Sketches from Maine -- Bar Harbor, Mount Desert Island, and Acadia National Park

I was able to get a few days to sketch on Mt. Desert Island. I didn't have time to write on location, so I left room for it, and did the writing when I got home. Here's a quick video flip through of the sketches. (View at slow motion if you don't want to miss anything; I flipped through rapidly.) This signature of pages will be bound into a sketchbook with my other sketches at the end of the season. That enables me to travel light, and select from many types of paper.

Makeup Kit to Painting Set Conversion

About five years ago, my daughter abandoned a makeup kit in the bathroom closet. It opened to reveal slide out trays with metal pans filled with eyeshadow, little screw cap pots for lip gloss, a mirror set into the lid, and even a small mascara tube. I have to confess that I coveted it from the first moment I laid eyes on it, hoping to someday convert it into a painting kit. The last time she came to visit, she gave it to me. Yes, I do wish I'd asked her sooner! 

(If the full post with images does not appear below, please click the post title above.)

Importance of Composition and Color Studies en Plein Air

I don't always do compositional sketches before embarking on a painting. When working out on location, the time to paint is always too short as it is. However, sometimes there are many elements we plan to move around or change. The sketches above are about 4.5x6", done in my Stillman & Birn hardbound sketchbook. The top one is acrylic over a pencil sketch, and the bottom one is watercolor over pencil.

In the top sketch, there was actually no pathway at all going into the field. I felt the scene needed a way to draw the viewer into the composition. I did the sketch in pencil to test drive my ideas. After setting up to paint applying some color over my pencil sketch gave me a chance to try out some color mixes too. When I stepped in to do the actual painting (in acrylic), which was 15x20, I'd resolved many potential problems before I even lifted my brush. This is the finished painting, which will be going up on my Hudson Valley Painter blog soon.

Based on the sketch I'd done, I made further changes when doing the painting. The sketch gave me a chance to consider more options.

The sketch of Croton Gorge Dam was done because the scene was so complex. I wasn't planning to make changes as much as I was trying to wrap my head around what would go where in the confusing mass of shapes, textures and perspective. It took three sketches before I had something I felt I could work with. The first two failures made me extremely grateful that I hadn't just jumped in on my 16x20" painting. Once I did this third sketch of the gorge, waterfall, dam, and bridge, I took out my watercolors and splashed some color on just to get a better idea of what it would look like. I felt I finally had a good working design, and broke out the larger panel for my painting and my acrylics.

This one still needs a few studio tweaks, but I don't think I could have captured this scene effectively if I hadn't taken the time to do the sketches. In this case, the sketches were more complicated and took a lot more time than usual. That proved to me how much I needed to do them, and how far off the mark my painting would have been if I'd neglected that step. It would have ended up as poorly designed as my first sketch of the day (which was so bad that I actually erased it even though it was in my sketchbook!)

The moral of my story to myself is that sometimes it is well worth the time and effort to Sketch Before You Paint. It's the artist's equivalent to Think Before You Speak, and Look Before You Leap!

A Day at the Farm

 

11x17" (across the spread) in a Stillman & Birn Zeta Sketchbook

Background monoprinted in several layers with a Gelli Printing Plate

and Golden Fluid and Iridescent Acrylics and Glazing Liquid

Sketches done with a Faber-Castell Pitt Calligraphy Pen

My plein air group went to Green Chimneys today, which is a residential facility for children. Their philosophy is that children benefit greatly from caring for and interacting with animals. They have a wonderful farm on the campus. Many of the animals here have been rescued and are in the rehabilitation process, not so unlike the children that reside here.

It was over 90 degrees today, and you'd never know we were into September. Due to the heat and my love of the animals, I decided to spend the few hours there sketching instead of working on a single painting. Of course the animals were in constant motion, so the sketches were gestures, done as they moved about. The sketch above (which you can click on to enlarge it), was actually the last one of the day. It was done across a two page spread of an 8.5x11" Stillman and Birn Zeta hardbound book, which gave me a full 11x17" work area. This is extremely heavyweight paper (180lb) and is fabulous for multi-media work. I've been using a large Gelli Printing Plate to print textured layers of color across the pages. I've done it in both Zeta and Epsilon books. I love having a toned, textured ground to sketch against, especially when working in monochrome. I sketched with a Faber Castell Pitt Calligraphy Pen. I wished I'd brought a bunch of Pitt Brush Pens with me, but alas, I did not.

Above is a two page spread in a smaller Zeta book, without a toned ground. The book is 5.5x8.5", which gives me a letter-size space when working across the spread. When we first arrived at the location, we gathered near a small pond filled with several different types of ducks, geese, and some beautiful swans. They were all highly entertaining! I started out with the little watercolor thumbnail sketch of the pond scene, then did some gesture sketches of the geese and swans, using the same Walnut Brown Calligraphy Pen, and a little watercolor.

I got tired of the brown and wanted to work with a brush, so for the sketch above, I pulled out a Pentel Aquash Grey (or maybe Light Black?) brush pen, plus my Kuretake brush pen, which was filled with Platinum Carbon Black ink. I added orange gouache for the beaks and cerulean blue watercolor for the shadows. I liked these two gestures. The goose on the left kept ducking his head down into the water to drink, then would raise it way up. Every time he stretched his neck and head up, I put in a few more lines!

11x17" across the spread, Stillman & Birn Zeta Hardbound book

Golden Fluid Acrylics background, printed with a Gelli Plate

Sketch done with Golden High Flow Acrylics

My friend Bea called me over to the other side of the pond to witness some swan antics. One kept swimming back and forth in front of me. I found this page that I'd printed using paper doilies on the printing plate to keep some clear areas, and decided to put the swans there. I worked on several views at once, changing from one to the other as he changed direction, swimming around in a circle. I mixed a violet out of some of the new Golden High Flow Acrylics, using Ultramarine Blue and Quinacridone Red, and did the sketches directly with a watercolor brush. The orange is Pyrrole Orange, a color I am becoming quite addicted to!

Sketching at Kaaterskill Falls

(Click image for a larger, clearer view.)

A few days ago, I hiked up to the base of Kaaterskill Falls with some friends for an hour or so of sketching. I had previously done a multi-layered monoprint across this two page spread in my Stillman & Birn Zeta hardbound book. The little picture area borders were printed at that time (and later embellished with markers), so I used them to make vignettes of scenes at the falls. The first one, on the upper left, is the grand view of Kaaterskill Falls, which is the tallest waterfall in New York State, and appears in many Hudson River School paintings. The little round sketch to its right is a rock study. Rocks give me a wonderful way to examine how value and color change as the form turns toward and away from the light. The third little sketch (the oval) is my friend Athena, who was sitting next to me painting the falls in watercolor. The last tiny sketch is unfinished, because everybody was packing up to go at that point. I tossed all my stuff into my backpack and we hit the trail! These were all done in gouache over the acrylic background.

Monoprinting in a Sketchbook Part 2 --- Plein Air Monotypes

11x14" Monotype print across the two page spread

of an 8.5x11" Stillman & Birn Zeta hardbound sketchbook

After spending some time doing the prepared backgrounds in my sketchbook with the Gelli Printing Plate, which I showed in Part I, it was time to explore more painterly monotype prints. After a few rainy days, a gorgeous day finally arrived, and I was too exhausted to head out to paint on location somewhere. I wanted to stay home. I brought all my gear out to the patio for an afternoon of plein air monoprinting. I was excited about trying this across the two page spread of my sketchbook, like I'd done the backgrounds. As you can see, it worked out fabulously well and printed right up to the gutter on both sides. As I stated in Part I of this monoprinting series, it would be ever so much better if they would make the plate size 11x17, rather than 12x14!

I set out a folding table and covered our patio table, and prepared for an afternoon of relaxed image-making. 

One of the tricky things about monotype prints is that when you paint on the plate, you need to create your image in reverse. The image will flip when you press your print. (This is especially important if you are creating text!) This was all so new to me, and I had a hard enough time wrapping my head around the whole technique of getting the paint onto the plate in a way that would transfer well. I decided not to worry about the reverse images for now, and allowed my landscape to reverse itself when I pressed the prints.

For these monotypes where I painted with brushes on the plate, I used Golden Open Acrylics. I had tried it the day before with the traditional Fluid acrylics and found that even though the fluids worked well for me when doing the textured backgrounds, they didn't give me enough working time for painting with brushes. Monotype printing is a somewhat subtractive process, so you need to not only be able to put paint down, but also to lift it off to reveal the white of the paper when the print is made. You need to think like a watercolor painter in getting lights down and working transparently, and like an oil painter in layering and removing color. It certainly keeps you thinking!

Later in the day, I moved over to the other side of the patio so I could take advantage of the view off the other side. I didn't like this one as much as the other, but I learned a tremendous amount from both of them, and look forward to further exploration of the monotype process. Generally speaking, it would be hard to do this plein air when traveling to locations, but definitely not impossible if you use a smaller Gelli plate and work in a smaller size. (You can see the wheels in my brain turning, can't you?)

Are you intrigued? Well, then definitely give these Gelli Printing Plates a try! They're inexpensive and a lot of fun. They give interesting effects and force you to think outside of the box --- always a good thing! If you have Stillman & Birn sketchbooks, you can take full advantage of their ability to open flat so you can print across the spread. Creating a sketchbook of monoprints is an exciting endeavor!

Kaaterskill Falls from the Top

8.5x11" across a two page spread of a 5.5x8.5"

Stillman & Birn Beta Hardbound Sketchbook

Ink and Watercolor

On the way back from the Inspiration Point hike that I posted about yesterday, we detoured to the top of Kaaterskill Falls, where you can sit alongside Lake Creek just where it plunges over the 270 foot waterfall. There are dramatic distant vistas of the mountains from up there, plus beautiful rock outcroppings and intimate cascades. It was one of the favorite spots of the Hudson River School artists, and it's one of my favorites as well! They have done quite a bit of trail work there recently and the footing is vastly improved from the top of the mountain down to the top of the falls.

Hike to Inspiration Point

8.5x11" across a two page spread in a 5.5x8.5"

Stillman & Birn Beta hardbound sketchbook

Ink and Watercolor

I went to Inspiration Point several times this past summer and fall. For some reason, it has beckoned me this year! The twisted birch tree on the left seems to end up being my sketching subject on the trips more often than not. I love the contrast in the trunk, and the way the backlit leaves light up against the mass of Kaaterskill High Peak behind them. The ink and watercolor were done on location. Once home, I added the border and lettering with a Pitt Big Brush Pen

Four Design Studies

Design Studies 3-6

Acrylics in a 9x12" Stillman & Birn Beta Wirebound Sketchbook

I'm going back to basics for awhile to revamp some things about my painting process. I've noticed some bad habits creeping into my paintings, and I'm really excited about correcting them and moving forward to make more of an artistic statement in my work. In order to accomplish these goals, I've dedicated this Stillman & Birn 9x12" wirebound sketchbook to the process, though I might do some of them on other supports too. This paper holds up really well to anything I throw at it, so here goes!

I'm planning to do at least one of these studies a day --- sometimes a full page, and sometimes just a portion of a page --- in addition to my regular paintings. Yesterday, I taped up a couple of pages into quarters so that I could do more of them faster. I'll do some of them in monochrome, but most in color. I may test drive different palettes too. The emphasis will be on design, and experimenting with how value, color, and composition work together in creating a painting that impacts the viewer.

These four studies were done with acrylics, using just Naphthol Crimson, Cadmium Yellow Light, Ultramarine Blue, Titanium White, and Carbon Black. I reverted to a red-yellow-blue simple palette in the interest of keeping my color clean and simplifying the process. (I usually do not use any Naphthol reds, but it's what I happened to have on hand, and whadaya know..... It worked!) I'm using acrylics because it dries quickly, doesn't lift, is opaque, and can be painted on paper. I'll probably do some of them in gouache and other water based mediums too, depending on what is convenient at the time.

In contrast to much of my work over the past few years, which builds on transparent layers, I am planning to work more directly with opaque paint on these. I'll work from life when I can, but I'll also work from photos. The two on the top of this page were done yesterday at the Eleanor Roosevelt National Historic Site in Hyde Park, New York. The bottom two were painted today from photos. The study on the bottom left was done from a photo taken during my recent Adirondack trip. The lower right is from a photo taken at my property in the Catskills.

I started out this series working the full 9x12 pages, but after the first two, I saw problems which would be more quickly resolved by working smaller and faster, and then bumping the size back up again once I've worked through the issues that I'm seeing. I'll do at least a few more quartered pages before I go larger again with these.

From a hike to Palenville Overlook

Stillman & Birn Beta hardbound sketchbook

Watercolor

Noodler's Luxury Blue Ink

Lamy Safari with EF nib

Sketched during our lunch break on a hike to Palenville Overlook with friends.

Hunter Mountain Fire Tower

Stillman & Birn 5.5x8.5" hardbound Beta sketchbook

Watercolors

Lamy Safari with EF nib and Noodler's Luxury Blue

Pitt Big Brush Pen (for page border only)

Text:
We took the easier route to the fire tower by riding the chair lift up to the Colonel's Chair, and then hiking the two miles uphill to the tower from there. The views from the tower were spectacular, though beter for experiencing than for painting. We were grateful for having made the decision to bring sweatshirts along! They were certainly needed on the chair lift ride up in the morning, as well as up on the tower, where the wind was brisk and chilly.

Once back down on firm ground, we sat on some rocks by the ranger's cabin and had peanut butter sandwiches, and I pulled out my paints to sketch the scene. The top of the tower was blocked off. We couldn't figure out why they would do that, but perhaps they were trying to discourage people from spending the night up there or making a mess.

As usual, the trip down was a lot easier than it was going up!

Helderberg Escarpment at Thacher Park

Golden Airbrush Paints

(painted with a regular synthetic brush)

Stillman & Birn Beta Hardbound Sketchbook

This sketch was done from one of the overlooks from the Helderberg Escarpment at Thacher Park. It's truly an amazing place, with a path along the escarpment's edge that runs for about two miles. There are many cleared vistas along the way, complete with rock outcroppings, beautiful foreground foliage, and views that span several states. 

I love painting with these Golden Airbrush Paints. They are very versatile, but a bit cumbersome to travel with. I have some ideas brewing to make cleanup on location go a bit smoother and faster. 

Hiking the Old Stage Road

7.5x15" across a two page spread in a

custom Arches 140# Rough sketchbook

These sketches were painted during another one of the hikes I took with my husband this summer. We've always wanted to hike the old stage road up to the Catskill Mountain House site. It's a strenuous walk up the steep slope of the eastern escarpment of the mountains. We thought we'd be smart and leave one car at the bottom, drive up to the top where there's a parking lot, and walk the road downhill instead of uphill! We walked down leisurely, figuring we had all the time in the world before meeting friends later for dinner. As we arrived at the bottom, I realized that I'd left my car key locked in my husband's car at the top of the mountain! We had no choice but to turn around and walk all the way back up to his car. Needless to say, I don't think I'll ever make that mistake again when hiking point to point!

Golden Airbrush Paints and Silverpoint Ground --- Who knew!

Golden Airbrush Acrylics on Silverpoint Ground
8.5x11 across a two page spread in a Stillman & Birn Beta (180 lb) hardbound sketchbook

A few weeks ago I went to the Golden Artist Colors factory for the day. In addition to other things, I was able to spend a few hours with tech staff to discuss some things I've been trying to achieve with acrylic paints, and possible alternative solutions to my mission. One of the things I was able to play with that day were the Golden Airbrush Paints and Silverpoint Ground. When one thinks of painting with brushes, Golden Airbrush Paints are not what come to mind! (Neither does painting on Silverpoint Ground, or using Silverpoint Ground to reclaim whites in a painting.)

Well, I was smitten with the possibilities of these paints! First of all, they are very highly pigmented, yet already in an ink-like consistency. This gives me an ideal solution to achieve watercolor-like pigmentation without the pigment disappearing on me. Furthermore, the Airbrush Paints have something that the Golden Fluids do not: retarder! Yep, the retarder is already added to the paint, so it stays workable longer on the paper, and can be lifted before it sets if you work quickly.

The down side to working with these has been finding an easy way to use them on location while out hiking. I've been experimenting with a few different ideas as I've carted them around. This sketch of Kaaterskill Falls was done on location in about 40 minutes. The pages were prepared in advance with Golden Silverpoint Ground. I applied two coats, drying with a hair dryer in between. The idea was that by sealing the surface, it would be easier for me to make use of the lifting capabilities of the Airbrush Paints. On location, I coated the entire sketch area with Transparent Red Oxide mixed with some Airbrush Medium. Then I used a piece of paper towel, sometimes dipped in water, to pull out my lights, as if I were doing an underpainting in oils. I continued to work transparently for awhile, adding darks and pulling out lights, then used more opaque paint toward the end. I used a little Silverpoint Ground for some highlights and light, opaque color mixtures. It has a very heavy Titanium Dioxide content and worked great! I'd put about 5ml into a small empty vial from an ink sample.

Transporting paints in a watery consistency has issues for sure. For one thing, I can't use the same palette that I can for oils or acrylics, nor any flat or disposable palette, for that matter. I ended up using two small, rectangular watercolor palettes that I taped together on one end so it could fold in half. I put velcro on the outside to affix it to my lap board with the sketchbook. That's worked out pretty well so far. I bring several of the small airbrush bottles of color with me, and pour them into the palette on location. Cleanup is a serious mess, and remains the biggest problem for me to resolve when out on location.

Here's a photo of the scene with my sketch. Unfortunately the sketch was in shadow and the scene in light, so it's a bit hard to see the sketch.

Experimenting with Grounds --- Watercolor on varnished paper

Watercolor on varnished paper
Stillman & Birn 5.5x8.5" Hardbound Sketchbook (180lb paper!)

I decided to use one of the brand new Stillman & Birn extra heavy weight Beta hardbound sketchbooks to experiment with various grounds and mediums. The size makes it easy to travel with, so I've prepared a bunch of pages in advance and I take the book out hiking with me. Since I have very little time to sketch on the hike outings, they serve double duty by allowing me to do my media experiments simultaneously.

For this page spread, I used two coats of Golden Polymer  UVLS Varnish  (Gloss), rubbing it in with a paper towel to make as smooth a surface as possible, and drying the paper between coats with a hair dryer. Then, off to Olana I went to do a rather monochromatic, tonal sketch of a sunset overlooking the Hudson River. I used four tubes of watercolor: Winsor Newton Burnt Sienna, Daniel Smith Quinacridone Burnt Scarlet, Daniel Smith Quinacridone Gold, and Holbein Permanent White (gouache). The idea was to use the watercolor the way I'd use oil paint, since the varnished surface would allow me to pull out my lights right down to the paper, and enable me to use the paints in both transparent and opaque ways. Landscape painter David Dunlop sketches this way a lot and does it very effectively!

It turned out to be more of a challenge than I thought it would be. The paint had to be used full strength because any water added caused it to bead up on the surface. It dried very quickly and was hard to lift without adding water, yet when the water was added, it all beaded up and came off immediately, right down to the white of the paper. I think this will have great potential for me as a sketching method --- it was fast to work with, and not having to carry solvents nor worry about the paint drying out on the brushes makes it ideal for travel. It also lets me use the same techniques I use in oils. However, I'm going to have to try to find some kind of medium that can thin the paints yet doesn't bead up. I'm open to suggestions! It also has to be able to dry quickly enough so that I can close the book and put it back into my backpack without worrying about sticking. I'm looking forward to experimenting more with this idea.

Summertime at the Beach

11x17" across a two page spread of a Stillman & Birn Beta Hardbound sketchbook

Golden Fluid Acrylics

I think this is one of the busiest summers I've ever had. In addition to lots of painting and taking a one week workshop, I've been having such a great time with my husband while he's been on vacation that it's been hard for me to keep up with photographing images and writing posts. I've been sketching like a madwoman, so I've got a lot of catching up to do!

This was sketched on location at North Lake Beach while out painting with my friend Nancy. Sometimes I just don't want the pressure of feeling like I need to turn out a "finished painting", so I relax and play in my sketchbook. This was one of those occasions when in spite of wanting to work larger, I knew I wouldn't have time to complete a large painting. I couldn't stand the thought of yet another large, unfinished painting hanging around in my studio, and I didn't want to work small. It was just what the doctor ordered for this summer day by the water. I'm liking this scene a lot and will probably go back and do a painting from here sometime soon.

I'm loving working in these Stillman & Birn Beta Hardbound sketchbooks. The 180 pound paper doesn't buckle at all, and it's possible to experiment with all sorts of grounds and surface preparation, as well as any medium. I have an 8.5x11", and also recently started a 5.5x8.5" version for when I'm out hiking and can't carry such a large book with me.

Lihit Lab Teffa Pen Case and Ohto Comfort Sharp Lead Holders Reviews

This classy-looking pouch is the Lihit Lab Teffa Pen Case. I've filled it with watercolor supplies to serve as a medium size watercolor sketch kit.

Most of you have probably seen my recent review of the Nomadic PE-07 Pencil Pouch, which I use as a very lightweight sketch/watercolor kit. That one lives in my pocketbook and I do love it. It's perfect for those unexpected sketch opportunities that come along while waiting for someone or something.

But I do miss my real brushes, as well as my slightly larger palette for those real brushes. I wanted an additional kit to take hiking and plein air painting, that can work with my custom Arches Rough sketchbook, as well as with the larger 8.5x11" Stillman & Birn books. Those books require the ability to lay down more paint with larger brushes, at least half-pan size paint reservoirs, and larger mixing areas. I ordered this Lihit Lab case to serve that purpose.

As you can see, the front of the case does a great job of holding my brushes, pencils and pens. I considered putting a small piece of Velcro in the center of the upper strip to hold the brushes in place better. The Velcro would give the brushes more security, but would take up space and reduce the number I could fit in there. I decided to try it the way it is first, and it worked just fine.

The brushes were a bit too long and needed help to fit in there. I measured how long they could be, cut them down with a hacksaw, and sharpened the ends with a pencil sharpener so they could be used to scratch out twigs, branches, etc. Then I dipped the sharpened ends in Golden GAC100 to seal the wood. I used old sables and synthetics, since I didn't want to butcher any fabulous brushes that also might get lost out in the field while hiking.

On the left in the above image, you can see my latest favorite pencil lead holders. I've always loved 2mm leads, but the ordeal with trying to keep them sharpened made them difficult to use when convenience is a factor. Well, have I got great news for you! These lead holders come with a sharpener in the end. Yep, problem solved! They are only $3.30 each (and come with a lead) at Jetpens.

I have 2mm leads in many grades of hard/soft, so I made up some labels on a label-maker, and put a different lead into each of the four that I got. Here's a closeup shot of the top of the pencils so you can see where the sharpener is:

Turning over the center divider, you can see how I organized the back of this kit:

My palette and a Mini Mister slide right into the pocket together at the back of the case, and there's room above them for double clip-on oil painting palette cups to hold my water. By keeping one water cup for warm colors and one for cool, I can get by with very little water. As hikers know, water is both precious and heavy to carry! Opposite those are small web pocktes that I use for holding a mini scrubber (from the pharmacy, for brushing gums/teeth), a little vial of Pro White (in place of white tubed gouache), a kneaded eraser, and a metal binder clip.

The palette has velcro on the back of it, and gets affixed to a 9x12 piece of Coroplast (a very lightweight, corrugated plastic), which I've prepared with the other side of the velcro. The palette cups clip onto the bottom of the board, like this:

The empty side of the board then slides into the sketchbook to help keep it secure. You could use rubber bands around the board and page for additional security if you wish or use a large metal binder clip. I can sit very comfortably with everything on my lap this way, and have both hands free.

This little, light setup enables me to paint 11x17 without even having to cart an easel around with me! I put a weightless closed cell foam gardening cushion in my backpack and I can sit almost anywhere in comfort.

So, how did this work out in practice? It worked great! I've taken it out three or four times now, and have come away with a few conclusions:

1. The Lihit Pen Case is the perfect size for this kit. If it were any bigger, I'd be cramming it with more stuff that would be heavy and unnecessary for watercolor sketching. It fits the palette and exactly what I need to go with the palette. No more, no less.
2. I desperately need a squirrel mop brush for this kit, since this setup enables me to go large enough to make use of it. I'll have to buy one or two inexpensive ones to cut down because I am NOT butchering my Rekabs!
3. About half of the brushes I do have in here I won't need. I'm going to whittle down the assortment before I go out again.
4. Keeping the kneaded eraser in a plastic case is a pain in the neck and wastes time. I'm going to remove it from the case and stick it in with the brushes.

More Watercolor and Gouache Palette Talk

Many people have been asking me about this watercolor palette over the past couple of days. I have explained in a previous post what I did, but perhaps that got overlooked because I didn't provide a photo of the actual conversion (above). When I bought this palette, it came with twelve half pans, secured in metal holders. I hated the paints. I took out those paints, replaced the colors with my favorite tube colors, and over the years have reconfigured it many different ways.  If you're interested in one of these, I've found the palette alone for a very reasonable price at Wet Paint Art --- click here.

I really like the size of this palette. It's small and portable, even when the flaps are opened up, and not too heavy for a metal palette. If you look at the image below, you'll see that you can not only fit half pans into two rows, but if you use the middle section (which is meant to hold brushes), you can fit a third row in there too.

For a long time, that's the way I configured this palette --- with three rows of paints, like the image below:

 

When looking for a way to incorporate my gouache pigments in the same palette as my watercolors, I needed more space. I removed the metal plate and clips that hold the half pans in the case. By doing that, plus turning all the half pans so they ran horizontally, I could fit in another entire row of half pans! Using just the outer metal case and removing the inside dividers also lightened the palette considerably. I secured the half pans in the case using the white tacky putty you can get at Staples or in craft stores to hold posters onto walls.

In the first photo at the top of this post, the bottom row of paint is gouache. You can read more about my pigment choices and this setup on this post. Remember that if you put watercolor and gouache into the same palette, you have to be sure to keep them separate when you mix your colors! Allowing the gouache paints to migrate into the watercolor pans will diminish the transparency of your watercolors. I use the bottom metal flap to mix my gouache, and that leaves the top two, larger mixing areas for my watercolors. Since I generally go from transparent to opaque (if I go opaque at all), I use the entire palette for watercolors, then just the bottom for gouache near the end of the process. I clean off the bottom mixing area before using it again for watercolor.

Hike to the Overlook Mountain House Ruins

Watercolor, 7.5x15" across a two page spread 

of a handmade hardbound Arches 140# Rough watercolor book

Image can be clicked for a larger, sharper view.

Last weekend, my husband and I climbed two and a half miles up Overlook Mountain to the ruins of the old Overlook Mountain House. All that effort really does pay off once you arrive at the dramatic structures. I sat on a stone stairway opposite the main building to do this quick watercolor and enjoyed every second of it! I hope to do some paintings and sketches from photos I took there, but I wanted to do at least one on location. The bugs were horrendous, and in spite of using DEET spray that was 98% pure, I got bitten to pieces in the process. Hiking down was a lot easier than going up there. I am so glad that I have some really lightweight painting/sketching gear now to take along on trips like this one.

Waiting for My Car

6x18", across the two page spread of a Stillman & Birn prototype hardbound Beta sketchbook

I got a flat tire on my way home from delivering paintings to a show a couple of weeks ago! I was driving around looking for a good sketching location when I heard a strange noise and pulled over to the side of the road. Fortunately, at that point I was only five minutes from my husband's office, and what a guy! He came over and changed the tire for me. 

The next morning I took my car to the repair shop for a new tire and an oil change. They were so fast that I didn't even have time to finish my sketch. I didn't realize at the time that the bright red car on the left belonged to the guy who did the work on my car. He was happy to see it immortalized in my sketchbook! I told them if they had taken longer, I would have been able to finish my sketch. They replied that if they hadn't been so slow, I'd not have had time to sketch!