You can imagine my glee when this gentleman in full Mohawk sat down across from me on BART. Entranced by his cell phone, he never noticed me sketching and held perfectly still. It must have taken him a long time to get his hair to stand up so perfectly–and why? Especially first thing in the morning? I awarded him a sticker (on his page) from National Geographic.
Shellfish Shells, original version, ink & watercolor, 5x8"
A shellfish company saw a previous shell painting of mine and commissioned me to paint one for them to use as a background on their business cards. They shipped me a box of their oyster, clam and mussel shells to use as reference. I created the above sketch in my Moleskine watercolor notebook and sent them the file for their review.
Close up: Accidental texture caused by painting on reverse page
On the next page in my Moleskine, I sketched a landscape and painted it with juicy washes, something I do on the 140 lb watercolor paper in my hand-bound sketchbooks all the time. Without my noticing, the water seeped through the lighter-weight Moleskine paper, wetting the shell painting on the previous page.
Some of the mussels’ paint lifted, creating the wonderful texture (close up above) that I probably couldn’t have achieved if I had I tried. The only downside to this “technique” is that some of the lifted paint printed on the opposite (fortunately blank) page.
I wasn’t worried about the change in the art for my client because I’d already created a high-resolution file of the original. And as it turned out, they asked me to do another version with two different kinds of oyster shells and more clams, apologizing for changing their directions. I’m happy to paint as many versions as it takes since shells are one of my favorite subjects.
Tea and Butter, Surface Quality Study #2, oil painting on panel, 8×10″
This is my second study based on Peggi Kroll Robert’s “Surface Quality” video. In order to paint along with her in the video, I tried to use the same elements: a yellow table (or cloth in my case), a cup of tea, a spoon and a cube of butter on a plate. (This time I made sure the cat couldn’t get to the butter!)
I learn so much from Peggi’s videos, whether I’m watching her paint or just listening. Each time I play one of the DVDs I hear or see or understand something I missed the first time. I’m so excited I get to paint with her in person at her studio in Angels Camp, CA.
I’m also excited that I’m going to spend the weekend workshop with fellow artist-blogger Kathryn Law, whose friendship and support over the past couple of years I treasure but whom I will be meeting in person for the first time. Kathryn has also been working with Peggi’s videos and you can see her “Surface Quality” study here.
Tea and Lemon, Surface Quality Study #1, oil painting on panel 8x10"
This painting is a study based on the exercise in Peggi Kroll-Roberts “Surface Quality” video. I watched the video, then turned it off and painted from my still life set up, trying to incorporate the lesson: paint the darks with thin paint (so that they recede, don’t reflect light that hits lumpy edges, and don’t draw attention to themselves) and paint the light areas with rich, thick paint (and of course mix the correct colors and values).
When Peggi demonstrated this exercise she used a cube of butter (in her still life, not to paint with! though her paint is very buttery). I had to replace the butter with the yellow lemon because while I brewed the tea in the other room, my cat had a little feast, licking my only cube of butter into a misshapen mess.
There are some passages in this painting I like very much, such as the lemon, its leaves and blossom, the tea, and the way the tin in back is kept all in shadow.
I did buy another cube of butter to try the exercise again, and that will post tomorrow while I’m off at Peggi’s workshop.
It was fun to meet the South Bay members of our Urban Sketchers SF Bay Area group Suhita and John, and to meet some of the members of Sketchcrawl Silicon Valley at the Stanford sketchcrawl on Saturday. Cathy and I made the hour plus drive down there and met at noon. We started with lunch at the outdoor cafe with a view of the Rodin Sculpture Garden (sketched above at the end of the day after everyone left and it is my favorite because I love those funny, imperfectly groomed trees).
Sculpture of "Faith" in front of Cantor Center
My first sketch was the one above, of a statue called “Faith” in front of the Cantor Center for Visual Arts. Starting with “Faith” seemed good, since it helps to have a little faith that the sketching will go well. By 1:00 there were about 10 of us and everyone went off to follow their muses with a plan to regroup around 3:00. I followed Cathy who knew her way around, since my muse, like me, has no sense of direction.
Stanford Memorial Arch, ink & watercolor
The sign on the building said “Memorial Arch and Court Erected by His Mother, 1898 in Memory of Leland Stanford Jr. Born to mortality May 14, 1868…” I ran out of room to record his year of death but he only lived until age 16 so his mother donated the land Stanford was built on to create a memorial for her son.
Chapel and courtyard
From a distance the front of the chapel appears to be glowing gold but when you get closer you can see it’s covered with a stunning mural made entirely in mosaic. Coming from an urban environment where things are crowded, noisy and grungy, Stanford was amazing. The Stanford campus is tremendously spread out (over 8,000 acres), with most buildings only one or two stories, but massive nonetheless. Everything is immaculately clean, with amazing gardens, gazillions of trees (well, officially 43,000), and quiet. At $51,000 a year for tuition, room and board I suppose one should expect a lovely environment!
When I painted this oil sketch I had three inspirations: First was the Peggi Kroll Roberts video focusing on designing value patterns by simplifying and grouping values, even when the colors are different (e.g. the red umbrella and green trees above are very different colors but approximately the same values).
Curran: Afternoon in the Cluny Garden
My second inspiration was the Curran painting above that I saw at the Impressionists show at the DeYoung Museum. I fell in love with this painting because of the colors, strong values and abstract qualities and brought home a print. Charles Courtney Curran was an American artist who studied with the Impressionists in Paris in the 1880s and then returned to the U.S. His other work I’ve seen online doesn’t appeal to me at all, too sugary and romantic.
Original photo reference with face blurred for anonymity
I was also inspired by my reference photo (above) that I took at the Sit Stay Cafe at Pt. Isabel’s dog park where I was lunching, sketching and taking photos to test a new camera last summer.
The tired young woman was very kind about allowing me to sketch and take photos of her. She told me she also liked to paint. Since I didn’t ask for permission to post her picture online I blurred her face in Photoshop first.
Ginger Ale and Saltines Namiki Falcon pen, Carbon Platinum Ink, and watercolor
Today was a bad news, good news day. It started with a migraine that eventually passed enough to work most of the day (despite the internet going down, fixing that and then a little later the electricity went out long enough to shut down the computer with several projects in progress). The migraine left behind a tummy ache. I couldn’t deal with the supermarket so went to the little health food store and bought some natural Ginger Ale, organic saltines and candied ginger (all supposed to be good for tummy aches).
Candied Ginger in an Egg Cup
The good news is that this morning my reliable but grumpy mailman delivered my new Namiki Falcon fine point fountain pen and this evening I felt well enough to fill it with ink and give it a spin. I LOVE IT! The nib floats like a dream over the page with control and flexibility and a really nice fine line. It’s the best pen I’ve ever used. UPDATE June 2011: After using the pen for a few weeks I discovered that I didn’t really like it that much and sold it. I felt I had too little control of the ink flow, which went to fast for me, even with the extra fine nib. I’ve gone back to my Lamy Safari extra fine point which I LOVE!
The other good news is that with these sketches I finally finished filling the Moleskine watercolor sketch book that I’ve so detested using during the interim between binding sketchbooks. Tomorrow I get to start using the one I bound a couple of weeks ago. Yay!
On my first day back to work after being sick for weeks we had a staff meeting. I wanted to put my head down on the table and nap so doodled to stay upright and awake. Later I pasted the page in my sketchbook with the added note about antibiotics.
Sketching Sketchers #1
Then my first night back at Tuesday night sketching (at the Bread Workshop) after I drew my food I sketched the sketchers at my table. I had to add that shading to the right of Amy’s face to “erase” the splotch I made by her nose that looked like a booger.
Sketching Sketchers #2
I added one too many lines, which lead to more lines to try to fix them, in Sonia’s hair which had been perfect until I did that. I made a note to remind myself to STOP at “good enough” and not keep going.
Foggy Morning at Viansa Vineyard, 11/2010-1/2011, Oil painting, 9x12"
My plein air group had our last meeting of the season in November at Viansa Winery in Sonoma. I’d made a good start on the painting plein air, but it needed work. Today I got tired of looking at the unfinished painting and completed it (above), using both brushes and palette knife.
I’d set up my easel at the edge of the parking lot and had a great view of the vineyard. But there were so many interesting things to see that I included all of them in my original painting below (except maybe the cars and the birds and bees—that’s some progress I suppose).
Viansa Vineyard, unfinished plein air
There are some passages in the painting I liked, especially the top fourth, but there were some problems too: the strong yellow diagonal line leading you out of the painting, the bright gold triangle top right, the green line of bushes beside the purple road, both of which weren’t needed even though they were there in real life.
Viansa photo reference
This is the photo I took at the beginning of the painting session. The sun and fog and clouds kept changing but the overall impression I had of the day was sunny.
A previous Viansa painting can be seen here. It’s nice to see the progress I’ve made since then.
Turkey & Swiss at The Junket, El Cerrito. Lamy Safari pen, Carbon Platinum ink & watercolor in Moleskine
Whenever we meet to sketch at a cafe we always try to sketch our food before we eat it and we always joke about what a great diet it would be to do that at every meal. It not only helps to slow down eating, but it also helps to speed up sketching! This leads to looser, more playful sketches which I think are more fun to make and to see.
Sonia and I met for lunch at The Junket, a deli in El Cerrito Plaza. My Turkey and Swiss Sandwich on a sourdough baguette (sketched above) was the best I’ve had in years. It was my second choice though, as we originally ordered Chicken Dumpling Soup. But when I saw them spooning it into a bowl, it had the consistency of gloppy, yellow gravy. I asked if it was cream-based (Sonia is allergic to dairy) and they said no, they knew it wasn’t because they reconstitute it with water. Um…no thanks. I switched to the half sandwich and Sonia got salad and we were happy.
Grilled Veges & Brown Rice at the Bread Workshop. Ink & watercolor in Moleskine
On our next Tuesday night sketch-out we met at the Bread Workshop. They had contacted me the week before to ask if they could use this previous sketch I did there to illustrate a newsletter they are sending to supporters and I gladly said yes. They reserved a large table for us with a view into the bakery so that we could draw the bakers working.
I wasn’t much up to that challenge as it was my first night out after being sick for two weeks and my sketching felt rusty. You can see Micaela’s wonderful sketch here and Sonia’s here and here. The food was fantastic: my grilled veges (above) were so flavorful!
Bread and Baker at Bread Workshop, ink & watercolor
This was the extent of my drawing bread and bakers. The Bread Workshop are advocates of sustainable foods and practices and ranked as one of the top ten greenest restaurants in the Bay Area. Everything I’ve had there has been delicious and they were playing great music that night, going from George Benson to Billy Holiday to Tom Waits in succession.
Jana Bouc, Artist 