It was a cold and rainy night so we met indoors at the cosy Kensington Circus Pub (named for the traffic roundabout it faces in Kensington, on the Berkeley border. It’s a very pleasant place to sip a beer and sketch. After eating a delicious sandwich I spent most of the evening facing the bar and doing the sketch above. I wore my L.L. Bean flashlight hat to see to paint and it worked great.
Old friends plotting at Kensington Circus Pub, ink & watercolor, 5x7"
Then I turned to face the other direction and sketched these gentleman who were in a booth a few feet away but didn’t seem notice or care that we were drawing them. They were meeting to dine, drink and plot a business venture from what I could overhear.
It’s funny how a small apple on a small panel can look so big! In the lunch room at the office where I work, people bring in boxed lunches from a nearby cafe. The boxes always include a petite Delicious apple but nobody eats them, preferring the sandwich on homemade bread, chips, and giant cookie.
So the apples are abandoned on the lunchroom table and I take them home to use as still-life objects. I have about a dozen of them now (they seem to last forever) and like setting them up to interact with each other like actors on a stage.
Baby Hydrangea for EDM #112: Fresh, ink & Watercolor, 6"x4.5"
I’d never been able to sketch this hydrangea plant before because once the teensy little buds open they shed piles of equally teensy little petals and make a big mess. But this one was so fresh I was able to cut and draw it without the mess. (Although it did end up making a mess anyway when my cat ate one of the leaves and then delivered it later to the rug.)
EDM #120 Flashlight (Hat), ink & watercolor
The cue was to draw a flashlight. My favorite flashlight is my wonderful L.L. Bean Pathfinder Cap. It has two LED lights in the brim. One points straight down and is perfect for lighting your sketchbook when painting when it’s dark, and the other points ahead to light your path. You just squeeze a spot on the brim and it toggles between down, ahead or both. When painting in a dark pub it perfectly lit my sketchbook page but nobody could tell where the light was coming from. Someone came over to try to figure it out because it just looked like my page was illuminated.
Although I wasn’t a faithful follower of “Sketch Every Day in May,” it reinforced how much I enjoy drawing. Some of the cues sounded boring but I discovered that no matter how dull a subject may seem, drawing it rarely is.
Teddy Bear Fountain, ink & gouache on hot press paper, 6"x4"
Teddy bears hold hands in a circle in this wonderful, historic fountain* in North Berkeley on Marin Circle. We sketched there on a warm Tuesday evening as the sun was setting.
I did the one above very quickly at the end of the evening when just as I was about to pack up a worker came and switched on the fountain’s lights and adjusted the water so it sprayed up from the top. I had to give it one more try.
Teddy Bear Fountain, ink & gouache, 5 1/2 x6 1/2"
This one was done first and I spent a longer time with it—more than I should have probably, as it began to get overworked. My friend Cathy did several wonderful sketches while we were there, which you can see here.
*An interesting bit of history about the fountain: In 1908, a real estate developer came up with the idea to make Berkeley the state capitol and lobbied hard for his proposal. The Circle and the fountain were to be part of a grand entry to the new capitol building to be built nearby. The California Legislature passed the proposal and the governor signed the bill, but Berkeley was a dry city and the liquor lobbyists were successful in convincing the voters to narrowly defeat the bill.
Peet’s Coffee is selling coffee scoops in three sizes that measure exactly the right amount of coffee for their French press coffee makers. Although I was happy with my French press pot and coffee scoop, I couldn’t resist the promise of the perfect cup of coffee.
Haha. It holds exactly the same amount that I already use. And it’s too wide to dump the coffee into my little French press pot without some of it landing on the counter and the handle is too short to comfortably scoop out of the bag or canister. So, while useless in the kitchen it is earning its keep as a model in the studio.
Value study/under-painting for Scoop and Cork, oil, 5x7"
This week’s Daily Paintworks challenge is to do a value study using only burnt umber, and to vary the amount of dark, medium and light so that there is a majority of one, some of the other, and a smidgen of the other. This is done by applying a thin layer of burnt umber, wiping it down for mid value, painting in the darks using only burnt umber, and wiping with paper towel or q-tips dipped in mineral spirits for the highlights.
I was going for a majority of dark, some middle, and smidgen of light. Not sure if I accomplished that. It seems like there’s almost as much middle as there is dark. I’ve done plenty of value studies and monochrome paintings, but I’d never done it this way before and enjoyed it. I like the way the finished study kind of glows but used it as a the under-painting for the painting at the top of this post.
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.
Lightbulb, ink & watercolor, in 7x7" Stonehenge Wirebound Journal
I was trying to find a way to make this old blue photography light bulb (purchased back in the days of film) stand up so I could sketch it. I tried using tape rolled into a double-sided ball and sticking it to the table but it fell over. Then I found this little glass yogurt container about the size of a baby food jar that I’d bought primarily for the jar. Perfect. (Sketched for Every Day in May, EDM #108).
Stonehenge Wirebound Journal Mini-Review
The short version: Nope.
I loved the idea of a 7″ square journal and the paper seemed like it would be nice for pen and watercolor. The description on JerrysArtarama included this bullet point:
Excellent surface for graphite, colored pencil, printmaking, pen and ink, pastel, silverpoint, watercolor and more! [italic/bold added]
But it’s a no-go for watercolor. I couldn’t get a rich smooth wash anywhere on the page. When I tried to add a darker glaze over the first wash for the shadow on the table, no matter how light a touch I had, my brush picked up the first layer of paint instead. On the underside of the bulb I had a similar problem. And then there’s the mystery line across the top of the bulb. Something embossed the page in the brand new book and the color sank into it. Perhaps the edge of the ruler I used to pencil in a border before drawing in ink left an imprint, but I’ve never had that happen before.
When I ordered the sketchbook I thought I remembered Roz writing a couple of positive reviews of the paper but when I checked again, I saw that her third and final review came to much the same conclusion for watercolor.
You know how dog owners shout “Leave it!” when they are about to roll in something stinky or eat garbage off the ground? (the dog, not the owners rolling in it). I’m taking a similar approach with my ink drawings and watercolor sketches.
If the line is wrong, if there’s a typo or the wash comes out funny, I say to myself: “Leave it!” Let it be. Fresh is (almost always) better than Fixed. Mistake is just another word for Interesting.
Do you see what I got wrong in this picture and just left it? (hint–it’s a typo…er… “writeo.”) I showed it to my sketch group and nobody could find it (but maybe it’s because we were in a dark pub?)
This was done for Every Day in May #106: Something sour or tart. I’m loving the extra practice in drawing I’m getting from the EDiM project.
A few weeks ago Cathy and I were sketching guests at the Spring Meet of the Golden Gate Live Steamers Club in Berkeley’s Tilden Park. The train people were as curious about us as we were about them, and they wanted to see what we were doing. I usually don’t care when people look at my sketches, but I was drawing their trains that they had lovingly built from scratch, designing and engineering everything from the wood-burning boilers to the screws that held them together. It was like drawing their children—one thing out of place and they would know it.
Train guys
Many of their members maintain and operate trains that their fathers or grandfathers built and they are now apprenticing their sons in the craft. Over the years the club has built a complete course of tracks with trestles, tunnels, and small buildings to match the 1.5″-to-the-foot scale of the trains. You can see photos and videos on their website including this one below of me sketching at the meet (much to my surprise!)
Ostrich with Hole in the Sand, ink on Stonehenge paper
One of the Everyday in May drawing cues is “Draw How You Get Your News.” The image that immediately came to mind was an ostrich with its head in the sand. I am the opposite of a news junkie. I cancelled my newspaper subscription years ago when I realized it made me cry nearly every day. TV news is even worse, with “If it bleeds, it leads” as the guiding principle.
So I just stick my head in the sand instead of consuming all the fear-based media, and do what I can to create better news. Avoiding the news means I can continue to believe that most people are mostly good and that it’s great to be alive.
About the paper: Stonehenge just started making their wonderfully soft drawing paper in this color called “Kraft” except unlike regular Kraft paper it’s archival 100% cotton. It’s fun to draw on with black ink and white gel pen.
About ostriches: They don’t really bury their heads in the sand. When frightened they try to hide by lying low and pressing their long necks to the ground which could look like they have buried their heads in the sand.
Jana Bouc, Artist 