Wednesday, July 11, 2018

From the Newsletter

Here it is, the middle of July and I seem to have come down with yet another case of acute bronchitis, or what I like to call, "The Re-occurring Chest Cold of Doom."  Apparently I'd been burning the candle a both ends, and had not been sleeping or eating my immune system decided to take a summer vacation without me.

While taking a forced rest, it occurred to me that some of you might not get my latest newsletter (or it got caught up in an over-zealous spam filter) so I thought I'd share it here, as well.

Feel free to share and pass along.  It's so cool to meet new people who love nature and art. :)

Laura G. Young
Bird & Nature Art

Hello, friend!

I hope you've been having a fantastic summer so far. It's been a crazy busy one for me; but I wanted to take a bit of time to share what I've been up to, and to let you know about some upcoming shows.

New Work at the Keimig Gallery of Western Art

If you or anyone you know are going up to visit Yellowstone National Park between now and late September, be sure to stop by the Keimig Gallery of Western Art (124 East Ramshorn Dubois, Wyoming 82513) where you can see the latest in my “Birds of the Rockies” series on display. This is my first summer season at the gallery, and I'm so excited at the possibility of my work being seen by visitors from all over the United States – and the world.

Yurt Trip

A couple of weeks ago, several friends and myself trekked into the Colorado backcountry, camped out in a yurt, and painted from sunup to sundown for four days. We had to not only pack enough food and gear to last us the entire trip, but all of our painting supplies, as well! Thankfully this year we didn't encounter any ill-tempered moose; but two of our intrepid group did have a run-in with a bear, thankfully at a distance. We also experienced an impressive thunderstorm that walloped the yurt with buckets of rain. Good thing I'd thought to pack Ziploc bags to keep my paintings dry...

Solo Art Show   

If you'd like to see even more of my work, including a few pieces that I've NEVER shown to the public before, not even online, head over to the upstairs gallery at Wolverine Farm Letterpress & Publick House (316 Willow St, Fort Collins, CO 80524). My solo show, “Winged Visages: Bird Portraits by Laura G. Young” will be running from now until the end of the month. It'd be great to see you there!

Expressions Art Exhibition & Sale

Finally, I'm also going to have yet another set of paintings – including some from the aforementioned yurt trip – showing concurrently at the 3rd Annual Expressions Art Exhibition & Sale (The Carnegie Building, 200 Matthews St., Fort Collins, CO 80524) This will run from July 25th through August 4th, with the artist reception being on the First Friday Art Walk, August 3rd, 6-9pm. From the glimpses I've gotten of the other artists' work, this should be our bestest exhibition yet.

So that about sums things up so far. What have YOU been up to this summer? Send me an email back – or tell me in person at the upcoming reception. :)


Laura's Links


Friday, August 04, 2017

On Summer Art Shows

Tonight's the Big Night!   P.S. You're Invited.

It's now August, and while thoughts are running towards the frantic fall season, it's nice to have a summer show.  The reasons are many, but I think it's mostly because it just feels more relaxed, somehow.  It's always hard to receive criticism of one's latest body of work (which inevitably happens in a public venue) but somehow it's easier to take when the critic is wearing flip-flops and a t-shirt that says, "This is my #selfie shirt".

It's also pleasant to see the way people linger, taking their time to look at each piece. According to one study, a museum-goer takes less than 17 seconds per painting before moving on*, but it seems to me that during summer it's slightly longer.  Of course this study was conducted years before Instagram, so maybe 17 seconds is an unbearable eternity now.

No matter. Although I didn't get much sleep last night, and will probably be slightly incoherent at the Artist's Reception this evening, I'm looking forward to enjoying everyone's company (yes, even the critics') and looking out at the moon with a fizzy beverage in my hand, listening to the mingled murmur of art talk and crickets.

* Spending Time on Art, by and
Empirical Studies of the Arts, vol. 19, 2: pp. 229-236. , First Published Jul 1, 2001.

Thursday, May 11, 2017

On Blogging

Do you remember when blogging was a new thing?

I do.

I remember thinking, "Why are they calling it blogging? Homepage journaling, yes. Web logging, okay. But blogging? Ugh. Hope that term never catches on..."

I've been posting on Blogger for well over a decade now, and the only thing that has kept me going is the thought that someone, somewhere might find some of it interesting or even useful. And apparently many have. Way back, when it was my I-Am-Posting-Anything-Completely-Random-That-Comes-To-Mind platform, this blog was, according to Google, the number one place that people visited to find out how to untangle necklaces. Number one, as in, the entire world. What had happened was, while working in the jewelry business, I frequently encountered fine chains that had been hopelessly knotted up; and I'd created a simple procedure that worked rather well and so I wanted to share how I did it.  I photographed the steps with my first-ever digital camera and posted it online.  Over the weeks that followed I began getting emails from all over the world. "Thank you soooo much! You helped me untangle my daughter's necklace that we'd given up on." "Wow, that really worked. Best regards from Canada." I was amazed. Who knew that one post could help out so many people? And there were several subsequent posts that generated responses like that. It was great.

As time wore on, businesses discovered blogging, and with lots of money becoming involved, things began to shift.  I first noticed it when I'd come across "blogs" that were made up of stolen content, or even nonsense content in order to gain ad revenue. About the same time, spambots started posting responses, causing blogging platforms to create a frustrating maze of captchas and other "I am human" verifications that made it a pain to interact with other bloggers.

Books on how to profit at blogging proliferated, and Search Engine Optimization was a hot topic in marketing meetings. Everyone had advice on how to blog. "Only use Wordpress." "Use headlines with Top Ten Facts and bullet points." "Keep posts to around 300 words."  Suddenly everyone and their uncle had started blogs, because, well, that's what you were supposed to do.

The internet is littered with these half-hearted efforts.  Some have an explanation: "Sorry everyone, but I just don't have the time to blog anymore. Join me on Facebook at...." But many just stop. It's a bit eerie. Did something happen to the writer? Did they sprain their wrist playing an especially competitive game of air hockey? Did a meteorite fall on them while they sat on the couch? In the absence of information, my imagination goes wild.

As for my own absence: I didn't have a meteorite fall on me, but I have experienced a Series of Unfortunate Events that caused my health to falter for the last several months. Nothing too serious, thankfully, but it was enough to make me lose my online "ooomph", as it were.*  All I can say is, I have a newfound respect for those who continue to find the bandwidth to interact with others despite chronic illness. I don't know they do it.

Another bit of advice on blogging, and it's perhaps the most useful bit, is to keep consistent when posting.  I think it has something to do with search algorithms, but it also has something to do with human nature. If you find a blog that you like, and but it only publishes in fits and starts, you may find yourself losing interest or even forgetting that you subscribed to it in the first place.


Even though much of the world has moved on from blogs, and now subsists mostly on soundbites and video clips via social media platforms, I will strive to continue to post to this blog.  I like writing, I like sharing, and while I'm not always as consistent as I should be, I plan to keep it going for at long as I can.

I'll just try to avoid any meteorites by regularly checking

(Apocalyptic image courtesy of NASA artist Don Davis)

*In succession: two weeks of influenza, then two and a half months of a pertussis-like virus that had me coughing til I threw up, then migraines, then another cold, then a case of stomach flu. The warranty on my immune system must've expired this year.  

Tuesday, January 24, 2017

On Keeping a Sketchbook

I'm a big proponent of using sketchbooks, and enjoy looking looking through other people's sketchbooks. There are many reasons to keep one:

  • to jot down ideas
  • for trying out compositions
  • to record observations from nature
  • for experiments and lab notes
  • for preparatory studies for larger works
  • to showcase one's skills to clients
  • as a diary
  • as a travelogue
  • as a work of art unto itself
  • for doodles and caricatures
  • for keeping lists

...or all of the above.

Opening a sketchbook can be like lifting a hatch on an artist's mind. What did they put down, and why? Is it methodical or free-form? Sparse or fully-rendered? What details were important to them? What were they attempting to figure out?

I've scribbled in sketchbooks for a good part of my life. Some have been lost, some have suffered significant damage. While I was organizing my studio this week, I came across one I hadn't opened in a long time. I dusted it off and took a look.

The first date was several pages in, next to several faint drawings of a mule deer: “February 19th, 1989. 6PM. Horsetooth Valley.” I'm guessing I was attempting to draw from memory or from a book, because it'd be pitch black out at that time of year – and at 14 years old, I certainly didn't have a car.

 A previous, undated page. 
1989.... It was fascinating, to view my younger self's work with a more experienced eye. My scrawled comments in particular were revealing. Several times I mention that a simpler drawing was a “quick sketch” or a “one minute sketch” – perhaps out of concern that a professional might deem it as Not Upholding Official Sketchbook Standards. At the time, I didn't know that it was okay to just get the gist of an idea down, that it didn't have to be perfectly proportioned and shaded and ready to put in a frame.

My bunk at camp. 

"Gotta go!"

Many of the sketches were done directly from life, as I'd heard that's what “real” artists did; but a few sprang from my imagination, too: i.e., a futuristic domed city with a vehicle zooming past with what appear to be ringed spikes (antennae? weapons? ski poles?) stuck in its engine intakes. Why I tended to draw domed cities, I'm not sure. I think it had something to do with all the ozone layer discussion at school. In addition to sketches, snippets of poems and songs found their way into the pages. Comments from old friends and phone numbers from new ones were jammed into the margins, or even incorporated into the drawings themselves.

An early appreciation for William Blake.

I particularly found it amusing that, after nearly three decades, certain things now appear somewhat dated, such as my parent's boxy Dodge Aries “K” car, my friend's Sony Walkman, or that you could get a large popcorn at the movie theater for $3.75.

"Study of popcorn on the floor." 

There were about 80 pages in all, but I've shared only a handful here because I don't currently have time to scan them, much less clean them up digitally. All I have to say is, hooray for camera phones! Speaking of which: nowadays many artists are exclusively using their phones or tablets instead of sketchbooks. I've tried it, but so far haven't switched over to full-time digital sketching. Perhaps I might one day, but for now I'm content to tote a small book and pencil around wherever I go. I might get graphite smudges on my face or be eye-rolled as, “sooo last century” – but at least I won't run out of power. 

There were also several pages dedicated to amateur botany.

The Estes Park McDonalds is still there, along with that crow's many descendants.

Monday, January 09, 2017

And What Do You Do?

Edgar Degas, The Conversation, 1889.

It happens all the time.

I meet someone in a new setting; and, in a matter of minutes, the question comes up.

“And what do you do?”

It's a very direct, very American question, and I've often wondered about how we casually toss it out there, oblivious to the unsettling intimations that it would create in older, more stratified regions of the world.

I used to say, “I'm an artist.” But this caused confusion, as many musicians and actors describe themselves as artists instead of, well, musicians or actors. So I amended it to visual artist – but that, too, was baffling.

A few years on, I tried painter.

“Ah! I see. Home interiors or exteriors, or both?"

Even when I narrowed it down to the crazy-specific: “I'm an artist and illustrator who specializes in painting birds and local landscapes,” the quizzical looks remained.

In the end, I realized it wasn't just the title: it was that the profession itself isn't all that common. The average person simply doesn't know anyone pursuing my line of work.  Graphic designer?  Perhaps.  High school art teacher?  Very likely.  But someone who creates paintings to hang on a wall?  Not so much. According to the May 2015 Bureau of Labor Statistics report there were 4.6 million salespeople, 2.7 registered nurses, 1.7 million truck drivers....and 12,240 “Fine Artists, Including Painters, Sculptors, and Illustrators”.  That's right.  Just 12,240.  That's effectively less than .008% of the entire U.S. workforce. The only thing rarer might be a golf ball diver or parachute mender.*

Maybe one day in the near future, we'll walk around with augmented reality stats that luminously float above our heads like ultra-savvy social media profiles. All someone will have to do is nod or blink in my direction, and they'll know everything there is to know about my work without even having to ask.  

Until then, I'll content myself to be patient and explain what I do, even if it takes a bit of effort.

*Or professional chocolate taster.  Mmmmm.

Saturday, December 17, 2016

Just Yesterday

I'll never forget a conversation I once had with my grandmother.

“As you get older,” she said, looking out the car window as I, a newly licensed driver, cautiously navigated traffic, “time goes faster and faster.”

She continued: “I look in the mirror and think, 'Who's that old lady?'  I feel like I was your age just yesterday.”

Just yesterday.

As another year draws to a close, I'm starting to understand that she wasn't just using a figure of speech.  Time really does seem to be accelerating, like an evening toboggan ride down an icy hill.  My experiences are becoming more abridged, more porous. Last week can blur into last month, or an event fifteen years ago. 

I think it has something to do with cognitive processing.  If you are blessed to live long enough, the activities of your day-to-day life begin to wear familiar patterns in the carpet of your mind.  So as you're washing and putting away the same dishes 1500 times, or saying goodnight to your spouse 10,000 times, or celebrating your birthday for a cumulative six weeks, perhaps your brain starts to deal with all of this information in a way that's the most economical. Maybe it begins to take out the similarities the way that digital compression takes out redundant pixels:

When you're younger, you don't notice this as much because your data set (i.e., life experiences) isn't large enough for you to lose track of your files (i.e., memories).  A seven-year-old can recall nearly every single book they've ever read because, well, there's only three years of reading to sort through.  And because those first books were so different and new to a developing mind, and because they were undoubtedly read over and over, those stories and pictures were emblazoned on the reader's memory for the rest of their life, even if they can't recall the exact titles.

Yet if you ask me a comprehensive list of every book I've read in the last decade (several hundred?),  I'd be sure to overlook a few.  Shorter experiences such as movies are even more challenging. And the instant a picture is taken with one's phone? Perhaps lost for good. “Photo or it didn't happen” has become a catch-phrase of our distracted modernity.

In a way, I think this is why painting from life can be so meaningful.  Instead of merely watching a screen or taking a drive-by selfie, one has to engage the scene in a more purposeful way.  Even at my fastest pace on my smallest paper pad, it can take at least a couple hours to complete a painting in the field. Note-taking, composition-finding, paint-mixing, outline-drawing...and of course laying down the brushstrokes themselves. It involves such an amount of effort and focus that, by the end of it, I feel as though I've not only created a record of a place; I've inhabited it.

Later on, when I view the work again in a different context, framed and hung on a wall, it's almost like looking at a pinned butterfly specimen.  While others see a motionless picture, I recall a living scene.  Once again, I hear the spruce boughs whisper, or feel the sun's warmth on my face.  I smell the river mud or the ozone after a departing storm.  It's more than a picture. It's a direct connection to an actual experience that was lived-out in both space and time. It's a memory made visible through the filter of my existence.

And perhaps...just perhaps, by slowing down to think and observe and create, my perception of time will do likewise.

Tuesday, November 29, 2016

4th Annual Chasing Light Art Exhibition

It's that time of year again!

After twelve months of tramping across the varied Colorado landscape with our easels in tow, my painting friends and I are putting on our annual painting show.  It's becoming quite the event, and is still being held at the grand ol' Carnegie Building on 200 Matthews street -- just behind the Fort Collins public library near Old Town.

Opening reception (i.e., when all the artists and yummy snacks will be available) is this Friday, December 2nd from 6 to 9pm.  The art itself will remain on exhibit until the 10th.

Hope to see you there. :)

Wednesday, October 19, 2016

How to Tell Apart a Crow From a Raven

My latest: Crow and Raven: A Comparison of Silhouettes
Watercolor on 16 x 12" illustration board. 

I don't know why, but I get a kick out of identifying things in the natural world. Just as some people can rattle off the names of their favorite football players or film actors, I enjoy knowing the names of plant and animal species. If I come across a tree in a park that I don't recognize, I'll make a point of noting its leaves, bark, and so on so I can look it up later.

I think it's because names give me a starting point to learn more, to understand. I liken it to this: Say you're are in a room with a bunch of strangers at a skiing lodge in, oh, say, Norway. As an outsider, these Norwegians might look rather the same: tall, blond, and athletic. They're just an anonymous, lutefisk eating crowd. But once you find out their names, you start paying closer attention to them. You find differences that make each individual unique. You learn that Olaf is the only one in the room with deep brown eyes, or that Ingrid is a strict vegetarian. Once introduced, you begin on a journey to know them; and, if you are fortunate enough, you may even become good friends.

So it is with “Crow” and “Raven”. Or even more particularly, the American Crow (Corvus brachyrhynchos) and the Common Raven. (Corvus corax). Both hail from the same family and genus (Corvidae, Corvus) and at a glance can appear nearly identical.


Shiny black feathers
Black bill with nostrils partly covered with feathers
Black legs and feet
Dark brown eyes in adults, grayish-blue for juveniles
Omnivorous – will eat just about anything
Both are known mimics and therefore can make similar sounds
Very intelligent, even recorded using tools
Found in open fields, forests, and wherever people are found


American Crows

-- Are somewhat smaller; just a bit larger than a dove
-- Bill is shorter and slimmer
-- Typical call is a sharper and higher: “Caw! Caw!”
-- Spread tail in flight is more fan-shaped**
-- Tends to gather in larger groups than ravens
-- Will mob a hawk or eagle in their territory, cawing and swooping at the intruder
-- A bit more restless when perched, flicking tails more for balance
-- At close range, flapping wings are silent
-- Rarely if ever soar on thermals

Bonus fact: the tongue-in-cheek collective noun to describe a flock of crows is a “murder”.

Common Ravens

-- Can be considerably larger, up to the size of a hawk
-- Bill is longer and thicker
-- Adults have a longer ruff or “hackle” of frontal neck feathers
-- Typical call is softer and deeper: “Gronk” or “Gaw”
-- Spread tail in flight is diagnostically more diamond or wedge shaped**
-- Tends towards smaller groups, frequently found in pairs
-- Will more likely escort a hawk or eagle out of its territory than mob it.
-- Overall more calm, sedate behavior when perched
-- At close range, flapping wings are heard to make a distinct whooshing sound
-- Can be seen soaring on thermals

Bonus fact: the tongue-in-cheek collective noun to describe a flock of ravens is a “conspiracy” or an “unkindness”.

Once you get to know these two species, you'll notice these differences – and more. But be careful! Identifying corvids can become habit forming. Especially when you come to the realization that they contain subspecies, as well. Four for the American crow, and perhaps up to eleven for the Common raven.

If you get tired of figuring THOSE out, well....there's always the study of gulls. ;) ***

*NOTE: These are the differences just between the American Crow and the Common Raven. There are additional but lesser-known corvid species in North America, such as the Fish crow, Northwestern Crow and Chihuahua raven (Corvus ossifragus, Corvus caurinus and Corvus cryptoleucus, respectfully) that have their own minor differences.

**Aside from voice, I've found that tail difference is one of the best diagnostics to tell the two apart. However keep in mind that it can be harder to tell when the birds are swooping in to land or are already perched. Also, there are several non-American species of raven and crow that this does NOT work for, such as the fan-tailed raven Corvus rhipidurus of Africa or the little raven Corvus mellori of Australia, which have fan-shaped tails instead of wedge-shaped ones.

*** In some birding circles, becoming involved with the minutia of gull identification has been said to cause mild bouts of insanity.

Wednesday, September 28, 2016

Art Scam Alert

Cardsharps by Carravaggio

So this morning I got this message in my inbox:


My name is john Scotfield from SC.  I actually observed my wife has been viewing your website on my laptop and i guess she likes your piece of work, I'm also impressed and amazed to have seen your various works too, : )  You are doing a great job. I would like to receive further information about your piece of work and what inspires you. I am very much interested in the purchase of the piece (in subject field above) to surprise my wife. Kindly confirm the availability for immediate sales.

Thanks and best regards,


The first clue was the grammar and irregular capitalization. "I actually observed my wife has been viewing..."  Huh??  But then again, maybe they were in a hurry or else had trouble typing on their smart phones.  It happens.

The more telling clue was the gushing compliments followed by the promise of "immediate sales".  Hmmm.

So I cut and pasted the first line of Mr. Scotfield's message into Google.  Bingo.  Another art scammer. 

I'm not sure if it's because artists are perceived as more naive than the general population, but we tend to get a lot of emails like this.  It's part and parcel for having one's name out there, I suppose.

I also get emails claiming to be from New York galleries, decorated war veterans, and wealthy widowers who are all admirers of my work.  Yet before I respond to any of them, I always look them up.  Not merely their name or email address (because those change so frequently) but snippets of the actual message.  And then I usually find it plastered all over the internet, alongside stories of artists who lost money, or a painting, or both. 

It goes like this: The scammer says they want a painting, and are willing to send you a check, money order or credit card number.  Then there's suddenly a time constraint and so you are pressured into sending the painting before the payment clears. Or else they offer to arrange for the shipping themselves, then accidentally overpay.  When you send them the difference, they disappear.

Some say that scammers like this will purposefully make obvious mistakes in their messages order to hone in on the most gullible (and therefore most lucrative) marks. But all the same, I'm putting out this post in case there's someone reading this who has yet to encounter such a thing.

We artists want to believe that what we do is worthwhile and of value, and we also have bills to pay. Scammers take full advantage of this.  If you get an email that seems too good to be usually is.

That being said: don't automatically dismiss a badly written message from an unknown address. I've had a couple of these that turned out to be actual clients!

Just be careful, and remember that Google is your friend.

Tuesday, September 27, 2016

What I did on Summer (and Fall) Vacation

Somehow, 2016 is flying by even more swiftly than I ever thought possible.

The first half was spent furiously finishing art assignments for my mentorship; and the second has been filled thus far with painting trips, art shows, and workshops.  If you follow my adventures on social media, you probably already know what I've been up to. But here's a recap for those who don't have time to scroll through selfies and exquisitely posed food portraits.


Completed an all-day "painting marathon" with the Plein Air Artists Colorado. Then a couple artist buddies and I went up to Colorado State Forest State Park to paint, hike, and sleep in a backcountry yurt. We encountered a big moose the last day on the trail. Thankfully he ignored us. I drove one last time to Parker, CO to turn in my final assignments and get an overall evaluation. Conclusion? I'm on the right path. Now it's just a matter of putting together a new body of work.


Painted, painted, painted; went on several small hikes, attended the First Friday Art Walk as well as the local Artist Studio Tour; framed six paintings for my next show. Went on a brief but lovely weekend campout with our church family.


Had a group show entitled, “Expressions: A Summer Art Exhibition & Sale” that was a general success. Everyone agreed we had a great opening. We plan to do it again next year. Finished two more paintings. Got the house ready for guests.


My husband's parents visited us for two weeks. We went over Trail Ridge road and stayed in a cabin in Grand Lake, Colorado for several days. Visited the Plein Air Rockies show in Estes Park. Watched a bunch of sun-dazed pastel artists draw on the hot sidewalk in Loveland. Then I drove 500 miles north to the Fall Arts Fest in Jackson, Wyoming for four days, then drove another hour over the pass to participate in the Susan K. Black Foundation workshop in Dubois for another week. 

Now I'm home again and plotting to paint some more.

But first, I might take a good nap....

Laura's Social Media Links