Clare Walker Leslie - Keeping a nature journal : deepen your connection with the natural world all around you.
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The mission of Storey Publishing is to serve our customers by publishing practical information that encourages personal independence in harmony with the environment.
Edited by Deborah Balmuth and Lisa H. Hiley
Art direction and book design by Ash Austin
Illustrations by Clare Walker Leslie
Additional illustrations by Ash Austin Storey Publishing, LLC,
Photography courtesy of Li-Ting Hu,
Text and illustrations 2021 by Clare Walker Leslie. 2000, 2003 Clare Walker Leslie and Charles E. Roth
Charles E. Roth coauthored the original edition of this book.
Ebook production by Kristy L. MacWilliams
Ebook version 0.0
June 2, 2021
All rights reserved. No part of this book may be reproduced without written permission from the publisher, except by a reviewer who may quote brief passages or reproduce illustrations in a review with appropriate credits; nor may any part of this book be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or other without written permission from the publisher.
The information in this book is true and complete to the best of our knowledge. All recommendations are made without guarantee on the part of the author or Storey Publishing. The author and publisher disclaim any liability in connection with the use of this information.
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This third edition of Keeping a Nature Journal is dedicated to Eric Ennion, John Busby, Gunnar Brusewitz, and Lars Jonsson, who opened their homes in Scotland, England, and Sweden to me, kindly inviting me to learn alongside with them, how to draw nature.
My first book, Nature Drawing: A Tool for Learning (1980), is based on the techniques I learned in 1976 from Eric Ennion and still use today. The Art of Field Sketching (1994) could not have been written without the guidance of and long friendship with John and Joan Busby. Gunnar Brusewitz was the first to introduce me to a form of nature journaling that included both word and image, back in 1988. One of Swedens top wildlife artists, Gunnar called himself a nature reporter. I think that may be where I first termed myself a nature journal keeper. The first edition of Keeping a Nature Journal (2000) is an amalgamation of the fantastic teachings I gratefully gathered from these three wildlife artists and excellent teachers. And I want to add Lars Jonsson, as he, beginning in 1984, inspired me to use pencil and watercolor to paint birds and landscapes directly outdoors, urging me not to be concerned with the product but to actively love the process.
Finally, after some 50 years in this field of writing, drawing, exhibiting, publishing, and teaching about seeing and drawing nature, I want to add the many teachers, friends, students, editors, and publishers, as well as all of my family members who have walked alongside me since February 1978, when I opened my first blank book and began wandering outdoors asking the insatiable questions of where, what, why, and recording my learning as both artist and naturalist. (This third edition, being worked on in the summer of 2020, has pages from my current nature journal #55!)
It is with deep gratitude that I think of Charles E. Chuck Roth, emeritus educator at the Massachusetts Audubon Society, who kindly agreed to coauthor the first edition of Keeping a Nature Journal. We had hilarious and fun days together pushing and pulling the science vs. the art. With the fine and wise help of our editor at Storey Publishing, Deborah Balmuth, we produced a book that has become an international winner. Thank you, Chuck, and thank you, Storey Publishing.
Drawing by Charles E. Roth
Part 1
Part 2
the First Edition
What is natural history? It is virtually the whole world around you. It is the vista of a great forest from a mountaintop, and a swath of weeds growing along a city sidewalk. It is the breaching of a whale, and the protozoans teeming in algae in a drop of pond water. Everywhere the world is alive, waiting exploration by those who prefer, if only at intervals, real reality to virtual reality. And as to the wonders of modern technology, bear in mind that a sidewalk weed and a protozoan are each more complex than any device yet invented by humanity.
Because humanity evolved in nature over millions of years, there is every reason to expect that we possess an innate capacity to draw deep excitement and pleasure from experiencing it. And because our species has been exquisitely adapted to the razor-thin biosphere covering the planet by this same evolution, our survival depends on understanding and protecting the rest of life. What we must enjoy, including a clean, healthy natural environment, also serves the interest of the human species.
This combination of pleasure and practicality is what makes the kind of illustration promoted in Keeping a Nature Journal important. For centuries it has been the mainstay of representing the natural world. For a time many believed that natural history and scientific art would be supplanted by photography and graphs. But these are merely the extremes available to the human eye, bracketing detailed rendition at one end and abstraction of data at the other. In between and just as enduring is natural history illustration, wherein the observer brings out those features thought most important and interesting in settings difficult for photographs and impossible for graphs to attain. Nature journaling is also extremely flexible. It ranges from scientific figures designed for professional publications to creative art whose principal purpose is to convey aesthetic pleasure.
The art of natural history, as nature journaling shows very well, serves yet another, equally important function. To a degree greater than photography, it involves the illustrator directly in what he observes. The illustrator re-creates what he sees and does not merely record. He expresses what seems important, hence worthy to stress and convey in a single compelling image. He can strengthen his impression with written description and commentary. This creative process is at the heart of natural history observation, and it helps to make the best of experiences also the most lasting in memory for anyone wishing to enjoy it.
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