My neighbor Matthew who lives in the house across the street with three teenagers. I think this new old car must belong to one of them since he already has a car and a truck of his own. What interested me about the scene was the way the light was glowing on the car on this very bright early afternoon. And also the crows’ nest in the tree.
I sat on the little concrete porch outside my kitchen door looking down the cement path towards my front yard garden ahead on the left. I drew the basic shapes with pencil first, to get the drawing started with things where they belonged.
Why do I feel I have to apologize or confess when I draw in pencil instead of starting directly in ink? I like using both and sometimes I want things to be a little less wonky than they are when I just go for it in ink.
Putting Up the Xmas Lights by the Park, Ink & watercolor, 7x5"
It was such a beautiful sunny day (our drought continues) I decided to go for a walk and find a spot to paint outdoors instead of in the studio. I walked the mile to Peet’s Coffee and then, with a cup of their dark, rich (decaf) coffee in hand, I turned towards home, still looking for inspiration.
I passed the little urban creek behind Peet’s, and considered sketching it but it was shaded by trees and very chilly. As I walked by the little pocket park alongside Albany Hill, this little cul-de-sac called out, “Paint Me!” With a handy picnic table right there to lay out my paints, how could I resist?
Although I usually sketch directly in pen, this scene was so complicated I decided to draw in pencil first. As I was completing the drawing I spotted a guy on his roof with a string of holiday lights. Do you see him? I know it looks like he’s standing on top of a tree but the roof of his house is just behind the tree. I think I made him a bit of a giant!
The scent of bay leaves perfumed the air as I sketched the John Muir House in Martinez. I love details and although I hear often that “good” art demands simplifying, I give myself a treat and break that rule whenever I please.
I intentionally drew the house with the top smaller than the bottom because that’s how it appeared to me, sitting close and looking up. Later I realized the palm trees also appeared to tilt in towards each other at the top. Drawn parallel, they make it look like the house is tilting back away from them. Oops.
I took a break between drawing and painting to explore the house and climb up to the attic lookout/bell tower. The view from there incongruously includes not only the lovely grounds with fruit tree orchards and gardens, but also the nearby freeway. You can see my friend Cathy’s sketches of the John Muir property (and the freeway) on our Urban Sketchers blog here.
On the John Muir Trail in High Sierras, photo copyright Robin Bouc
John Muir is known as the father of our National Park system; he convinced President Roosevelt to protect Yosemite, Sequoia, Grand Canyon and Mt. Rainier as National Parks. My son Robin has been hiking the High Sierra John Muir trail in sections for several years now and has taken some amazing photos, including the one above. You can see more of the photos he took this year in the remote wilderness on the trail here, and here (including his cute dog, Nilla who was one tired pooch on that trip!)
Miller-Knox Park Sketches, Journal Spread, 11x7" (see enlarged individuals pics below)
We are having the most glorious Indian summer this October, with nicer weather than we had during the real summer. I always think of this hot, dry weather as Earthquake Weather because of the earthquakes and fires during other hot Octobers. And sure enough there have been several earthquakes the past week.
Little tree, from my car, sketch #1, ink & watercolor
When I arrived at Miller-Knox park for a plein air group paint out at 10:00, I decided to sketch the first thing I saw: this little tree. I sketched from where I parked my car. At the end of the paint out, when we returned to the parking lot, everyone was laughing at the dope who parked their car all wonky and it was my car they were pointing at.
Apparently in my enthusiasm to get sketching, I managed to park at such an angle that I went around the cement parking stop blocks, ending up half on the grass and half in the next space, none of which I’d noticed doing.
Lagoon view, geese in the shade
I took a walk and found a nice spot in the shade with a view of the lagoon and lots of white geese and Canadian geese. I lost the white geese when I repainted the shaded area so later added some white watercolor (which never quite works) to try to get them back. Since they’re in the shade, it’s OK that they’re not super white.
Lagoon and bridge view
In the Bay Area you can be in a stunningly beautiful park but have views of freeways or bridges in the background that remind you you’re still in an urban area.
People Picnicking in the Park
My last sketch of the day was of these folks setting up a picnic under the trees. This was one of those days when the weather was perfect, the scenery beautiful, and my pen and paint just worked.
After I did the watercolors I posted yesterday, I set up the sketch, the watercolor and my iPad displaying the photo on the table beside my easel and painted the scene once again, this time with oil paint. After a month or two of being totally frustrated with oil painting, trashing everything I made and about ready to give it up, suddenly painting was easy and I was loving it!
Point Bonita Painting set up in studio
The entire painting worked like a charm except the foreground mount of dirt and ice plant which was the last thing I painted and which I did over and over. It kept trying to call too much attention to itself. I think I finally successfully muted that foreground while still keeping the light on it.
Then I was looking at some delightfully free and vibrant oil pastel work on Aletha Kuschan’s blog which inspired me to try the scene in oil pastels too. I know nothing about oil pastels so I quickly read a few how-to’s on the web and dug in.
BUT before I show you the drawing, I have to say that I made a fatal misstep: I chose a sheet of the totally wrong paper to work on. Instead of starting small on a sheet of white or blue pastel paper, I chose a large sheet of brown Stonehenge drawing paper. What was I thinking? Brown under a turquoise sea?
Point Bonita #4, Oil pastel on Stonehenge paper, 17x13"
It was impossible to cover all the brown paper because even though the oil pastels got really thick in some areas—so thick that no more could be applied—in other spots they just wouldn’t cover.
Although my Holbein Oil Pastels are very old, purchased for a small project I did more than 20 years ago, they were still in good shape. But I didn’t have the right colors, and I had trouble blending. I didn’t have blending stumps, didn’t want to use my fingers and was wearing gloves which didn’t work. I tried a paper towel but it just smeared and left paper towel lint.
Compared to paint, oil pastels seems like a lot of extra work, having to fill in so much area by scribbling over and over. And it was messy; my gloves and the pastels got dirty from colors transferring onto them.
But maybe if I knew what I was doing, or had used the right paper it would have been easier or less messy? (Not to say that oil painting isn’t messy! Everything I own has paint on it!) I like the look of oil pastels done well so I’ll try another experiment with them. But on the right paper this time! Any tips?
When I got frustrated with painting from life last month, I took a break and experimented in working from the same photo in different media. First I did the sketch above in my journal from the photo below which I took at Point Bonita in the Marin Headlands last year.
Point Bonita photo cropped to 9x12"
I took the photo during a very cold and windy plein air paint out where I did a plein air sketch (posted here) and planned to eventually paint the scene in the studio. As you can see, I did what I call “imaginating” (a combination of imagining and exaggerating the colors I see in a photo or a scene) instead of rendering the photo as is.
Point Bonita #2, Watercolor, 12x9"
After I did the little journal painting at the top of this post (which I like very much), I tried it again 4 times bigger on a 12×9″ Arches watercolor block (above). It was fun to get back to painting in watercolor on something other than a small journal page. I didn’t use any masking on either of these, just painted around areas I wanted to stay white.
I enjoyed working larger on a watercolor block–I could work at a slant, mix juicy washes, and not have to worry about trying to keep the pages flat and the journal open. I’m falling in love with watercolor painting all over again.
Stay tuned for the oil and oil pastel versions tomorrow.
Trying to get in one last outdoor evening sketch session of the season, we sketched at the bottom of Solano Avenue in Albany. I stood under a street lamp and by the time I finished drawing it was dark out.
The proprietor of the Burger Depot who has owned the shop for over 30 years saw me trying to paint standing, with my palette and water on the ground, and brought over a plastic chair and a little table for me. The street light and light from inside the shop gave me just enough light to see what I was doing.
I was initially drawn to the scene by two seedy looking guys sitting in a window seat but they left before I could draw them. Fortunately the other two guys eating there were wonderful models who kept returning to the same positions, making it easy-ish to draw them.
On the next test run of my new Schmincke palette that Roz introduced here, I painted some roses on a tablecloth in the sun on the deck. While the Schmincke pan paint is lovely to use, and the palette a good size and design, the colors frustrated me. Their version of rose called Permanent Carmine (PV19) is much redder than the Winsor Newton (PV19) Permanent Rose I rely on for pinks and several other colors didn’t appeal to me.
In the color chart below, the top and bottom rows are the original Schmincke colors that came with the set. I added the colors in the center row by filling empty half-pans from tube paint in the space designed for adding extra pans.
Schmincke palette original colors plus added middle row
Lavatera Clippings in Amaretti Cookie Can, ink & watercolor,7x5"
I love this old can that once held Amaretti cookies. After trimming some branches off the giant Lavatera bush by my deck, I decided to paint the cuttings. The cookie can was the first thing I spotted that would hold water and flowers.
I used the new Schmincke watercolors palette I recently bought on sale at Wet Paint. I love the palette but after a few trials, added and replaced some colors which I’ll write about next time. The Schmincke pan paints worked beautifully in the hot sun, releasing juicy flowing paint with just a touch of a wet brush.
I think the sketch captured the feeling of heat and strong light and the funky little table with a dirty glass top looks just like itself.
Pt. Isabel in the Dry Summer, ink & watercolor 5x7"
Pt. Isabel is the USA’s (if not the world’s) largest off-leash dog park with 500,000 doggie visits a year. It is situated on what would be prime waterfront property if it weren’t all landfill that will likely return to the sea in an earthquake. Since it doesn’t rain all summer in California, gold, brown and grey-green are the primary colors of the landscape.
Without rain, there’s nothing to wash away the “marks” made by every dog who crosses the stinky bridge that goes from one part of the park to another. I always hold my breath when I cross in the summer. In a few months rain will wash the park clean and everything will be green again.
Jana Bouc, Artist 