The first to go

Last week I bought a grocery store bouquet from the 50% off bin. I like the flowers that are a little bit faded to start. As the bouquet droops I can pick off flowers one by one and paint them as they curl up and die. The roses were the first to go.

EndofBouquet.jpg

 


Try this at home

Someone asked me a question in the context of my online sketching class today. “Do you often do the drawing one day and add colour another day?” My answer was an unequivocal “no!”. I always add colour on location. In fact, I make sure that when I am sketching outdoors (or in my car) I leave enough time to add colour because I want my subject in front of me when I put the paint on my sketch.

But there is one place where you can’t add colour on location, and that is in a museum where only pencil drawing is allowed. Today Urban Sketchers Montreal met at the Museum of Fine Arts, where the security guards take their responsibilities quite seriously, popping up behind you while you are drawing to make sure you are not using pens or other forbidden drawing materials.

Marc Holmes and I sketched together in the galleries, first drawing some Mexican terracotta figurines and then a series of Roman marble heads and torsos. I really had no intention of adding colour later the way Marc often does, but when I got home I thought “why not?” I had included enough info in my drawings to feel confident adding a light wash on top of the pencil shading. And of course it got me thinking about trying this again. I am often a slave to the scene in front of me but I quite enjoyed the freedom (and the freshness) of adding colour in the comfort of my own studio. So the new answer to the student who asked the question about adding colour later, “Perhaps more often in the future!”

Museum1

Museum2

Museum3


It’s all relative

In early winter, the thought of sitting in my car to sketch on a -10°C day is daunting. But after an extended period of brutally cold temperatures that hover between -16°C and -20°C, a day when the thermometer reading is -10°C seems positively balmy. It’s all relative, isn’t it? In celebration of this warming trend, I took advantage of the day to sit in my car and sketch, something I haven’t done in a long time. It didn’t matter that I was facing into the sun with glare on the windshield. It didn’t matter that my feet were frozen. It was a celebration of a little something positive at the end of a cold and icy week, and it had to be marked with a sketch.

RueRoi


Snow day

What was supposed to be my first day of school today turned out to be a snow day — or rather an ice storm day. Every student’s dream, and teachers too — getting that notification in the morning that school is closed for the day. I used some of the free time to paint the snowy view I saw as I walked through the park with Alice last night at dusk. Today it looks very different, with a thick coating of ice covering the branches — not nearly as misty or atmospheric.

I use a rough Two Rivers paper for this, along with brushes from my arsenal of riggers and stripers to build up layers of branches. A big blob each of Verditer Blue and Burnt Umber on my palette help me get the greys I want, and some white gouache mixed in at the end allows me to add some opaque streaks of blowing snow. Blizzard


Patient Alice

Alice was very patient while I suffered through a terrible flu. She stuck by my side for many days while I lay prone on the sofa, too sick to even read a book. They say there are some bad viruses going around this year and the one that hit me sure was. I’m just starting to feel back to normal today but my drawing skills are soooo rusty. I struggled with the foreshortening on her body (look at all the corrections in the pencil lines) but of course it feels good to pick up a pencil again. Tomorrow: back to school!!

PatientAlice


Workshop announcement: Palmetto Bluff, South Carolina, March 19-21, 2018

OglethorpeSquareI’ll be giving a three-day workshop in Palmetto Bluff, South Carolina from March 19-21, 2018. I don’t often give workshops during the school semester but this is my spring break week and the wonderful organizers at this beautiful spot have invited me back. I taught there two years ago and look forward to returning.
The Location:

Palmetto Bluff is nestled along the May River in the Lowcountry of South Carolina between Hilton Head Island and Savannah. Set within a 22,000 acre development, the resort encompasses an extensive nature preserve, walking trails, a vibrant village, marina and restaurants.

The property boasts a rich history. Europeans first settled on Palmetto Bluff in the 1700s dividing the property into 21 separate plantations. In the Antebellum era, the property changed hands to the millionaire RT Wilson who built a grand 72 room mansion. Just outside our classroom one can see the ruins of the once imposing structure. The legacy lives on in the surrounding Lowcountry vernacular architecture that celebrates what once was.

Between the light filtering through the live oaks of an ancient maritime forest and the views of the surrounding marshscape —Palmetto Bluff has to be one of the most beautiful places for nature painting and sketching.

We had a great time in 2016 and I hope to repeat the experience this year.
I have limited the group to 12 people for this workshop. There are accommodations in the nearby town of Bluffton, or if you don’t mind a longer drive, there are plenty of places to stay in Hilton Head. If you are interested, please email me for details and rates at sblaukopf(at)gmail(dot)com.

Sixth Avenue, again

I was in Lachine for a meeting today and wanted to paint right after, but there was a “snow clearing operation underway”, as they like to say on the radio. That usually means that street parking is impossible and dozens of dump trucks are on the road, making sketching challenging for someone in their car. I took a quick phone photo and came back home to paint.

Back in the studio I made a value study in pencil (and then accidentally dropped paint on it!) so that I could simplify the almost monochromatic scene. No detail in this, just the main shapes along with the lights and darks. You can tell I keep it close by to refer to because it has the same pigment on it as my painting.

SixthAvenue_SketchI painted using a limited palette today. This triad of primary colours is one I choose when I want to paint using a muted colour scheme: Cerulean Blue, Yellow Ochre and Organic Vermilion. The blue and the ochre are opaque pigments and can be used quite thickly, which contrasts well with the more transparent areas of the painting. I added a bit of Cobalt Blue for the snow, and some Neutral Tint when I needed to darken the colours. Painted on a quarter sheet of Arches 140 lb Cold press paper.
SixthAvenue