Get Ready for Holidays in Ink (plus other media) 2022-23!

 

It's almost that time! You're invited to join me and a bunch of my friends for this fun, educational, and motivational, annual adventure. We'll combine inks with other media to complete a sketchbook during the holiday season. This post outlines what you need to know in order to play along.

DATES:

Monday, November 21, 2022 - Friday, January 6, 2023

GOAL:

Based on how quiet or hectic your personal holiday season is, select or make a sketchbook that you will easily be able to fill during those dates. When November 21 arrives, start your book. Use some ink. Incorporate other media if you wish. That's it!

SUGGESTIONS:

THE SKETCHBOOK

You do not have to complete a page a day, nor even a sketch every day. Well, of course you could. But I will not be doing that. Personally, I've opted to complete 36, two-page spreads during the 47 days of Holidays in Ink. I found a fabric with ravens in moonlight that I loved, turned it into bookcloth, and made my sketchbook a couple of weeks ago. 

Transform an Old Book into an Art Journal

Watercolor over thin white gesso layer, calligraphy marker

For many years, at least a portion of my sketches have been done in old books that I've repurposed as sketchbooks. A lot of friends have been asking me about my process for reusing old books as art journals, so this post is for you....and anybody else who wants to know!

The images in this post are from a 9x12" old hardbound music book, so the two page spread gives me a 12x18" painting surface. This size is a bit cumbersome to take out on location, so I have also collaged in some paintings/sketches done on location, or on other types of paper that I wanted to experiment with.

These two facing pages were lightly sized with white gesso. A small plein air painting was collaged 
onto the left side. Watercolor and gouache were used to paint the Red-winged blackbirds from photos 
I took at the scene, and capture the feel of the marshy location. 

I generally start with a well-constructed, stitch-bound book that can open completely flat. I like books that are more than just text, contain some kind of graphic content, some blank areas, and do not have glossy paper. Although it's nice if the pages are thick, they don't have to be. The book can be hardcover or softcover. You can also use these steps to transform a traditional sketchbook into something that can accommodate heavy media use. So far I've used mostly hardcover books because I put them through a lot of abuse! Choose a size and format that will work for you. Is it for studio experimentation, or will you want to carry it around? Page size, book weight, paper thickness, content, and number of pages are all critical factors.

Watercolor, applied directly onto the pages (no sizing)

You might have some great, old books lying around the house. If none match exactly what you're

Rewetting Gouache -- Tips and Tricks

A couple of my gouache (left) and watercolor (right) palettes with some little sketches.
The small, airtight plastic container has titanium white gouache in it.

Lately, many people are saying online that you cannot or should not rewet gouache after it has dried. But I've been rewetting gouache forever. That's why I love gouache as a travel medium. If you don't mind traveling with tubes of paint, and taking the time on location to set up your gouache palette, then just keep doing what you're doing and ignore this post! Personally, I want the advantages of oil or acrylic if I'm going the wet paint route. Gouache offers me portability and compact simplification when those are a priority, such as when out on location or working in a sketchbook. It does not have the feel of that luscious, smooth, wet paint out of the tube, but it serves my purposes.

(Note: "Acryla Gouache" is acrylic paint, not gouache. It cannot be rewet. This post applies only to gouache, which is opaque watercolor, and remains water soluble even after it has dried.)

If you've been struggling with rewetting your gouache, or the appearance of the rewet gouache on your painting, I have a few tips that may be helpful for you:

Megasketch Monday -- Silhouette Power

Pentel Pocket Brush Pen with Platinum Carbon Black ink

If you open up the Roger Tory Peterson Field Guide to the Birds, the first thing you see is a two page spread of bird silhouettes. What always surprises me is that each bird is so identifiable from its silhouette alone. Their poses are also perfectly in character, sitting on wires, standing on a fence post, walking along the ground, or looking up and chirping. Silhouettes seem simple, yet they can tell a

Twenty White Gouache and White Watercolor Brand Comparisons

When I want a bright white highlight on a sketch, I often count on white gouache to do the job. All whites are created equal, right? Wrong. In fact, even all Titanium Whites are not created equal. On my sketches, I've noticed if a brand of white gouache isn't a brilliant white, or isn't opaque enough, or has an annoying sheen to it. Whether this is due to different brands of the pigment itself, or differences in the color of the binders, the whites are not the same. Consistency, texture, ease of application, and sheen also vary, which affect their use and appearance.

Over the years, as I accumulated and used new gouache and watercolor whites, I made swatches of them on gray paper to see how they measured up against one another. Today, I noticed that there were 20 swatches on the sheet, so I thought it was time for a little Reveal Party.

Three Day Sketching Retreat

Last week, I had an opportunity to spend a few days at a sketching retreat at the Holy Cross Monastery along the Hudson River. I'd long admired the monastery when painting across the river at the Vanderbilt Mansion in Hyde park. When my friend Melissa Fischer organized a sketching retreat there, I jumped at the chance to go and explore the grounds, and immerse myself in my sketchbook. I had just hung a big solo show, which had taken me away from sketching for awhile. It felt great to get out there in the chilly fall air, amidst some beautiful colors and scenes. 

I made this sketchbook specifically for the retreat. It's made out of a single full sheet of watercolor paper, cut into thirds and then folded. I figured it would give me just the right number of pages to fill in a few days. I had just one page left in it when I returned, so it worked out perfectly! This is Fabriano Artistico Cold Press 140 lb paper. Most of the sketches are watercolor. There is one monochrome gouache sketch across a three-page spread, and a pencil sketch of an old oak tree that became a sort of Rite of Passage for all the sketchers there!