You might remember seeing my previous sketch of my baby fig tree here when it was just a little stick. Now it has three leaves. Yay! It was fun to sit on the sidewalk in front of my house and sketch (except for the occasional ant that tried to annoy me). That reminded me of being a little kid sitting on the sidewalk playing jacks for hours. I used to be pretty good at it. I wonder if anyone still plays jacks and if they’re still made out of metal.
Trying to sketch while recovering from a migraine and dopey from medication doesn’t always work out well. While everyone else in my plein air group painted the Berkeley Rose Garden on a sunny Saturday morning, I sat on a nearby bench and focused on drawing one tree.
I liked how it looked until I added watercolor, which I thought ruined the effect. So I stupidly added more watercolor. And more. And a bunch of lines. And then I went home and took a nap. Today I washed off as much of the paint as I could, trying to get back to the original line drawing. Then I added some muted blue and grey washes and now I like it again. Tree saved! It was actually a sunny day, just not in my head.
And now for some interesting tidbits on making choices:
Hell Yeah!
On Derek Silver’s blog he explains that as a perpetually over-committed person, if he’s not enthusiastically saying “HELL YEAH!” about something, then he’s saying “NO.”
When deciding whether to commit to something, if I feel anything less than, “Wow! That would be amazing! Absolutely! Hell yeah!” – then my answer is no.
Why the Hell Not?
Sid Salvera counters “Hell Yeah!” with the flip side on his post: Why the Hell Not? He asks:
Does this philosophy lead us to pass up opportunities we really should be saying “yes” to?
The most important thing I’ve learned about making choices is that if the word “SHOULD” appears in my decision-making thoughts (I should do that…) I need to swap it with “want to” or “don’t want to.”
Do you find it easy to make decisions? Do you get stuck in the “shoulds,” or say yes to things you don’t really want to do?
When Laura Frankstone of Laurelines was in San Francisco for a long weekend I had the great pleasure of joining her for an afternoon of sketching in Golden Gate Park. Laura and I had corresponded and participated together in many art blogging activities since 2006, but this was the first time we met in person. She is a brilliant artist, a delightful person and great fun to sketch with.
Below are our sketches of the Conservatory. I added watercolor to mine (above) in the studio later since it was windy, foggy and cold sitting on the grass and so were ready to go explore the (way too hot) conservatory.
After getting all steamy inside the Conservatory of Flowers’ jungle-like atmosphere, and touring the Wicked Plants exhibit, we came back out to sketch people on the lawn.
We agreed to paint these later too, since time was short and we wanted to keep moving. Below are our two sketches.
If you click the image above to enlarge it you can see how Laura even captured the girl on the left’s cheek bulging with her snack.
Our last stop was the Tea House in the Japanese Tea Garden. The garden is an absolutely beautiful place with incredible plantings, sculptures, buildings, ponds, trees, moon bridges and more. I wanted to live there.
While our tea was the most delicious jasmine tea we’ve ever had, our experience was not exactly the “meditative cup of tea overlooking the peaceful waters of the garden” because men were doing construction and running a small but loud and smelly bulldozer back and forth on the path behind what I sketched above. The combination of noise and exhaust were less than ideal but unlike me, Laura didn’t complain once.
Moments after we sat down in the Teahouse another woman sat down beside us and pulled out a sketchbook (before we had ours out). She was an art history student visiting from Boston and we all sketched happily together. The waitresses kept coming over to praise our drawings. I said, “You must see people sketching here all the time.” She said no, we were the first she’d seen.
Now that it stays light later we can finally go outdoors for our Tuesday night Urban Sketching sessions. We met at the corner of Shattuck and Hearst in Berkeley and I sketched Oscars Charbroiler from across the street. They’ve been grilling burgers, hot dogs (and now vege burgers) over fire on that corner since 1950. It was sunset by the time I painted it, hence the pink sky.
When we went inside for one more sketch. There was a big screen TV on the wall tuned to sports. It was the end of an NBA playoff game and people were watching while stuffing their faces with burgers and fries like this guy who never looked at his food, just shoveled in the fries while watching the game.
Another guy came by and complemented our drawings and asked if we came there every week to sketch. Uh, no…maybe once a decade? Though I have to admit I’d skipped dinner, got hungry, and ate one of their burgers. It was good.
I accidentally overslept so when I finally arrived at our Benicia paintout at 11:00 I was an hour late. I didn’t see any other artists around. The wind was blowing so hard that I sat in my car to sketch, listening to NPR on the radio. Everything was going great, I was drawing with my favorite Lamy Safari Extra Fine Fountain pen
I turned to draw a different view, but when I reached for my pen it was gone. I searched everywhere, inside the car, under the car, nearby on the ground. No pen. I retraced my path when I’d gotten out of the car to look around and take photos. Nothing. I asked people walking by but nobody had seen my pen. I returned to the car and searched every nook and cranny again, twice.
An hour later I gave up and used a Pitt Artist Pen to do the drawing and added watercolor. I was so sad. I’d really come to love that pen. When I finished the sketch I used my iPhone to look up and call all the stationary and art stores in the Bay Area, but nobody had a Lamy with an Extra Fine nib.
Just then fellow painters Carol and Ling drove up and I told them what happened. They insisted on helping me find the pen despite my whining, “It’s hopeless, it’s just gone.” Carol checked under the seats and in the driver’s side door pocket. She told me to check the passenger’s door pocket. It was the one place I hadn’t looked (why I hadn’t looked there I can’t explain) and there it was! Yay! Joy!
I went from a sad loser to a happy finder and now every time I use my pen I get that happy feeling again. Definitely a keeper.
Six inches is just too small! I chose a 6×6″ panel for this project because I thought I’d just do something quick for Virtual Paintout and then get on with my “real” painting projects. But I end up putting just as much work into this small painting as I would a big one.
When it was “finished” I kept seeing one more little thing to adjust until suddenly it was 7:00 p.m. and it was too late to go to my REAL paintout/sketch group. And I had paint all over my hands because I’d taken off my gloves when I thought I was done an hour before.
What’s important is that I had fun and as with every painting, learned something. And I got to spend some time “on” the Cote d’Azur. Wow is that place spectacularly beautiful and loaded with wealth, from what I could see wandering around on Google Streetview. Here is the original scene on Streetview.
The American Institute of Architects named this church one of the three finest uniquely American churches. I saw a picture of the spectacular interior and knew we had to sketch it. I contacted the architectural heritage group, Friends of First Church (see photos on their site), and one of their members was generously willing to open the church for our Tuesday night Urban Sketchers group.
She graciously gave us a tour and told us a little about the history and architecture and then we picked our spots and started drawing. The interior is sweeping and complicated, with “a pair of great crossed trusses spanning the central pace overhead.”
I tried to envision how I would get everything I wanted onto my page and then just started drawing in the left corner, working my way across the page, drawing directly in ink. I drew up until the last minute so had to add the watercolor at home.
That’s a pipe organ behind the choir loft. They’re trying to raise funds to restore it. Everything is embellished with gilt so the room has a golden glow. The architecture and design includes many styles and periods, including Gothic, Romanesque Byzantine and Arts and Crafts.
Spending the evening in that beautiful, quiet, exquisite space was so special and we are very grateful to the Friends of First Church for so graciously sharing this jewel with us.
Last Saturday my plein air group met at Borges Ranch in Walnut Creek’s Shell Ridge Open Space. It’s a beautiful place that feels far away out in the country, and is surrounded by strange, tall hills covered in a hundred shades of green.
While I was painting I kept hearing the strangest sounds: yips, yelps, squeals and howls. I ruled out the sheep, goats, pigs and roosters and decided it was either the world’s most annoying beagle or a coyote. Later I asked the ranger who confirmed that there were three coyote families in the three nearby hills. He said they all have pups in their dens and are very talkative now. Want to hear a coyote? Click here to go to a site with a coyote sound clip.
To see wonderful photos and stories about life with an adopted coyote who was orphaned at 10 days old when his parents were shot for killing sheep, please visit The Daily Coyote blog, “a story of love, survival and trust.”
Now back to the painting–I tried to simplify, avoid details and focus on color, light and big shapes. The sky was completely covered in a thick layer of clouds and I noticed a painting “rule” in action: cool light creates warm shadows (and vice versa). Although the heavy cloud cover meant there weren’t obvious shadows, I could see how darker areas leaned toward red while areas in light were cooler (e.g. lemon yellow, not an orange-yellow).
When I got home I broke my rule of not touching up plein air studies and fussed with it, eventually ruining it and throwing it in the trash. I’m glad I took a photo first…and that I had the joy of painting to a coyote soundtrack!
Saturday was the 31st Worldwide Sketchcrawl and I joined the San Francisco group to explore the Mission District and sketch. I tagged along with my friend Pete Scully who had mapped out a route that included stops at two famous S.F. comic book stores.
While waiting for the crawl to begin everyone sat and stood around drawing everyone else. See Pete’s sketch of me seriously sketching here.
Later, while Pete climbed up a set of stairs to draw a Victorian house, I sketched him sketching and then picked up some lunch at a cafe up the street.
Since I was sketching with Pete, of course we had to stop and draw a fire hydrant (see Pete’s fire hydrant series here). I was amused by the similarity of shapes in the tower atop Mission Dolores and the fire plug.
I don’t know what these guys were waiting for but they never did play.
The theater is defunct, the sign peeling and is dwarfed by neighboring Giant Value big box store. I bet the theater was beautiful when it was new.
Below, some BART people on the very bumpy ride to SF. I’m finding that as much as I love my fountain pen for its smooth flowing, I have less control, especially when drawing on transit or when standing.
I had planned to oil paint with my plein air group at Mountain View Cemetery but there were just too many interesting sights to explore to plant myself in one spot with an easel. I switched to ink and watercolor which is so much more portable. I wonder what the statue above is supposed to be pointing towards?
The entrance and central plaza is planted with thousands (?) of tulips. I hoped they would be in bloom but I only spotted one early bird. This cemetery is such a beautiful and historic place (as you can see in this photo slide show).
This pond and little waterfall beneath a gigantic weeping willow tree (above) is one of my favorite spots in the cemetery, hidden just behind the entrance gate. I’ve tried to paint it before and have yet to get it right. Maybe next time.
After the group left I stayed behind to draw a couple more of the statues. The life-sized angel on the left was bunching up her robes, looking off into the distance. The one on the right is yet another female statue pointing at something in the distance.
I’m curious about how people chose or designed their statues in the 1800s. Were they built to order or were there standard designs they could buy? Why are they almost all women? I suppose in death, like birth, a mother watching over us is comforting, even if she’s looking or pointing at something else.
Jana Bouc, Artist 