It looks a lot like a toad, with a stumpy physique and warty skin, but it’s a Canyon Tree Frog (Hyla arenicolor).  How to tell it’s a frog? One way: no parotoid glands — instead you can see the round flat areas of its tympani (hearing structures) behind and slightly below the eye. Also, this frog has large adhesive pads on the ends of its toes to aid in climbing (after all it is a tree frog), which most toads don’t do.  Canyon tree frogs are variable in color and spottage (a technical term: feel free to pronounce it spot-AAHJ), but this individual is fairly pale and nearly spot-free. They inhabit rocky stream courses in Arizona and the Southwest with intermittent or permanent water, where they enjoy feeding upon small invertebrates. This one was photographed at Aravaipa Canyon. (Photo A.Shock, 2009)

Etymology

Hyla arenicolor: arenicolor is a Latin compound meaning sand-colored: to the Romans as well as to us, an arena is a sand-covered area.  The origin of the genus Hyla is a bit more complex, and much more picturesque.  To start, the greek work ὗλη — cognate with the more familiar Latin sylva, means woodland, and may come into play in the naming of a genus of tree frogs. But a more colorful tradition connects the genus name with Hylas, one of the original Argonauts who while searching for fresh water ashore was pulled into a woodland spring by a desirous water nymph.  Hylas’s companions — including Herakles and Jason — searched the island for him in vain, crying his name over and over: the story goes that the incessant cry of his name relates to the repetitive calling of tree frogs.

above: the story of the rape of Hylas, “Hylas and the Nymphs” by J.W. Waterhouse, 1896. If you’re lucky enough to be in London during the next couple of weeks, check out the exhibition: J.W.Waterhouse: The Modern Pre-Raphaelite, it’s on at the Royal Academy until 13 Sept 2009. (And, there’s a pleasing similarity between the color schemes of the Waterhouse painting and the tree frog photo at the top: the watery-brown background, ivory skin tones and heart-shaped green foliage.)

2d update, April 2015, about using magnetic tape to secure pans to Altoids tin, see comments

Updated 19 May 2013 (see link at bottom of article)

Everybody in the world has posted their version of the Miniature Watercolor Box, usually ingeniously created from any flat metal tin, often Altoids, sometimes Velamints, or others (see here, here, and here, just for a few examples of many).  These projects are all well-described and illustrated. I hereby add my version, but will only add a couple of tips I think are an improvement on what others have already shown.

As a hiker/backpacker, I’m always looking for a way to carry along sketching and watercolor or gouache supplies that doesn’t take up too much volume or weigh too much. (Or cost too much: commercially made ones are available at artist’s suppliers but seem exorbitant, if pretty cool.) Not all hikes yield usable painting or drawing time, and I want to carry something that I won’t begrudge space to if I don’t get around to using it. So I was enthralled by the mint-tin plein-air kits I saw on the Web.  It’s just the kind of project to seize my imagination, so off I went.  Which brings up the first tip: if this is your kind of project, beware taking up more time constructing your kits (or posting about them!) than painting with them — and I speak from experience — it’s easy to go there.  Although, the preparation can be big fun and have its own rewards.

The basic idea is to use empty, flat, metal boxes (such as those in the top photo in various stages of the process) to carry small containers (like contact lens cups, or polymer clay depressions, or purpose-made watercolor half-pans) filled with tube watercolors pre-squeezed out into them and allowed to dry.  The dried colors can be re-wet and used to paint, just like commercially available pan watercolors.  But with a customized mint-tin box, you can choose your own brands and colors, or easily switch them out for landscape, botanical, or portrait projects — whatever you like. (Second tip — don’t glue your pans permanently in place, as some folks recommend.  If they’re inconveniently loose, fasten them down with something temporary, like double-sided tape or that gummy product they sell; or, wedge them in with a bit of sponge or paper towel, which would be useful anyway for blotting. You want to be able to take them out to change or clean.)  Many people like to accompany these tiny paint-boxes with water-brushes like those made by Niji and Sakura, which have water reservoirs in their barrels, so they don’t have to carry extra water in a bottle. (The photo on the right shows the insides of boxes in various stages, the top one awaiting enameling, the other two enameled and awaiting paint selections.)

I don’t think I’m the only one who’s been saving metal Altoids tins for years with the idea that some day they’d come in handy.  Well, this is that day.  It turns out the older ones are best — the ones with the flat lids, without the product name embossed in the lid (like the one below on the left, painted with a red anti-rust primer).  The embossing is fancy, but since the inner lid becomes your mixing surface, a flat one is better (more about fixing that in a minute).

The inner lids of most brands are silver like the top one in the photo above — those are usable, but it’s easier to see your colors if you’re mixing on white. Some tins are already white inside. A few folks have inserted a portion of a plastic mixing tray here; good, but there’s both extra weight and extra work to cut it out of an existing watercolor palette (although you do get to wield your Dremel tool).  Others spray paint the surface white.  That’s the solution I went with, but here’s my next Valuable Tip: don’t just use white spray paint, use spray-on Appliance Enamel, found with the spray paints at hardware or DIY stores. It’s perfect — stain resistant, glossy, very white, quick drying, and rust proof.  It was miraculous to watch a metallic surface become pure white, shiny, and even in just 2-3 coats. I couldn’t stop using the stuff — the cats were lucky they didn’t end up slick and white.  Don’t forget to mask the outside with some tape before spraying.  If you want to obliterate the product labeling on the outside of your tin, use regular indoor-outdoor spray paint for that — I’ve been doing that after spraying the inside (mask it so that slick white surface isn’t contaminated).

Next tip, about indented lids: if you have an embossed tin lid, your mixing surface will have dents that cause color mixtures to pool.  If this bothers you, start by filling these dents on the inside of the lid with a waterproof product.  I use a modeling product called Apoxie Sculpt.  Just follow the instructions; you can smooth it out with a wet fingertip and then sand when dry.  Polymer clay would work as well, but needs to be oven-cured.  Remember to do your infilling before using the Appliance enamel.  This adds a level of complication to the project, both because of having to do the leveling and procuring the product, but I know your ingenuity is up to it.  If not, just forget it and find a non-embossed tin — they’re out there, but not Altoids, I don’t think — or, use the embossed lid anyway.  It’s not the end of the world. (The photo on the right, below, shows an embossed lid box filled and awaiting enameling, the other box is complete; it’s the rust-colored Altoids gum box above — you can see that the indentations of the lettering have been filled and the lid now has a smooth mixing surface).

Where to put the paints. Since I don’t wear contacts lenses and don’t have access to old lens cups, I was going to make my own half-pans with polymer clay to hold the paints, but I found I didn’t have the patience to make as many as I would need.  Using a solid pad of clay and making paint depressions in it is a good solution, but not for me: I wanted to be able to change out individual colors.  So I went for purpose-made plastic watercolor pans and half-pans, which wedge snugly into mint tins in various combinations.  Unfortunately, I found that individual empty pans are not easy to find, currently.  Jerry’s Artarama has them in their catalog, but as long as I’ve been working on the project, they’ve been out of stock.  I finally found another supplier, Natural Pigments, a cool vendor in Willetts, CA, who specializes in pigments and supplies for people making their own paints.  They have empty pans available for a good price, but frankly their shipping fees are mysteriously high for such lightweight items.  Still, beggars can’t be choosers, and that’s who I’ve been buying from.  Consider that another hot tip, with a caveat (shipping price).

Now you’re ready to configure your pans geometrically in your prepared tin, and select your palette — both tasks similar to scattering rice in front of a vampire: there are those who obsess on these things.  I won’t presume to dispense advice on color choice, but just a warning: the smaller the tin, the fewer your colors, the harder the choice, for most.

Let me finish off by saying that if this is the kind of project that floats your boat, there are many possibilities: different sizes of tins (to accommodate larger and smaller palettes); traveling tins for gouache (non-acrylic gouaches are re-wettable like watercolors and like them can be squeezed into pans and allowed to dry); and gifts for artist friends, with or without the paints (some artists are picky about their color choices).  Now that Altoids has introduced Smalls, there’s a Really Tiny Tin to challenge your minimalist palette selection.  And finally, modern mint-boxes are great, but how cool would vintage metal boxes be?!  I’m thinking Kiwi shoe polish, for one…

Update: Here’s another artist’s traveling pastille box, with plastic caps for pans.  What a great idea!

Yes, that’s “Cnemie-philia” — the love of lizards in the genus Cnemidophorus, now more properly called by their current genus name, Aspidoscelis, or Whiptails.  Our locals are Sonoran tiger whiptails (Aspidoscelis tigris punctilinealis), and they’re the most commonly seen lizard in our Phoenix area yard.  They like it hot and are out and about during the the day, except in the highest heat, constantly looking for prey such as insects and ants, which they are welcome to, as our ants have out-sized painful defense methods.  (Yet I love the ants, because they feed the flickers and the whiptails).  The young whiptails have been more in evidence recently, too — tiny whippety slippets of things, sleek and fast with brilliant blue tails that largely void their stripey camouflage against granite gravel.  Maybe the flashy and detachable nearly-neon blue tail is an effective decoy for color-visioned predators, distracting them from more critical body parts.

(Various watercolors in Arches 140 lb coldpress sketchbook, A.Shock; click image to enlarge)

Here’s a watercolor study of a tiger whiptail who, sadly, fell victim to the LaBrea Tarpit of our pool.  I finally took it out of the freezer drawer of our fridge, much to E‘s relief, although there is still a Vaejovis scorpion chilling in there (this is when zip-lock bags really shine, I feel).  When I was through drawing, I took pictures and put the limp, thawed carcass out for a Curve-billed thrasher to find for a meal, but ashes to ashes: the ants found it first, bringing the lizard’s life full circle in a nutritional sense.

Etymology

Lately I’ve been slacking off on supplying etymologies for things, but this one’s already been covered, at the very bottom of the Desert iguana post, along with a swell photo by E of a (Plateau?) tiger whiptail we saw at the Grand Canyon.

Working nocturnally in the studio gives observation opportunities not available during the sunny daylight hours.  Geckos (the non-native Euro-variety) march up and down the raccoon-ravaged screens stalking moths larger than their heads.  Here’s a picture of the ventral surface of one with a successful catch, all swallowed but for the wings, the reflection of my red clay-water bucket and camera visible in the clay-spattered glass. (Photo A. Shock)

Unsolicited plug: For those of you into such things, there’s an invaluable new field guide available, Lizards of the American Southwest, a photographic fieldguide, edited by Lawrence Jones and Robert Lovich, published by Rio Nuevo Press just this month.  Authoritative, detailed, lavishly illustrated by good photos; maybe a little big for carrying into the field, but throw it into the car for that road trip to Northern Arizona or New Mexico.  It’s all in here!

When the Gophersnake made its appearance, I was about to post on Costa’s hummingbirds, because “informal censusing” (= what we see in the yard) indicates that this is the season when the Costa’s hummer population is highest in our Phoenix area yard: we are lousy with Costa’s right now.

I would guess it has something to do with post-breeding population movement, and the fact that there are a lot of YOY (young of the year) out and about.  Right now, at least three of our back yard nectar feeders are being defended by male Costa’s, one of which is an immature bird, still showing just a few purple spangles at the corners of its throat.

These tiny feisty birds definitely fall into the “dinky desert dude” category.  They spend a lot of time in exciting high-speed tail chases, pursuing each other and other larger hummers like Anna’s away from the nectar sources, even in the impressive heat we’ve been experiencing.  In between, they sip intermittently at nectar sources both natural and human-made, using the energy-rich fluid to fuel their aerial gnatting forays which provide them with protein.

For now, the males seem to have quit their flight displays until next breeding season.  But from their favorite perches — often on twigs under the canopies of open trees like palo verde and mesquite — they engage in quiet “singing” which is a descending sibillance so high and thin that some people can’t hear it.  Even if it’s beyond your pitch range, you can always tell if a Costa’s is singing, because it “assumes the position”: a bit hunched, throat very slightly puffed, head forward and oscillating back and forth gently as the notes are emitted, as if to spray the sound evenly in all directions like audible air freshener, so other hummers in the area can hear it.

The top photo shows the typical neckless, puff-ball silhouette of a Costa’s, short-tailed and gray vested.  In this light, the blazing purple of the “Yosemite Sam” mustachioed gorget is not activated, except for a patch behind the eye.  Even without the bright color, the bird is easily identified by the pattern of dark and light, as in the photo on the left, with the white throat and neck contrasting strongly against the dark moustaches.

(Photos: top, Costa’s in yard creosote, A.Shock; bottom, Costa’s in Boyce Thompson mesquite, E.Shock)

…was patrolling our yard yesterday, an overcast Thursday morning.

I was working in the studio and noticed yard birds scolding harshly.  But my brain was busy with clay, and it only spared enough attention to ID the calls — cactus wren, verdin, curve-billed thrasher — and forgot to be curious about what was setting them off.  If you’re really paying attention, sometimes it’s possible to tell from the calls whether it’s a ground predator or an aerial one — hawk, kestrel — and sometimes even if it’s cat or snake. Snake creates the most fury, or panic, and the longest-lasting, loudest scolding.  But it wasn’t until I noticed E heading outside with his camera that I thought to check out the scene.

In this case, it was the local Gophersnake (Pituophis catenifer affinis, the Sonoran Gophersnake), gliding through the dried leaf litter around the citrus trunks.  Although we can’t be sure, I suspect this is the same individual we see periodically, although it’s much longer than it was the first time we saw it a few years ago, swallowing a very young cottontail practically on our doorstep (E was able to get fabulous pictures of the process from capture through constriction through engulfing, but I’m of two minds about posting them).  Thursday’s snake was close to 5 feet long, and robust, although gophers are not as thick as rattlers.  Gophers are Arizona’s longest snake, and can reach 6 feet in length, so this guy has a way to go yet; I’m hoping he’s finding lots of roof rats to help him get there.  Right now there’s a new batch of rabbits, rock squirrels and quail around, and these along with bird eggs, other snakes and lizards would all be on his menu.

He was moving slowly around the yard, intent on any prey items he might come across, but also moving toward a daytime hiding place, so E was able to get lots of pictures.  At one point, we got a little close for the snake’s comfort, and it gave us its best impression of a defensive rattler: it pulled up into an s-curve, and gaped its pink mouth, hissing and making a mock rattling sound (photo above).

This picture also shows the amazing coloration of the gopher snake: a series of mottled chocolate brown patches and spots on a creme-colored ground, grading into a bold dark brown and yellow striped tail.  This rattler imitation is both a blessing and a curse for the snake.  No doubt it discourages many potential threats like coyotes, but it also causes people to mistake them for actual rattlers, with unfortunate results for the innocent and effective rodent-hunter.  The display was impressive; we gave him a little space, and he quickly resumed his slow perusal of the yard.  Eventually it took cover under a big quartz boulder by a fence, and that was that, until the next time.

For more info, click here to link to the useful Reptiles and Amphibians of Arizona website.

(Photos, E. Shock)

I’m now in heavy production mode for the upcoming Southwest Wings Birding and Nature Festival in southeastern Arizona (see Events for details).  Some of the objects I’m making in small batches are smooth-surfaced mugs for glazing bird portraits on.  Flat-bottomed, hand-built (as opposed to wheel-thrown), and intended for daily use, these mugs have proven popular items at nature festivals and among Three Star Owl‘s birding clientele.  Who wouldn’t want to drink their favorite beverage out of their favorite bird mug?

I recently finished a batch for a client with a home in the Colorado Rockies, and here are a few shots of the process.  One of the reasons I’d like to share these photos is so folks can have an idea of the amount of work that goes into these mugs, which have three images of a species on each cup.

The mugs start out as flat rectangular slabs of clay that I make with a rolling pin and hardwood slats from the “home improvement center” as guides for thickness: very high tech.  (Many potters have slab rollers in their studios, which are fabulous items for making clay flat, but they’re big, and I’m not giving the swamp cooler the boot when a rolling pin and some wood molding will do.)  Then I curl the clay rectangles into a cylinder, seal up the side seam, add a slab base, a rim coil and a coil handle, and dry them very slowly over a period of several days.

After they’re bisqued, I draw the outline sketch of the chosen bird with regular no.2 graphite pencil right on to the clay.  This is convenient because I can erase pencil lines or whole drawings if they don’t go as planned (although nothing eats through erasers like rubbing on bisqued clay!), but I don’t have to remove the lines before the final firing: the temperature in the kiln is sufficiently hot to burn off the pencil completely.  The photo above gives a general idea of the tools used for glazing; the one to the right shows the roughed-in pencil sketch for a Green-tailed towhee.  (Remember to click on any image you’d like a closer look at).

The next step is glazing the interior: that happens before glazing the images on the outside, so the glaze doesn’t drip down a finished bird while pouring out the extra from the mug’s interior.

Next, I brush the glazes on.  This is like painting, without the advantage of being able to see what the image will look like with its proper colors.  This is because most raw glazes have very little in common visually with their finished, fired selves.  They go from chalky, pastel flat patches to shiny, brightly hued areas often with brush strokes visible where the thickness of the glaze varies.  These two photos show the difference between a male Western tanager, before and after:

Each mug has an image of the bird on each side, often the male on one side and the female on the other, and a thumbnail sketch, usually a profile portrait of the bird, on the bottom.  The bottom image must be done with matte slips, so they don’t stick to the kiln shelves during firing.

This batch of birds is spoken for, but if you’d like some of your own, contact me and I’d be happy to make you your own, with your own choice of birds (for details click on Shop).  Or, come visit Three Star Owl in Sierra Vista and see what’s in stock at Southwest Wings this August.

(all photos A.Shock)

Arriving in the spring, they lurk like vultures for weeks on the crowns of blooming saguaros, waiting for the flowers to swell into fat green fruits.  When they do, the White winged doves (Zenaida asiatica) rip them open with their strong fruit-ripping beaks, exposing the sweet red fruit and feasting greedily.  Sometimes several doves will stack, treading clumsily on one anothers’ backs, vying for access to their favorite food.

“White wings” are big doves, and during their breeding season, which are the hottest and driest months of the Sonoran Desert year, they rely heavily on the fruit of the saguaro for food and water.  So heavily in fact that in this habitat biologists consider them “saguaro specialists”.  In other parts of their large range, which includes the Caribbean and parts of Central America, they are agricultural freeloaders, and vast flocks of them take advantage of bountiful farmland for food and roosts.  Here they are considered “tropical doves” by ornithologists and “pests” by farmers. As such, they have been hunted energetically, and their population numbers are subject to wide swings throughout the year and decades.

This pesky mooching aspect of this big dove is not hard to imagine: they are agressive and a bit greedy at the yard seed feeders, and will lower their heads and charge at smaller doves, like their “cousins” the Mourning doves, making a hoarse hoo that’s the columbid equivalent of a growl.

But perched picturesquely on top of a fruiting saguaro against a desert blue sky, their frequent “who cooks for you” call means summer to me, and a welcome sign that the desert cycles are intact and thriving.

(Sketch book drawing, graphite, and photo, A.Shock)

The Eurasian Collared Dove (Streptopelia decaocto) has an agenda well-befitting a Columbid: “Must Colonize New World.”

Actually, it started before that, and a lot farther east: a native of central Asia, the Collared Dove had populated Europe as far west as Great Britain by the 1950s.  By the early ’80s, a population had taken hold in Florida, likely coming from the Bahamas where they also had been introduced (or escaped captivity) in the 1970s. From there, the large doves filled the southeastern US, and have been spreading inexorably west and north.  The first documented report of the species in the state of Arizona was in Eager, AZ, on March 6, 2000, and they were regularly sighted in Maricopa County by the end of the same year.

As mentioned in a previous post, they’re quite similar to the African Collared Dove (which used to be called the Ringed Turtle Dove), but they’re bigger, and a darker beige, and have different vocalizations.  In the Phoenix area and over much of Arizona, Eurasian Collared Doves have become quite numerous — on some days I would ungenerously call them a pest in our yard — and a few theories exist as to why they’ve spread so rapidly.  One is that they fill a niche left empty by the extinction of the Passenger Pigeon  (Perhaps in the Northeast U.S., but I’m not so sure that applies to the desert regions?).

Like the African Collared Doves, they show a disturbing willingness to become tame, and quickly learn  to fly down to empty feeders when they see someone coming out with a bag of birdseed.  I’ve caught them lurking on top of my studio — their toenails clicking on the roof, their pink foot skin glowing hazily through the translucent plexi panels — as if lobbying for the filling of neglected feeders in a kind of inexorable zombie-like way.  They’re hard to miss since their arrival is a dry noisy wing flapping, the thump of a hard landing of a big heavily-wingloaded airship, and the inevitable repetitive hoo-ing and gibbering that follows.

(Images: pencil sketchbook drawing and photo by A.Shock)