On the last night of the heat wave we met to sketch behind the Doubletree Hotel in Berkeley by the bay to cool off. The debate between candidates for California’s governor was on the radio so I listened on my iPhone while I sketched and it added a little spice to the evening. Who knew ol’ Jerry Brown was so funny?
Doubletree Lobby Chairs, Ink & watercolor
When it got too dark we explored the hotel, looking for sketching options. We considered the pool, the restaurant and the bar, but the seating area in the lobby was so comfy we plopped down and spent the rest of the evening drawing the chairs. You can see all of our renditions together on the Urban Sketchers Bay Area Blog.
Alvarado Bar and Grill, San Pablo; oil on panel, 8x10"
I recently began painting twice a week with the East Bay Landscape Painters whose members are preparing for a show of urban paintings of unexpected, nothing-special spots. For two Saturdays we painted on the unlovely corner of McBryde and San Pablo Avenue in Richmond.
I set up my easel by the air and water pumps at this gas station and set to work. I sketched out the composition and started painting the building when a huge semi truck double-parked right in front of it and began unloading produce for the market next door. My view was just about like this so I started on the empty lot next door. Half an hour later the truck left and I could finally paint the bar. I was happy with the above painting; a rare occurrence when I paint plein air.
Pupusas and Desayunos; oil on panel, 8x10"
The next Saturday afternoon we returned to the same corner. It was hot so I set up in a shady spot under this tree in front of a used car dealership and painted the Pupusas place across the street. Rebeca Garcia-Gonzalez also painted the Pupuseria, except she worked on an enormous canvas (maybe 24×30″) and her painting was fantastic! She also tells a funny story here about the day and the idea behind painting nothing-special spots.
While we were having our critique in the shade of the Fish and Chips place, one of the artists who’d left her chair and easel set up across the street by the pupusas shop just happened to look over her shoulder. She saw a guy jump out the side door of a van and pick up her folding chair. She started yelling at him, ran across the street and grabbed it back before he could stick it in the van. He took off and returned to our critique.
This cement plant/sand factory takes up a square block of West Berkeley and offers a wealth of sketching opportunities. We were there as the sun was setting and everything was glowing for about 45 minutes and then suddenly it was too dark to see.
The factory’s site on Second and Virginia used to be a white sand beach (not the desolate industrial area it is now) and First Street (now Highway I-80) ran along the Bay.
Berkeley Cement Plant #2, ink & watercolor
In 1855 the Pioneer Starch and Grist Mill opened in the same spot but later burned down. And that begs the question: what is grist?
While searching for more information about the factory I came across a railroad buff forum (Trainorders.com) where they describe watching trains deliver to the plant. I don’t understand most of their lingo but appreciate their enthusiasm for railroads:
One of my favorite memories was watching a flying switch drop at Crystal Amber back in the early 90’s. I used to bicycle from my house in North Berkeley to Aquatic Park next to the SP main.
The cab to cab SW1500’s were facing eastbound. They accelerated and then cut off the two hoppers, went into the pocket track and then the brakeman threw the switch. The other brakeman rode the two hoppers while the fireman flagged Virginia St. The switcher set then coupled back onto the hoppers, shoved past Cedar St and then pulled them down past Berkeley Ready Mix, then shoved them into Crystal Amber.
As the crew was walking back, I said to the brakeman “nice flying switch”. He was a bit surprised and replied “you liked my drop?”, to which I replied “Yeah, I liked your drop”. Ahh the memories.
I don’t know what they were pumping out of the ground but the name on the truck—”Environliners”—made me think I probably wouldn’t want to know. It was a gorgeous summer day and I was determined to get outside for a few minutes at lunchtime. I spent it eating a take-out salad and sketching in Snow Park across the street from our building in Oakland.
Our office culture is to eat with co-workers in the office kitchen and get right back to work since there’s always more to do than hours in the day. We’ve even been trying to figure out how to add a new month to the calendar to fit it all in. But some days you have to forget about all that and just enjoy the moment and the all-too-rare sunshine in the Bay Area this summer.
Peet's Coffee El Cerrito and Albany Hill, ink & watercolor
Our Tuesday night sketch group is now an official Urban Sketchers group, known as Urban Sketchers SF Bay Area. If you’d like to visit our Urban Sketchers blog, you’ll get to meet my fellow Bay Area sketchers and see the different ways we interpret scenes in our sketchbooks, often from the same viewpoint.
The sketch above was done while sitting on the steps of the Pier One across from Peet’s in El Cerrito. It was the first sunny day in ages and it felt so good to enjoy a latte and some sketching in the sun. Albany Hill sticks up right behind Peet’s. It’s an odd bit of geography that resembles a very tall cupcake (sprinkled with trees instead of jimmies) in an otherwise flat landscape.
Albany Hill’s “Dynamite” History
In the late 19th century, the Judson Powder Works used the hill for the manufacture of dynamite. The company was forced to move from San Francisco and then Berkeley because of continuing accidental explosions. They planted the eucalyptus trees on the hill to catch debris and muffle the sound of their explosions. The stop on the transcontinental railroad tracks just to the west was called Nobel Station, after the inventor of dynamite.
When I arrived at Miller/Knox Regional Shoreline the sky was gray and cloudy but even in the fog the park had so many great views: a salt water lagoon, Mt. Tamalpais across the bay, a fishing pier, an abandoned ferry landing, beautiful trees, and across the road, a railroad museum and a squat yellow building that houses a motorcycle club.
Miller Knox thumbnail
I finally picked a spot and got started with the above thumbnail sketch. I set my ViewCatcher to 8×10 and looked through its “window” to choose the composition. Then I put the ViewCatcher on my sketchbook and traced around the inside of the window to outline a box in my journal of the same proportion. By the time I was ready to add watercolor to the thumbnail sketch most of the fog had lifted except over the hills, and the sun was shining.
After 2-hour plein air session, oil on panel
Above is how the painting looked when I brought it home. The composition needed work: the picture is evenly divided in half with 2 trees on left, 2 trees on right and an empty center. The lagoon and bay should have been different colors. Too bad I’d ignored my thumbnail once I started painting because it had a much better composition.
I tried to continue the painting from a photo but the photo didn’t match my memory of the colors and light, even after Photoshopping it (below). But it did at least offer some clues for fixing the composition, like adding the sailboats (duh!).
Miller/Knox Regional Shoreline photo
Maybe I should add in the little “No Swimming” sign (only putting it on the left side as I did in my thumbnail). What do you think?
Early Morning at Kaiser Garden, oil on canvas, 20x16"
I think I’ve finished this painting (but then I thought that several times before). The last time I thought I was finished, I looked back at the notes I’d written opposite my journal sketch about what interested me in the scene and my goals for the painting. I saw I’d missed a point or two and worked on it some more.
Now I’d really appreciate some honest feedback:
Do you think it’s finished or does it still need something, and if so, what do you suggest to improve it?
This was painted with Holbein Aqua Duo water-soluble oil paints. It’s such a joy to oil paint without odor, to thin paint to a wash without solvents, and to mix water instead of turpentine with the Duo linseed oil to make painting medium. The pigment quality, drying time and consistency is identical to regular oils.
After work Tuesday night we met to sketch at Lake Merritt which is across the street from my office. I guess I drank too much coffee that day because I couldn’t settle down and focus. There was a fascinating parade of people walking by, all talking to each other or on cellphones, leaving bits of conversation in their wake.
Warmup sketches
I warmed up with some sketches of the local seabirds and passing people, noting a few conversation snippets. That’s an old Chinese lady with a pole over her shoulders carrying huge garbage bags on either side that were bigger than she was. I assume she was gathering cans to recycle for a few dollars.
Lake Merritt apartments, mixed media
When it got cold and windy we headed up to my office on the 25th floor and drew the view out the window. I liked my sketch of the building and tall trees at the bottom of the page but instead of stopping there, I kept drawing until the page was full. I didn’t like that so tried various ways to hide the rest and finally pasted ruled tracing paper over it.
Tuesday night we sketched at UC Berkeley’s Clark Kerr Campus. Built in the 1930’s as a residential school for the deaf, it now serves as home to hundreds of university students and 200 low-income seniors in a peaceful setting of mission style architecture, courtyards and sunny lawns, located just behind rowdy Fraternity Row.
Clark Kerr at Sunset, ink & watercolor
With the students gone for the summer and few of the elderly out and about, we had the place to ourselves. We met at Derby and Claremont and tried to stay in the light, moving west to follow the sun as it set. I enjoyed painting on site, trying to capture the light instead of making many drawings and adding color later as my sketching pals like to do.
Read this brief, wonderfully scandalous “get-even” taleby one of the facility’s elder low-income residents about her earlier life as a mistress to a rich, powerful man who was a member of the Bohemian Club (as was Bush). What a story and how bizarre to find it while Googling for info about the campus.
I got inspired to try water-soluble (aka water-miscible) so researched which brand had artist quality paints made with real, archival pigments that performed most like regular oils. From my reading, Holbein Duo Aqua Oils was the answer.
I bought 3 colors (Cad Yellow, Napthol Red, and Ultramarine Blue) and white and gave them a go with this happy little painting above from a photo and watercolor sketch. I really, REALLY enjoyed working with them.
Indeed they worked exactly like oils, but with no solvents, no odor, and brushes clean up with water! To thin the paint you can use a little water or Duo Linseed Oil. The consistency was nearly perfect but I used a tiny bit of water because I like my paint smooth. Next time I’ll try the oil.
After working with the Golden Open Acrylics for several months I became frustrated with the way they dry darker and how sometimes the paint gets tacky or dry in minutes (outdoors) and other times stays sticky for days.
When I paint, I like trying to match the colors and values I see, so I’m disappointed when I paint with Open Acrylics and the painting dries to look completely different. Supposedly they only shift 10% but I just don’t seem to be able to guess right when mixing (and don’t want to have to guess!)
With the Duo oils I loved being able to mix colors and have them not change, and to not worry about the paint getting sticky during a painting session. I spent about 2 hours on the painting above last night and it’s still wet today. And, because I could clean the brushes with a swish of water while I worked, I only used a few. Clean up was quick and easy, with a little Masters Brush Cleaner for the brushes and a spritz of water and a paper towel across the palette.
Holbein Duo paints are more expensive than the other water-soluble brands because of their higher pigment load and use of more expensive pigments. Their prices are about the same as regular artist-quality oil paint. From my research and my first experiment with them, they’re worth it. I’ve ordered a few more colors and look forward to trying them out for plein air painting too, where I think they should be ideal.
P.S. I know you can use regular oils without any solvents, and that you can clean up regular oils using walnut oil followed by soap and water. But it means painting with thick paint and spending even more time in the clean up process.
Jana Bouc, Artist 