Over Oregon (larger)

This summer we flew from the Bay Area to Seattle in a small (Cessna 182) airplane. We went with some friends to visit some other friends and had a blast.

On the way up I sat in the back seat of the plane and enjoyed spectacular views of the Cascade Arc volcano peaks strung out all along our route. A lot to capture – I drew the window in ink then decided to try doing the vistas of mid-Oregon in watercolor only. A bit unconventional but I like how it came out.

On the way back we spent a lot of time in the clouds at 11,000 feet, so being in the front I sketched the plane’s panel. All the right gauges are there, although they’ve slid around a bit!

Cessna 182 Panel (larger)

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Continued from: How I Sketch: Part One, Materials

Demonstration Sketch [larger]

I thought it would be helpful to show and describe my own ‘how to sketch’ step by step process, but keep in mind that what works best for each person will vary widely. There are as many ways to create great sketches as there are artists.

When combined, ink line and watercolor create a lively visual interplay curiously pleasing to the eye. Playing with these two rather different media is a good introduction for those new to sketching: the results are fun, unexpected, and often wonderful.

When possible I do both the drawing and the painting on site. The painting can be done later, if need be, but I strive to complete each sketch on the same day for best results.

Sketches with areas that are not completely defined or finished are especially intriguing. The mind likes to have some work to do to fill in those gaps. To that end, I try to leave areas or portions of objects un-drawn, un-painted, or un-detailed.

Demonstration Subject [larger]

Demonstration

I did this sketch of a North Berkeley street corner (Shattuck Ave. & Vine St.) one morning last month while sitting in my car, taking digital pictures along the way. I have always liked this building, which houses a produce store on the ground floor, but had never sketched it. The lamppost banner also caught my eye; I like to draw scenes with flags, signs and banners. This sketch spans one spread (5″ x 7″) in my sketchbook and took about 30 minutes to complete, roughly split between drawing, painting, and waiting for paint to dry.

Drawing

The drawing is done with a fountain pen and waterproof ink. I try to stay loose; if I don’t like where a line ends up I just draw it again where I’d like it to be. Also, I find that a somewhat interrupted line adds flavor and a sense of light to the scene.

Step 1: Guide Lines

Step 1: Guide Lines [larger]

I rarely bother with this step but wanted to show every contingency. When the perspective of a scene is particularly tricky, or if I want to be sure to fit specific objects in a sketch, I will consider starting with some guide lines in pencil.

I take care that the lines are only positional cues and not drafts of the actual drawing; if I end up doing inking over completed pencil lines the results are stiff. I draw the lines lightly: these are shown heavy so you can see them.

Here, the guide lines note the positioning of the main building and its turret roof, the foreground lamppost, the line of the Marin County hills in the distance, and the street level. Streets are horizontal, but I felt like curving this one a bit; it seemed to help indicate that the block in the distance descends out of view.

Step 2: Foreground Objects

Step 2: Foreground Objects [larger]

Although I don’t mind background lines occasionally showing through objects in from of them, I generally draw key foreground elements first to minimize this. Note that from my vantage point the tip of the foreground street lamp intersected the top of the turret roof and the top of the post’s banner lined up with the horizontal roofline. Compositionally this is awkward so I drew them with space in between. Artistic license, you see!

Step 3: Outline Main Shapes

Step 3: Outline Main Shapes [larger]

I like to get all of the major shapes blocked in before adding a lot of detail, so that the overall structure of the drawing is established for later reference. Here I outlined the main building and the tricky roof sections using the pencil lines as guides.

Step 4: Fill In Foreground

Step 4: Fill in Foreground [larger]

Next I finished up the objects in the foreground. I like the plants on the median strip, so pulled them more into the view than they actually were and detailed them quite a bit. The building on the left doesn’t add to the scene (although it’s a great clothing store 🙂 ), so I didn’t put in a lot of effort there. I also inked in the line of the street on the left, deciding to curve it even more than I had originally indicated with the pencil guidelines.

Step 5: Details and Background

Step 5: Details and Background [larger]

Once the basic layout of a sketch is established I start to fill in details. I tackled the building itself, working from large areas (upper/lower floors, awning) to smaller (windows, door). Although the blinds of the store were pulled shut, I knew that soon the windows would be filled with colorful produce so I put that in too. The scene seemed barren without any people, so I invented some figures. I also decided that adding a partially visible parked car would help indicate that the street descends out of view.

The background trees and the hills in the distance were then filled in, making sure that the pine trees clearly cross over the line of the hills in the distance to add interest to the skyline.

Step 6: Hatching

Step 6: Hatching [larger]

This step is relatively new for me, but I like the effect. I add hatching to indicate some areas that are in shadow. I do not hatch to indicate dark local color (the color something actually is: navy blue, for example, is a dark color), I just stick to cast shadows (in this sketch for example, under the awning) and the sides of objects that are dark because they are facing away from the light (here, the side of the building). I don’t spend a lot of time on hatching and don’t strive to be too accurate: I just get some in there.

After all the ink has dried (about 3 minutes), I erase my pencil lines.

Painting

Drawing provides structure to the sketches, and watercolor livens them up. I don’t so much paint my sketches though, as I tint them. My colors tend to be on the light side, and muted. This comes from working fast with a small travel palette, mixing pigments, and a lax attitude towards thorough brush and palette cleaning during the painting process. I put down one, and at most two, layers of paint in any one area. The smooth watercolor paper I use to facilitate drawing tends to create sharper paint edges and blotchier washes than traditional paper, but I like these effects.

Working small, I mix my colors on my palette rather than on the paper itself. Water, as needed, comes from my waterbrush. I almost always create a color with two pigments (and maybe a smidge of a third): one pigment is too saturated (except for flowers and manmade objects), and three or more generally creates “muddy” colors, dull and flat.

I don’t try to match the actual colors of things generally, unless color really distinguishes an object. Out of habit I tend to stick to a small number of pigments and mixes.

Typical mixes are:

• French Ultramarine+Burnt Sienna: blueish and brownish greys, and a soft black
• French Ultramarine+Permanent Alizerin Crimson: variety of lavenders (smidge of Burnt Sienna to mute)
• Cobalt Blue: water or sky
• Permanent Alizerin Crimson+Burnt Sienna: Brick-like hues
• Single pigments: Flowers, clothing, other manmade objects
• Raw Sienna, touch of Permanent Rose, sometimes smidge of Cobalt Blue or Burnt Sienna: Skin tones
• Raw Sienna: Sunlight on things
• any blue+any yellow: natural greens

Color theory is a whole topic unto itself, but I follow a general trend of colors moving from warm to cool, saturated to muted and dark to light as they recede into the background.

Painting is done loosely, allowing specks of white paper to show through and both under- and overshooting inked edges. The effect, something like an image printed off-register, adds vitality and sparkle to a line and wash drawing.

Step 7: Foliage

Step 7: Foliage [larger]

What to paint first? I try to pick whatever part of a scene I would like to have for reference when mixing other colors. I might choose the shadow areas, darkest spots, bright (saturated) areas of color, a very particular color I want to recreate, or areas that have colors that need to contrast well with adjoining areas.

In this scene not only is the building green, but there is a lot of green foliage as well; differentiating these is a challenge. One solution would be to make the building a different color, but the color of this building is part of its identity and charm, so I didn’t want to do that. I decided to paint the varying greens of the foliage first to serve as a reference when painting the building. I created a variety of greens using various mixes of French Ultramarine+Aureolin and Cobalt Blue+Aureolin in the foreground and French Ultramarine+Raw Sienna in the background. After the foliage was complete I let it all dry.

Step 8: Saturated Highlights:

Step 8: Saturated Highlights [larger]

Next I painted snippets of saturated color that I wanted to remain distinctive so that they would not be overshadowed later on. These included the people, newspaper box, flowers, store produce and street lights. I also decided to add redder color to some of the trees.

Step 9: Darks and Shadows

Next I considered the posts and parking meter. I decided to make the post directly in front of the building dark so that it would show well in front of the light building. I wanted to keep the parking meter light since it would be surrounded by dark shadows, and I decided the post beside it should be dark to contrast with the hills and trees beyond. I wasn’t sure about the foreground post, so left it unpainted for the time being. The posts were painted in French Ultramarine+Burnt Sienna grays and let dry.

Steps 9, 10 & 11: Shadows,
More Color, and Finishing [larger]

Sometimes I paint an area’s basic color and then add the shadows on top when the first layer is dry, but more often I just paint the shadows in directly. Here I painted all of the shadows, hatched and un-hatched, except the lacy tree shadows on the building, with French Ultramarine+Alizerin Crimson+smidge of Burnt Sienna.

Step 10: Remaining Color

Next I painted the roof with French Ultramarine+Burnt Sienna. This is a large area in the painting so I made sure to apply it loosely. I did the roof in two coats: an initial pass and then once that dried, a second pass on some areas I wanted darker.

Now to tackle the building. I wanted a green that would be distinctly different from the natural greens in the scene, so I started with a bit of Phthalo Green. This pigment has an artificial hue not found in nature so I never use it for greenery, but it can be good for manmade objects that are green (like awnings and sun umbrellas). However, it is a very intense pigment so I just used a dab of it and added a bunch of French Ultramarine and water. I painted the building as loosely as I could, leaving the framing planks white.

Step 11: Finishing Up

It’s hard to know when to stop. At this stage I thought long and hard about what color to paint the awning. I couldn’t come up with any great ideas, so decided to just leave it unpainted and went ahead and added the lacy tree shadows to the front of the building and awning with French Ultramarine+Alizerin Crimson.

Given my decision regarding the awning, I decided to leave the foreground pole with its banner and sign white as well. Originally I had envisioned that banner being a bright, perky highlight of the sketch and it ended up quite differently, but that’s exactly what happens in the course of making a quick sketch. At any rate, in the spirit of leaving things undone it worked for me. I was pretty sure early on that I was going to leave the street white and that did prove to be true.

And So…

I hope this has been helpful. Lots of great, quite detailed, questions about technique have come my way in response to the first part of this series. I know I have not answered all of them as yet, and will continue to address topics related to both drawing and painting. If you have questions, please let me know, either by commenting here or sending me email, and I’ll do my best to address them.

Happy Sketching!

See Also

How I Sketch: Part One, Materials
Recent Sketches
Posts on Travel Sketching

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I am often asked for information on how to sketch, in particular how I do my sketching; the more detailed the better! After much trial I have developed a process that works for me, but I continue to learn and evolve as well. I thought I would describe what I’m currently doing, starting with my favorite materials.

The Kit

After trying virtually every art supply one can buy 🙂 , I finally settled on a stable set of tools. My kit goes everywhere with me so that I can always do a quick sketch when the opportunity arises. To realistically achieve this portability the components must be small. This requirement has largely dictated my choices:

Sketchbooks

Sketchbook: I do all my sketching in small (“Pocket”, 3.5 x 5 inch) Moleskine notebooks that I rebind with 90lb hot press watercolor paper. I use the thicker (1 inch) “Planner” model because it holds more pages: 44 spreads to be exact. Occasionally a sketch fills only one side of a spread but usually I use the full (7 x 5 inch) page.

For the last few years I have filled at least three books a year. And, I am just finishing up Volume #4 for 2007 right now. Each year on January 1st I always start a new book: it can be a struggle to finish that last book by December 31st!

Sailor EF Nib

Pen: I use a Sailor fountain pen with an Extra Fine tip, which is made in Japan.

Quality fountain pens have two unique attributes that make them attractive for sketching. The first is the nib’s ball tip, which allows it to glide in all directions with ease. This can help keep the line work looser than that from a pen which favors one direction or needs to be pushed around.

The other important trait is nib flexibility, the extent of which varies in different types of pens. The stroke from a flexible pen changes width in response to the touch of the user creating a lively and personal line.

Sailor Fountain Pen

My pen is fairly flexible but what makes it ideal is it’s line weight. Because my sketchbook is small a fine line provides more versatility. Japanese pens run finer than do American or European, and this one draws the thinnest fountain pen line I’ve seen.

Carbon Ink

Ink: An ink converter allows the pen to utilize a bottled ink. I use Platinum Carbon Ink, which is a waterproof ink for fountain pens. Waterproof ink does not bleed or run when watercolor washes are laid on top of it. Although such ink is widely considered ruinous for fountain pens, mine have survived thus far. No guarantees though! It is important to use the pen daily to keep the ink flowing and flush it regularly with water to keep it from clogging up. I have found that modern pens stand up to the abuse of waterproof ink better than vintage pens.

Traveling Ink Pot

Ink Pot: The Visconti Traveling Ink Pot is not cheap, but with it I can refill my fountain pen anywhere. I love it. The “pot” is sort of like a test tube that has a rubber neck at the top with a conical opening. One fits the pen snugly into the opening, turns the whole thing over so that the ink is above the pen, uses the pen’s filling mechanism to draw the ink down into it, and then flips everything back over to remove the pen. The outside stopper is very hard to get off (a good thing!) so I also carry a small piece of latex cut from a disposable glove which I can use to get a good grip on it. This ink pot works with many, but not all, fountain pens.

Paint Box: I carry a very small (2 X 3 inch) Winsor & Newton “Bijou” paint box. It has 18 mini pans (1/2 inch square) into which I squirt tube paint. The paint dries quickly (2-12 hours) so it doesn’t run, yet is easily reconstituted with water.

Paint Box Closed

Paint Box Open

On the inside lid are four small mixing areas. The metal box is enameled white on the inside which provides a great mixing palette.

This particular box has not been made in some time (current boxes called “Bijou” are different: bigger overall with bigger “half pan” wells) and are hard to find. However, creative folks are hand making similar mini boxes with great success. I love my little box, although it’s taken quite a beating. When it finally gives out I am going to try crafting a replacement. If I change anything, it will be to use even less space for paints and a little more for mixing. I won’t make the box any bigger though!

Paint: I use Winsor & Newton “Artists Quality” watercolor paints in tubes.

Colors I use most often:
	Raw Sienna Burnt Sienna French Ultramarine			Cobalt Blue Permanent Alizarin Crimson Permanent Rose
Other colors sometimes used:
	Lemon Yellow Aureolin Yellow Scarlet Red Cobalt Violet Indigo			Sap Green Winsor Blue (Green Shade) Phthalo Green Manganese Blue

Waterbrush: The brush I use is the Niji waterbrush. It is especially convenient for sketching on the go.

Waterbrush

The soft plastic handle fills with water which is fed down into the brush head from inside as the handle is squeezed. With this brush you don’t need any open water container at all, which allows for painting in many more situations. The handle holds enough water for several sketches and is easily refilled by sink, glass, water bottle, creek, puddle, etc. These brushes come in a blue a clear plastic package and can be found in the US in larger art supply stores or online. Similar brushes are available in Europe and Asia as well.

Paper Towel: To change colors with the waterbrush you simply give it a little squeeze and soak up the water with a paper towel. I carry a piece of paper towel or sturdy napkin for this purpose.

Mechanical Pencil: Rarely used, but if needed I like a pencil that is always sharp.

Mini Eraser: When I do need to erase pencil lines, a soft white eraser is gentle on watercolor paper.

Pencil Bag: I have a typical student’s pencil bag (7 inches long, 3 inches high) that holds everything listed above except the sketchbook.

This little DIY sketching kit has served me well, on travels near and far. In fact, I do all of my sketching with these materials. The bag and sketchbook are very portable and I am able to keep them with me pretty much everywhere I go.

Portable Sketching Kit

Continued In…

How I Sketch: Part Two, Demonstration

See Also

Moleskine Rebinding Project
Posts on Travel Sketching

Posted in How to Sketch, Travel Sketching | Leave a Comment » | View 79 Comments »

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Continued from: New York Sketchbook 2007, Part One

Columbus Circle (larger)

I spent three days in New York on a solo SketchCrawl, following my nose and travel sketching all the way. It was unseasonably hot, and so muggy that even the locals were whining :). The weather somewhat curtailed my extensive walking plans but I still got quite a bit of exploring in.

I am especially enamored with Central Park. I drew the Columbus Circle scene while enjoying a scrumptious lunch (and air conditioning) at Bouchon Café, located in the Times Warner Building, suspended in an atrium with a huge glass wall looking down on the scene. Later, a barbershop quartet serenaded me as I sat in dappled shade and sketched the Model Boat Pond.

The Tudor City Greens is a small park near the World Trade Center that reminded me of small parks I saw on my Paris trip last year. On a wet, warm night I came across the “Second Avenue Farm”, a corner produce shop (2nd Ave & 50th) and couldn’t resist a quick sketch, even though I was being rained on 🙂 . (continued below)

Model Boat House, Central Park (larger)

Tudor City Greens (larger)

Second Avenue Farm (2nd Ave & 51st) (larger)

Grand Central Station is buzzing, with way more people than I managed to get into my sketch! It is a beautifully restored Beaux Arts building, and features a gorgeous blue-green ceiling with astronomical constellations in gold. While I was sketching two well dressed business men, clearly strangers, conducting a discreet drug deal right next to me!

I enjoy creating illustrated journals on my travels. Doing so gives purpose to my trips, and also helps allay any guilt I might have about the expenses involved 🙂 . These days I am doing the sketches from the front of the books and some writing backwards from the end of the book. When they meet, it’s on to the next book! On this trip, with only four days for sketching, I managed to completely fill one of my sketchbook journals. This pleases me greatly. I start a new book at the beginning of each year and am now into Volume 4 for 2007.

Grand Central Station (larger)

Other posts from this Trip:
     Planes and Trains
     Washington DC Sketchbook, Part One
     Washington DC Sketchbook, Part Two
     New York Sketchbook 2007, Part One
     New York Sketchbook 2007, Part Two

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Poiret Show at the Met

Bouclier Day Dress, 1925 (larger)

Dress Costume, 1911 (larger)

One of the highlights of my trip was the exhibition of Art Deco designer Paul Poiret’s fashions and illustrations at the Metropolitan Museum of Art. It continues through August 5th and if you have the opportunity to go I highly recommend it.

The show is artfully staged which to my mind is half of its appeal. Stylized manikins in evocative poses convey the playful yet chic appeal of the clothing and stunning hand painted backdrops provide the context for the designs.

Manteau d’Auto Coat, 1912 (larger)

The rooms themselves are dark (to protect the fabrics?) which makes sketching somewhat challenging but does allow for dramatic lighting. No ink is allowed so I penciled these illustrations into my little Moleskine notebook and added my ink and color later in the evening. I decided I really liked my color notes, so went ahead and inked them in too! [cont. below]

Le Butard & La Rosière Day Dresses (larger)

Homage à Rousseau, 1910 (larger)

Téâtre Champs Elysées, 1913 (larger)

Opera Hat (larger)

Mademoiselle Day Dress, 1923 (larger)

Sorbet Evening Ensemble, 1913 (larger)

You don’t have to be into fashion to appreciate this show. It is about clothing, yes, but also about the graphics, shape, line, and color of the Art Deco era in which Poiret flourished.

Next up: New York Sketchbook 2007, Part Two, Out and About in New York.

All posts from this Trip:
     Planes and Trains
     Washington DC Sketchbook, Part One
     Washington DC Sketchbook 2007, Part Two
     New York Sketchbook 2007, Part One
     New York Sketchbook, Part Two

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Continued from: Washington DC Sketchbook, Part One

World War Two Memorial (larger)

After my stroll through the National Gallery I continued my day by walking the two-mile length of the National Mall. The mall features a series of iconic and monumental American sites, all arranged rather conveniently in a long line. I am not always one for patriotic monuments, but I figured I should visit these once in my life and am glad I did. [cont. below]

Washington Memorial (larger)

Lincoln Memorial (larger)

Einstein Memorial (larger)

It was sunny, getting hotter, and quite dry, and I had trouble keeping my watercolor paint wet enough to behave the way I am used to. So, I ended up doing my ink sketching on site and adding the color later. [cont. below]

Union Station (larger)

At the Lincoln Memorial I sat on the floor in the back of the viewing area and sketched him between openings in the crowd. There is a sign requesting respectful silence, so of course there was a lot of screaming and running about. And the hot dog stand was a much bigger draw than the Lincoln bookstore. 🙂

It was a hoot throughout the day to listen to the other tourists, mostly families. They say the funniest things and at times I felt like I was in a Simpsons episode 🙂 . One thing about traveling alone is that I am more aware of others around me: how they look and behave, and what they say.

The Einstein Memorial is a wonderful, super-sized (and climbable!) likeness of him, hidden from view in the dappled light of large shade trees. The surface of the sculpture is chunky, as if it had been molded out of clay by the hand of someone even bigger than giant Einstein. This memorial is more casual and inviting than the rest; an interesting contrast to the Lincoln statue and, I must say, more to my taste.

The last sketch was done the next day in Union Station while I waited for a train to New York. The station is a beautiful restored space, warm and light-filled, and even the shopping mall now contained within does not detract from it’s ethereal atmosphere. This sketch shows the ceiling of one of the side alcoves; the main space is even bigger.

Next Up: New York Sketchbook, Part One, On to New York.

All posts from this Trip:
     Planes and Trains
     Washington DC Sketchbook, Part One
     Washington DC Sketchbook, Part Two
     New York Sketchbook, Part One
     New York Sketchbook, Part Two

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National Sculpture Garden (larger)

I started a day of sketching in Washington D.C. recently in the National Sculpture Garden, a relaxing place with fountains and plenty of shade trees. Perhaps an odd choice for the US National Sculpture Garden, one of the works is an original Paris Metro gate. There is even an entire café building designed to match! I love the organic, otherworldly lines of these gates, and was happily surprised to find it here. [cont. below]

Thinker on a Rock, Barry Flanagan, 1997 (larger)

Paris Metro Gate, Hector Guimard, 1913 (larger)

Untitled, Alexander Calder, 1976 (larger)

Capricorn, Max Ernst, 1964 (larger)

I then moved on to the National Gallery of Art. Sketching is allowed in pencil only so I added the ink and color to these drawings later on. The Calder Mobile is huge, hangs in a large light filled space, and moves ever so slowly. Fantastic.

The Ernst sculpture sits in the same atrium. Although I liked it immediately, through the process of drawing it I really “got it” so much more. They say that drawing in a museum can greatly facilitate observation and now I understand why. The little details and manner in which this piece is so completely stylized are wonderful. And witty: I was laughing out loud as I drew it. One group came by and pronounced: “it is ugly, we can’t believe that is art, we wouldn’t take it if they paid us”. How original. I however, would love to have it in my front yard and it would look great there too (hint, hint, National Gallery 🙂 ).

All posts from this Trip:
     Planes and Trains
     Washington DC Sketchbook, Part One
     Washington DC Sketchbook, Part Two
     New York Sketchbook, Part One
     New York Sketchbook, Part Two

Posted in Landscapes, Still Life, Travel Sketching, Washington DC | Leave a Comment » | View 18 Comments »

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Plane, Oakland to DC (larger)

Just got back from Washington D.C. and New York. I went for business but also had four days to SketchCrawl around. Despite a heat wave I persevered and made a bunch of new sketches. I’ll share them here as I can get them scanned in, but thought I’d start with the travel itself: two airplane trips and a train ride.

Acela Express Train, DC to NY (larger)

Plane, NY to Oakland (larger)

All posts from this Trip:
     Planes and Trains
     Washington DC Sketchbook, Part One
     Washington DC Sketchbook, Part Two
     New York Sketchbook, Part One
     New York Sketchbook, Part Two

Posted in Interiors, Travel Sketching | Leave a Comment » | View 21 Comments »

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Pupu Hut, D.T. Fleming Beach (larger)

Five days of vacation in Hawaii: yowza! Short, but very sweet. We went to Maui for a small family wedding and had a great time. Swimming, walking, snorkeling, dining and sunburn: we got it all.

Despite the activity I managed sketch every day. There were sketch-worthy views everywhere: wish I’d had more time. I admit to being sick of drawing palm trees though!

David & Marie 4/17/07, D.T. Fleming Beach (larger)

My sketch kit was with me everywhere I went and I got sand in everything. My little paintbox has the stuff in every pan. I probably should empty it out and put fresh paint in, but I am inclined not to bother. Free texture!

I was able to do all of these drawings on site but much of the painting was done later: some even here at home. I find that if I can finish a sketch the same day it’s fine, but if even one night goes by the results are not optimal: stiffer and less lively. I need to work on speeding up.

D.T. Fleming Beach (larger)

Kapalua Bay (larger)

It’s always a treat to sketch daily for a number of days, especially in an unfamiliar environment. Everything looks interesting to me when I’m away from home. What a great excuse to travel, travel, travel!

Moon & Venus (larger)

Lanai & Molokai, from Hawea Point (larger)

At the Pool (larger)

Flight to Maui (larger)

Molokai, D.T. Fleming Beach (larger)

At Kahului Airport (larger)

Palm Trees (larger)

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Public Market Produce (larger)

On my recent Seattle trip I spent an afternoon sketching but didn’t have time to draw at the Public Market. I did take a few quick photos though.

Public Market Produce (larger)
More Market Photos

I often take pictures with the intention of later sketching, but rarely get around to actually doing it! This time though I didn’t want to miss a chance to draw one of the luscious produce displays.

The Public Market is filled with amazing produce, flower, and fish displays; huge piles of healthy and colorful goods, artfully arranged. I am sure I could spend a full day happily sketching there.

I drew this sketch from the photo, directly in ink. The sketch is small, as are all my sketches: 5.5 x 3 inches. You can see that it isn’t exactly like the picture but all the main components are there. The best part was adding the watercolor; so many colors!

I wasn’t sure if I should paint in the signs (see below) but went ahead anyway. I am not sure which version I like better; what do you think?

Before Signs Painted

Related Post: Sketching in Seattle

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Calder’s Eagle (larger)

Oldenburg’s Typewriter Eraser
(larger)

Recently I was in Seattle on business and managed to sneak away to do a few sketches. The new Olympic Sculpture Park is beautifully situated above the water and brilliantly designed. It features stunning views in multiple directions and plenty of expansive space in which to set off the works from striking angles.

There was a sign saying that the Oldenburg was not to be photographed, but it didn’t say anything about sketching. 🙂 Some teenagers were admiring the sculpture but had no idea what it was supposed to be: I explained, but I don’t think they believed me!

The Pike Place Public Market is another interesting site full of sketching possibilities. It is a bustling place, filled with stands overloaded with prime specimens of every imaginable kind of food. Just looking at those vegetables will make you healthy! 🙂 Sadly, I only had time to sketch it from afar, looking down Pike Street.

Space Needle and Monorail Tracks, from 5th & Wall (larger)

Down Pike Street to the Public Market (larger)

Related Post: Produce Market

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Pasadena Street Corner

Classes and workshops solely focused on sketching are rare, but I love to take them when they pop up. Over time I have managed to take quite a few. Some are great, some are terrible, most are in between. However, the right class at the right time is a great boost to my motivation and resolve.

Last October I was lucky enough to take a wonderful workshop towards the “great” end of the scale, a three day intensive called Road Trip! Travel Sketching for Designers, taught by Richard Scott. The photo of me sketching over on the right was taken by Richard during that class.

Here are more sketches and a full report.

The next Road Trip class is a streamlined two day version in San Francisco this June. The workshop is not cheap, but I found it rich and inspiring: well worth it for me.

Huntington Library Botanical Gardens

A word about other classes that are less than ideal; I often find that something important comes out of them too. I may meet someone interesting, get turned on to a new book to tool, or just get more focused on what I really do want to be doing.

Related Post: “Road Trip!” Workshop: a Review

Posted in California, Landscapes, Travel Sketching, Workshop Reviews | Leave a Comment » | View 7 Comments »

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