For one thing, one can’t reserve a campsite in a national forest; all sites are taken on a first-come, first-served basis. For another, Morrison Creek is in the middle of freakin’ nowhere.


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The only way to get there from the north is to use the system of Forest Service roads that wind through the Gifford-Pinchot National Forest. The paved sections are breathtakingly beautiful and awfully fun to drive (especially with a stick shift; I felt like I was filming a car commercial). The “unimproved” stretches, on the other hand, range from challenging to terrifying. Mindful of the consequences of puncturing an oil pan or snapping an axle on a holiday weekend in one of the most remote pockets of the state, I took my sweet time picking my way around the detritus of recent rock slides and dodging monstrous potholes.

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When we pitched our tent just as the last light faded, however, we knew that it was absolutely worth the trip. Our campsite was in a lovely, secluded spot, adjacent to the Creek, just below the last traces of mountain snow, and surrounded by pockets of blooming beargrass. And to our immense surprise, we had Adams almost entirely to ourselves, for the whole weekend—funny, considering that the next campground, three miles up the road, was crawling with mountain climbers.

I was hoping our travels would afford us at least one view of Rainier in the distance—that way I’d have another sketch to add to my store of potential artist book imagery. FS Route 23, however, doesn’t afford such a vista, and any potential viewpoint reached by hiking trail was well out of range of our abilities. A two-mile hike from our tent did give us a spectacular, alpine-meadow view of Adams, though—and I realized that for my research purposes, I could use the peak as a sort of stunt double.

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From certain angles, Adams is remarkably similar to Rainier (and the two are often mistaken for one another when viewed from a distance). All the more reason to use my time there for drawing. I was surprised to see, however, how drastically Adams’ appearance changed, depending on the vantage point. This is the view from Bird Lake, on Yakama Nation land, just a couple of miles (as the crow flies) east of Morrison Creek:

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And though there was nowhere to sit to capture it in my sketchbook, a gap in the trees gave me the chance to glimpse another stand-in to the south: Mount Hood.

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What an incredible weekend. As you can probably guess, Adams is on the short list for Best Camping Spots Ever, and I’m sure we’ll end up returning again and again. Next time, though, it might behoove us to reconsider our mode of transportation; it’s doable in a compact car (just barely), but I think I’d rather rent a pickup truck—or a mountain goat.

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There’s some serious gear-shifting going on in the studio these days. The Woolworth Windows murals are white walls again, ready for the next artist to transform the space. Prop Cake is sold out, and we’re down to the very last Tugboat Thea (now sold out, too—thanks!). I’m preparing to teach a digital letterpress class at the School of Visual Concepts next month, and my new artist book project is beginning to take shape (more on that topic later). I feel like I’m in that tiny, transitional moment between exhale and inhale.

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In between all these deep breaths and ambitious projects, I’ve been getting back to basics, and enjoying the simple mechanics of drawing, carving, and printing images. No fancy photopolymer plates this time—just ink, paper, watercolor, and good old linoleum blocks.

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What started as an excuse to get my little Kelsey tabletop press in working order has turned into a budding interest in birding. There is a stunning array of avian wildlife in the region; I’m just creating a tiny illustrated cross-section of what’s out there.

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The suite tweet of prints is called Flock, and the first nine are currently on display at the Rosewood Café in Tacoma until July 31.

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Each print is a hand-colored linocut, printed in an edition of 25, and priced (unframed) at $25. There will be 25 birds in all, and at the end of the series, there will be ten handmade boxed sets—each containing all 25 birds.

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If you can’t make it to the Rosewood (the prints there are framed and priced at $100), you can find the birds on Etsy. I’ll be printing more birds in August, and the Flock box sets will be finished sometime in February—eight of the ten sets are spoken for already, but if you’re interested, feel free to drop me a line. I’ll just be in the studio, happily chirping, cawing, quacking, and twittering away.

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Today we dished out our first strawberries and cream of the season—cause for major celebration at our house. Now, lest you get the idea that I’m either entirely too easily amused, or have never heard of a supermarket, let me explain. The Tailor and I do our best to eat locally, organically, and seasonally—and we’re lucky to live in a part of the world with lots of like-minded people who do the same. I think, however, that we tend to fall in the, uh, hardcore variety of seasonal foodies. I’m sure this topic will crop up again in the future, so I’ll save you the spiel. For now, let’s just say that if Mount Rainier happened to go ka-blooey some winter, cutting T-Town off from any supply routes into the city, we could live on our stored food for a good three or four months before we started beadily eyeing the squirrel population. Sure, it’s probably a little nutty, but what it boils down to is the fact that we only eat asparagus in the few short weeks every year that it’s available locally—and we don’t buy any produce between November and April. So for me that first beautiful mouthful of fresh, perfect, tiny strawberries is better than any birthday present (though I admit to occasionally breaking down and impulse-buying California berries two months early when my will is weak).

All of this is to say that living seasonally certainly teaches one to learn the cycles of the year (so as not to miss the asparagus, you know), and to appreciate the best parts of every season, however brief they may be. So while I was utterly failing to save the rest of the berries for later, I reflected on how thankful I am for the lovely, prolonged spring we enjoy ’round these parts (in the Great White North, it passes in a pink flash). And then I remembered that I owe you some tulip photos.

(See how my brain works? I’m a walking non-sequitur.)

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Long before we moved here, I’d heard stories of the Skagit Valley Tulip Festival, of the magic of standing in a sweeping vista of rainbow blooms, seeming to end only where the Cascades began.

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The stories left out one important point, however: the light. As soon as the sun cleared the clouds, every flower burst into a neon glow, filling the valley with unreal color.

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You know, for a place that claims to be grey so much of the time, my digital color correcting skills are getting awfully rusty.

Everywhere I turn I hear complaints about how pokey Spring has been ’round these parts, but I have to say—if this is late, hallelujia anyway. It’s been a long, long time since I’ve lived anywhere that had blossoming trees by early April. We had a late spring in Minneapolis last year, too, which meant that it was Memorial Day before the blooms had anything to say about it (I know, because I was fretting about the bare trees right up until my wedding that weekend).

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My work tends to deal heavily in flowery typography and ornamental Victorian doodads, so this book has become a constant companion. It’s a reprint of an 1897 design primer, and displays a series of increasingly abstracted renderings of various flora, from realistic illustration to graphic pattern.

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Most of the patterns in the book aren’t really my cup of tea, but they get the wheels turning and make me think in terms of filtering my sketches and observations into graphic elements. And since I’m in need of some new reference material, both for upcoming letterpress projects and for the new artist book I’m working on (more on that another time), I thought I’d see what Spring had to show me. So on Thursday Nicole and I took a little field trip to the Washington Park Arboretum in Seattle to grok the blossoms, cameras in hand.

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And boy howdy, those cherry trees weren’t kidding.

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The sun decided to join us, illuminating every perfect bloom in turn.

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A few magnolia varieties were ready for their close-up;

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most of the saucer magnolias, however, thought they’d sit this one out. But those branches! Each tree looked exactly like a candelabra.

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Not to be outdone by the tourist-attracting trees, the shrubs and perennials had their say as well (although this was one of only a few rhododendrons that showed up on time; I guess the rest of them will have their party with the saucer magnolias).

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Even the greenery was super-saturated (no need for Photoshop today!).

I came away with a head full of ideas, and my work cut out for me. I wouldn’t be surprised if my lettering starts sprouting petals. Nicole and I weren’t the only artists out that day, either; Azalea Way was just crawling with oil painters, watercolorists and photographers—and other like-minded folk who seemed to have quit their day jobs to do what they love (there was something very heartening in that thought, and it reinforced my own career choices).

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The ducks, however, were working overtime that day.