I wasn’t feeling well the night we sketched at the newish Rendez-Vous Cafe-Bistro and it looks like I sketched my feelings onto my friend’s face. She was cheery and having fun but my pen gave her an expression reflecting how I felt instead.
Kid’s Menu Spaghetti & Meatballs with my legs under table, ink & watercolor
There was a guitar jazz duo playing lovely music and the waiter kindly let me order spaghetti and meatballs from the kids’ menu since I just wanted a small portion. As you can see in the sketch above, after I sketched my food on the table I continued down the page, over the binding, and sketched my legs and feet under the table.
By the end of the evening I was feeling much better, as almost always happens when I sketch, especially with such good friends.
The little village of Kensington is battling over their streetlights. According to El Cerrito Patch, “A number of residents in the upscale community complained in late July when PG&E began removing the distinctive old streetlights on wood poles and replacing them with generic “cobra head” lights on shiny steel poles.” The replacement project was put on hold and community meetings planned to sort it.
I wanted to sketch the controversial street lights so we met on The Arlington, Kensington’s main street for our Tuesday night sketch-out. I found a spot to sketch where I could see all three of the street light types (though of course not so close together as in the picture above).
Kensington Chevron with Whip-Out Food Truck, ink & watercolor 8×4″
It got dark quickly so we sat outside the Sugar Cone Cafe at their sidewalk tables and sketched by the light from their windows. Across the street at the Chevron Station, people were lining up to get dinner from the Whip-Out Food Truck. It’s funny how food trucks have gone from being “the roach coach” that served awful food to factory workers to the new gourmet thing.
You can see some of the delightful sketches my sketch buddies Cristina and Ceiny did that evening of the festive cafe and the food truck on our Urban Sketchers blog. I give Cathy credit for the pool of light in front of the gas station that I added to my sketch after I saw it in hers (which I’ll link to when she posts it).
Stillman & Birn sketchbooks are highly rated by other sketchers so I wanted to try one but couldn’t figure out which paper to choose. I emailed the company and they sent me a packet of paper samples. On a sunny afternoon I tested them using potted strawberries and flowers on the deck for my subjects. (Then I ate the strawberry. Yum!)
The two most likely options were the Multi-Media Surface papers: either the Delta 180 pound ivory (at top) or the Beta 180 pound white paper (above). I liked the way the ink went on smoothly. The watercolor worked well if applied directly in one layer without much water. Otherwise it backwashed like crazy (see splotches above).
I liked the Epsilon paper (above) but worried that the 100 pound weight wasn’t going to be thick enough. The very smooth finish was nice for both ink and watercolor, similar to hot-pressed watercolor paper.
The 100 pound Gamma (above) and Alpha (below) vellum surface paper was probably my least favorite, although I ended up judging my impressions by how well I liked the way the sketch turned out instead of technical reasons since they all took ink and watercolor somewhat similarly.
I chose the ivory Delta paper (at top of the post) in an 8×6″ wire-bound journal because I liked that paper the best, even though it only comes wirebound. I’ve used that journal for the past month. It works well if I draw in ink and then apply a stroke of paint and leave it alone. I’ve been less successful if I add another layer of paint or try to get a smooth wash over a larger area. The paper pills, previous layers of paint lift off, or it backwashes.
I also keep getting nasty, dirty, thumbprints on the previously painted page when painting on the next page (which has ruined a couple nice sketches). But maybe that’s just me being clumsy. Or maybe I should only paint on one side of the paper even though it’s thick enough to paint on both.
I’m halfway through the journal and have found workarounds to my problems. It’s been good practice for me to be more direct and get it right on the first stroke or else. But I’d still like the option to add more washes when I need to. It’s a beautifully made journal but I don’t think I’ll buy another. I’m going back to binding my own with the watercolor paper I prefer.
If you’ve used a Stillman & Birn journal, which version did you use and why do you love it (or not)?
Streetlight on 4th Street Patio, Berkeley, ink and water, 8×5″
When uninspired and all else fails, draw a street light. Even better when there are two lights on the same pole. And a sign.
4th Street Yuppie DadMy Big Foot
Finished the street light and spotted yuppie dad waiting for tot and mom to do more shopping at the stores on 4th Street selling mostly expensive stuff nobody needs.
No street light? No problem. There’s always a foot. I put this foot sketch on a birthday card for my son with an apology for passing on the big, narrow feet that make shoe shopping so hard.
Thomas Livingston Antiques, Adeline & Ashby, Berkeley
A quick little leftover sketch from sketching on Ashby and Adeline. The building is bright red and full of interesting details that will be fun to draw when I have more time.
Rigoletto: SF Opera at the Ballpark, 5×8″, drawn in ink then watercolor (and a bit of digital paint) added later. NOTE: Flags at half mast for slain diplomats. Also, appalled by all the corporate advertising, I replaced their signs with generic ones.
My first trip to the S.F. Giant’s ballpark was for a simulcast of the San Francisco Opera’s production of Rigoletto. Our plan was to sketch this annual tradition where 30,000 people attend the opera for free and picnic on the field or feast on hot dogs, beer and garlic fries in the stands.
Public transit was jammed. I stood all the way to SF on the BART (the subway), then we transferred to a SF Muni streetcar so tightly packed my bag got closed in the door and my big feet barely had space to stand.
Wasps Nest Under the Eaves, ink & watercolor, 8×5″
Each year a family (a nation?) of yellow-jacket wasps builds a nest here. One year they built a nest in an abandoned bird feeder which led to an interesting garden ecology life-cycle story. This time the nest is under the eaves of my studio. Fortunately it’s in an area where they’re not bothering me and vice-versa.
I would have liked to draw them and their nest with more detail, but decided it was best to work from a distance, have a more vague drawing, and not get stung.
When I eat lunch on the nearby deck, a wasp scout or two will come by for their share, which I put on a plate on the table for them. That way they don’t bother me on the chaise lounge where I usually eat and read.
I investigated having the nest professionally removed but read that they are beneficial to the garden, as they eat insect pests and move pollen around. I was surprised to learn that you shouldn’t swat at them as that makes them instinctively want to bite, which they can do repeatedly since unlike bees they don’t lose their stinger.
When the season changes I’m hoping they go away so I can remove the nest to observe and draw it more closely. And I’m watching for dead wasps that I can draw, but no luck so far.
We started our Tuesday evening sketching outside the Hotsy Totsy Club in Albany. I had trouble with my watercolor Moleskine paper kind of pilling up when I tried to put another layer of paint on the shadow side of the funky building. Not sure why but that has happened to several pages so I’m glad to be finishing up the Moleskine and going back to binding my own sketchbooks.
Around sunset it got cold so we moved inside.
Hotsy Totsy interior, ink & watercolor, 5×5″
We heard they had free hot stew on Tuesday nights (S’tewsday) and thought that would be a good way to warm up. It turned out they don’t serve it until 9:00 so Judith and I shared a hot toddy (as opposed to a Hot Totsy which the bartender explained was served on fire). It was pretty dark inside and hard to judge the colors we were painting.
I previously posted some snide comments about the Hotsy Totsy Club here, but it got new owners around that time who transformed it from a 72-year-old sleazy joint mostly populated by old drunks to a fun neighborhood retro saloon. Here’s an article about the club’s transformation.
We hung out and sketched until 9:00 when we were rewarded with the most delicious gumbo ever! Full of fat shrimp and all the other spicy goodness that is gumbo. Yum!
Back in the 1970s when Chez Panisse first opened, the neighboring area became known as Gourmet Ghetto, and it has continued in that tradition since then. The area is packed with wonderful foodie joints, fine restaurants and specialty food shops as well as boutiques like Earthly Goods (above).
The French Hotel has lost part of its neon sign. Ink & watercolor, 8×5″
The French Hotel (above) is in the same neighborhood and has a great espresso bar on the ground floor. A couple of doors down is the Cheese Board Collective, famous for their special pizzas that people line up for while being entertained by a jazz band and then eat, picnic style, on the center median strip of Shattuck, despite signs saying not to. (This previous post has funny video of people breaking that particular rule.)
Normandy Village Berkeley, ink & watercolor sketch, 8×5″
This sketch of Normandy Village in North Berkeley got lost, passed by in my journal and never got posted. When I uploaded the image I was surprised to see a May date on my screen and went to grab my sketchbook to make sure that was right. Sometimes if I’m in the sketching “zone” I lose track of things like dates, and write the wrong month or year.
I couldn’t find my sketchbook. I knew I’d had it with me on at least one of my errands today because I sketched in it. I looked all over the house; no sketchbook. Then I went to grab my car keys to see if I left it in the car. I couldn’t find my keys. I’m usually very organized and always put my keys in the same place but they weren’t there.
Finally I opened the front door to see if I’d dropped them (which doesn’t make sense because I obviously needed them to get in the house!) and there were my keys, hanging on the outside of the door in the lock. Duh! I’d left them there when rushing in the door to take care of an urgent need, shall we say.
I grabbed the keys, beeped the car door open but the sketchbook wasn’t there either.
Panicking, I made a second search of the house and found my sketchbook on my bed, hidden in plain sight. I was going to sketch it sitting on the bed and post that picture right here, but realized I couldn’t sketch it while sketching in it. And the sketch was from May.
The 90-year-old owner of this house on Allston and McGee in Berkeley has trimmed the bonsai trees in his garden for 50 years and they are beautiful. I enjoyed sketching from in front of his house while my sketch buddies took posts across the street and on the corner.
I have a whole bunch of paintings and sketches to post so I may keep my writing brief on some of them in order to get caught up. This is one of the brief ones.
Update: When Carol asked if “Giant Bonsai” is an oxymoron I looked it up. According to Wikipedia:
The purposes of bonsai are primarily contemplation (for the viewer) and the pleasant exercise of effort and ingenuity (for the grower).
Bonsai practice focuses on long-term cultivation and shaping of one or more small trees growing in a container. Bonsai does not require genetically dwarfed trees, but rather depends on growing small trees from regular stock and seeds. Bonsai uses cultivation techniques like pruning, root reduction, potting, defoliation, and grafting to produce small trees that mimic the shape and style of mature, full-size trees.
So apparently I was wrong to call these trees Bonsai since they are growing in the ground and while shaped like Bonsai trees, actually are full-sized trees. So it’s not an oxymoron, but I wonder if there is a word to describe this situation: “A full-sized tree cultivated to look like a miniature tree that is cultivated to look like a full-sized tree, only in miniature.” ????
Jana Bouc, Artist 