If you just received today’s post, you can see I am in vacation mode. The title “Last sketches of 2019” should have read “Last sketches of 2018”! And I haven’t even had any champagne yet. But I’m sure you knew what I meant anyway.
Every year urban sketching brings me so much to be thankful for. Not only for the opportunities to sketch in beautiful places, some quite far from home, but also for the chance to meet incredible people — in workshops, at symposia, on the street as I sketch — who enrich my life in so many ways.
Yesterday I sketched in Naples, Florida, with my friend John who I met for the first time at the Urban Sketchers Symposium in Santo Domingo in 2012. He took me sketching in beautiful Old Naples where many of the historic cottages are hidden behind tangled gardens. This house was really special. Have a look at John’s sketches of Naples here.
This morning I sketched on the canal again, and just as I was nearing the end of the sketch the sun came out, casting all of those beautiful diagonal shadows across the scene.
Hope you have a happy new year and lots of happy sketching moments in 2019!
I woke up this morning to a dense fog that descended over Sanibel during the night. It took a few hours until it cleared but then we had this — beautiful, clear light. I found a spot at the end of the dock where I could rest my sketchbook and palette, which allowed me to paint standing up. Saturday seems to be pretty busy on this channel, with boats going in and out, but it was quiet enough for a mother and baby dolphin to venture into the canal just below where I was standing. Another bit of magic for today.
When I travel for extended periods of time my sketchbook is the keeper of all the memories, not only of big scenes that I see but also lots of small things like flowers and food. I took a little tour around the complex where our rental unit is and found all of these beautiful blooms. Drawing these is easiest when standing, and when it’s time to add colour, I clip my palette to my sketchbook and dip into my water bottles that are in my bag. It makes quick sketching really easy but you need a bag that has a flat bottomed pocket to hold the bottles.
I also did some people sketching on Bowman’s Beach today. I like to capture these poses quickly, either directly with a brush (on the left) or with a quick pencil drawing first (on the right).
The littoral zone is shallow area along the shoreline of a lake or pond that supports a diverse community of plants. These plants serve as habitat, food and protective shelter for native wildlife. I read all of that on a sign.
It’s pretty windy for sketching in open areas today, so I found a sheltered spot while riding my bike along the Pond Apple Trail. The pond I sketched is a habitat for alligators, and there are warnings all over the place, although not one appeared while I was there. There was an otter that popped its head out of the pond though, which was pretty exciting, and made me think that this will be a good week for wildlife spotting.
When I’m moving around on my bike I take a very small kit with me: my small Cocotte bag filled with two water bottles, a few pens, several travel brushes and my small Fome palette with 23 colours. On this trip I forgot to bring my folding stool so I’m always looking for somewhere to sit which is why this spot was ideal. The picnic table was perfect for sketching and I knew I would be able to quickly leap on top of it if an alligator showed up.
Sometimes what you experience while sketching is more meaningful than the sketch itself. This has happened to me again and again.
Today I drew this complex canal scene (boat on a lift, palms trees and house, all compressed together) but what I will remember about the day has nothing to do with what is on the page. What I will never forget about today are the sounds of the three dolphins that leapt simultaneously out of the water just inches from my feet, and then played nearby for a good thirty minutes. At times I could hear them swimming slowly just under the surface, their dorsal fins breaking the water here and there, sprays of water shooting from their blow holes. Other times I could hear the gentle lapping of waves nearby and realize that they were chasing each other right below me, weaving in and out of the pilings of the dock I was sitting on. Truly a magical moment. And in every way more memorable than my sketch, which turned out to be a difficult composition to resolve because of the compressed space, back lighting and distractions.
This afternoon I was trying some outdoor drawing with my iPad, in my usual Sanibel spot, looking out at the canal and trying to figure out how to do a digital drawing of the palm trees, when this guy landed in front of me. I’m pretty sure he was the same guy as last year. He’s quite bold, staring at me until I start drawing him, and then preening and turning his head this way and that. The iPad is perfect for quick sketches like this because I can draw him in one position and if he moves I can start another drawing and complete the first one when he moves back to his original position.
Coincidentally, earlier in the day and using more traditional tools, I drew the same subject as last year when I first met the blue heron.
I don’t usually get to sketch on the first day of vacation but after an early morning flight and all travel plans running smoothly, I actually managed to get a sketch in before the light faded on Sanibel Island. It was a most enjoyable hour spent looking at the quickly changing light on the boats, and as I packed up my sketch stuff, right on schedule, a dolphin jumped through the water just a few feet from where I was sitting. A good start to this week, for sure.
Sketched this at the salon when I was getting my hair cut today. Seems like a perfect image to go with my holiday wishes — for whatever you celebrate, wherever you are — hope to sketch with you somewhere beautiful in 2019!
When I first learned watercolour painting many moons ago, there was no green paint on my palette. I mixed every green from some combination of blue and yellow. I now use some green pigments when I paint, but I feel a pang of guilt when I use them, as if it’s cheating somehow. Silly stuff, really.
I still love mixing many greens in a single sketch, and it was fun to choose this sketch of Vancouver’s Stanley Park for a spread in my book “The Urban Sketching Handbook: Working with Color”. As I replicated the various greens in the sketch, I realized just how many variations on a theme I had used, and I could probably create even more with what I have on my palette these days.
For me the thought process always starts with a blue. If I want to make a light or a soft green, I often start with Cerulean Blue and add a bit of yellow to that. If I’m painting evergreens or really dark foliage and I want a rich, deep green, I might opt instead for Prussian Blue and mix that with a deep yellow like New Gamboge or Quinacridone Gold. And if I want an olive green I often start with Phthalo Green and add some Burnt Sienna to that. If you’re new to this mixing greens business, don’t go out and buy new paint. Start with what you have on your palette today and use a scrap of paper to see how many greens you can mix from what you have on hand. I bet you also have tons of combinations.
The book is due to come out at the beginning of April and is available for preorder at online retailers.