Many people are afraid of clowns for some reason. They might be scared to death if they walk down rue St. Paul in the old port area of Quebec City because, between two buildings there is a humongous inflatable clown head scrunged between the two walls. I think it’s cute but it could also be scary, depending upon your point of view. I had to draw it.
I almost titled this blog post “Oops… I forgot.” When I wrote my last post I got pulled away from the writing for a while. When I returned I read the last paragraph and it seemed like an ending so I did a quick copy edit and posted it.
Later I realized that the ending was really just a stopping point and that I’d forgotten to add a second sketch I’d done at the old zoo park that day.
So, as I was saying in my last post, we were having fun at the park and I decided to do a sketch of the bridge that carries foot traffic over the small river running through the park.
This required that I get down to the river level which put me in shade, among a bunch of foliage and near water. What could go wrong? Mosquitoes, mosquitoes, and more mosquitoes. What made them worse was that I was drawing. I’m oblivious to my surroundings when I’m sketching, even the swarm of mosquitoes that were biting me.
I didn’t notice until the next day when my arms and legs started itching like crazy (shorts and t-shirt day). I’m sure the sketch suffers from blood loss effects but here it is. I didn’t really finish the paint stage but I hope you like it anyway; the mosquitos sure liked me.
At one time, Quebec City had a marvelous zoo. I got to see it when I did my post-doc here. By the time I returned to live here, however, politics had caused its demise. These days a portion of the zoo grounds is now a park called Parc des Moulins because there is a windmill on the grounds, but I miss the animals.
Anyways, the Artistes dans les Parcs went there and had a lovely day. The weather couldn’t have been better and so hanging out with a bunch of artists, in a heavily forested area, with a creek running by was really relaxing.
For a while I was off by myself because I’d decided to draw the rear of one of the old buildings and the garden area behind (in front of the behind?) of it. This too is a relaxing place as there is a small pond and creek as part of the garden. Here’s the drawing I did in the morning.
Then it was time for lunch and we sat around enjoying each other’s company. Wish I’d think about taking photos of these gatherings. I never think about it until I write the blog posts (grin).
To say that spring/summer has been slow in arriving would be a big understatement but we’re finally starting to get some warm, sunny days. We took advantage of one of them last week and found ourselves in Beauport, along Avenue Royale, a street that runs along a hillside, a part of the city where the architecture is spectacular but quite different from the really early architecture of our “old city.”
My first sketch was an example of me biting off more than I could chew. It didn’t start out that way. I intended to draw just the end of a long set of Quebec equivalents of New York brownstones. These are covered with gables, towers, etc. and are quite stunning. They’re also quite complicated. Very quickly, though I let my eyes grow big while my time stayed the same and the result was that very soon I was scribbling my way to depicting half of the entire complex, something that should have taken twice the time and been done in a much larger format. My little 4×6 book just wouldn’t hold it all. Here it is, serving as a lesson – when you decide the scope of a drawing, stick to it.
As it turned out, I had more time than I thought. It has been forever since I’ve sketched outdoors with our little group and getting back into the swing of things is harder than it should be and my timing is off. Anyways, I started drawing a small subject, figuring I could get it done before everyone wanted to head off for lunch. In spite of its simplicity, I really like this one. Hope you do too. In any case, summer is here and I hope it will be a good one.
Winter is tough on people who like to sketch on location. We can go to museums, sketch people in coffee shops, and maybe even visit a mall, but there are days when the weather is so bad that we can’t even do that. What to do, what to do.
Those of you who follow Tina Koyama might have an answer. You draw fruits and vegetables and since Seattle agreed to take some of the snow headed to Quebec, that’s what she’s been doing. Recently she ventured beyond bananas, apples and garlic and drew a potato.
I’ve drawn apples, bananas, garlic, pumpkins, peppers, etc. (we get lots of snow), but I’ve never drawn a potato. Following in Tina’s footsteps, today I drew a potato, or rather two potatoes since that was the road less traveled.
In Quebec City we have to use our imagination to identify places where we can sketch on location. I don’t have any of that imagination stuff but I have friends who do and they came up with the idea of sketching in garden centers. We’ve done it a number of times and it’s lots of fun.
Sadly, even as we entered May it was still too cold to sketch outdoors so we headed to the garden center. I didn’t create any masterpieces this day (never do) but I sure had fun. It was the first time I’d sat on my tripod stool in a long time. That was something of a challenge as my knee becomes very unstable when I try to get my butt low enough to find the seat. Getting up is a similar challenge. I’ll have to do something about that. I did get to try a taller stool (20″ WalkStool) and I may buy one as that made this simple task much easier.
Anyways, I started with a simple, and quick sketch of a garden gargoyle. He (she?) was about a foot tall and without much detail but very proud.
I spent a lot of time wandering around the garden center, looking at the plants, the bright flashes of color and I even spent time looking at garden tools, bird feeders, etc. The koi pond required that I watch the fish going round and round too. Eventually, though, I got back to drawing and I immersed myself in a cloud of leaves that most would call a bonsai. If I were a real artist I would have gotten out a brush and just indicated all those leaves but I’m in love with fountain pens and the lines they make so there I was, drawing leaves… lots of leaves. I love the feeling of coming out of the meditative stupor induced by this sort of drawing. It makes me want to do it again.
I don’t do a lot of discussion of products here, but I was in the local COOP run by university art students (their way of getting quality stuff since our
artcraft store doesn’t stock it) and I came across this little sketchbook.
Unlike the Cotman pads I’m used to seeing from Winsor & Newton, this one had 5×7 sheets of 100% cotton paper. I bought one and emailed W&N to ask if this was a new or old product. The response I got suggested that the guy writing to me didn’t know the product at all, though it is listed on their website. Wandering around the internet, however, suggested that somewhere around a year ago, W&N stopped making the Cotman books and started making “craftsman” and “professional” papers. This little gray book is part of their professional series. All of this is anecdotal but what I can say is that this is completely new to me.
I haven’t had much chance to try it out but the paper does seem very nice. In the hands of someone who understands watercolor, probably even more so (grin)
I wrote my first blog post about Stillman & Birn sketchbooks at the end of 2011. Back then I was a newbie sketcher, struggling to find the ‘perfect’ sketchbook. At the same time, Stillman & Birn had only recently released a small line of high-quality sketchbooks and I was lucky to cross their path as it seemed I was buying a new sketchbook every week, trying to find one I liked.
Since that time Stillman & Birn has expanded their line of great sketchbooks, with their wide range of quality papers and formats. And except for cheap notebooks I use for quick-sketching, I’ve used Stillman & Birn sketchbooks almost exclusively. Most of the sketches on this blog were drawn in S&B sketchbooks.
So when Stillman & Birn announced the release of a new line of softcover sketchbooks, I got some immediately. But there was a problem with the binding. I called Michael Kallman (President of S&B) about this and I felt so badly for him as his shock could be heard in his voice. But Stillman & Birn rose to the occasion, withdrew the books from the marketplace, and went to work to solve the problem.
I was both surprised and thrilled when Michael sent me a couple prototype books to test, one with their 150gsm paper and the other with their 270gsm paper. I was thrilled to find that the binding problems had been solved and wrote about this on February 20th.
So What’s New Larry?
Two things have happened since then. First, the softcover sketchbooks have been released to those of us who have been chomping at the bit to get our hands on them. Second, I’ve gotten the chance to fill those two prototypes, allowing me to see how they hold up to my abusive behavior of throwing them into my art bag and carrying them everywhere I go.
I use 5.5×8.5 Alpha, 3.5×5.5 Alpha, and 8×10 Beta books and I love them all. I’m not going to talk about the paper quality as you can find my comments on their great papers in my other posts and a simple Google search will yield many other artists singing their praises. What I want to talk about is using them and how they wear because that’s what the prototypes have allowed me to experience that others may not have been able to do at this point in time.
Wear and Tear
When you move from hardcover to softcover you do so mostly because softcover books are lighter (about half the weight of their hardcover counterpart), thinner, and typically a bit smaller because there is no cover overhang. All of these things are true of the S&B softcovers (they do weigh about half the weight of the hardcovers).
The big fear, however, is that the softcovers won’t hold up under typical urban sketcher “throw them around” abuse. I’ll be frank. I didn’t have high hopes because I’m not kind to my sketchbooks, but these books hold up really well. As you can see in the photo, these books look new in spite of having spent nearly four months being pulled in/out of my sketch bag almost daily. Even the fact that the prototype books didn’t have their corners rounded as the commercial books are didn’t result in bent corners.
You might also note that the books aren’t swelled up from buckling. This is a function of those great S&B papers, but I was concerned that the Alpha book in particular wouldn’t flatten out as well as one with a heavy hardcover. My fears were unfounded.
Softcovers In Use
In use these books are a dream come true. They open very flat – more so than the hardcovers. I don’t work across the fold very much but it’s easy to do with these books, regardless of the weight of the paper.
This, and the fact that there is no cover overhang makes it very easy to scan sketches done in these books too. I’ve fallen in love with the 8×10 format for this reason. I have a hard time scanning 9×12 books, regardless of binding because they just don’t fit my scanner well. The 8×10 books make it very easy and yet provide a nice size for larger sketches.
One thing that might be nice would be the addition of an elastic band to keep the books closed. I didn’t find this to be a problem with these larger books but with the 3.5×5.5, once you get into the book a bit I found that it doesn’t want to stay closed. It’s not a big deal and I just used a rubber band but I thought I’d mention it.
I’ve been a Stillman & Birn fan for most of my short sketching lifespan and these new softcovers do what I didn’t think would ever happen. It’s likely that I’ll stop using S&B hardcover books for the first time in five years. I’ve fallen in love with these new softcovers. Great paper. Great format. Light weight. What more could a street sketcher as for?
Yvan and I went to Galleria Margelis-Paradis in Trait Carre because the Charlesbourg Watercolorists were having an event to promote the gallery, their group, and their upcoming participation in Quebec’s annual Fete de Nouvelle France celebration.
I’m not much of a people sketcher, particularly when the targets are moving, which was the case as the watercolorists were talking with visitors, showing them period items and paintings. But, practice makes perfect and I’m sure I only need to draw a couple thousand more before I figure it out. Anyways, here’s a few of the sketches I did that day. All were done in a Stillman & Birn Alpha softcover sketchbook with my Platinum 3776 pointy device.
Sometimes you just want to draw on colored paper. Maybe it comes from the days when we were kids and had piles of “construction paper” in all colors of the rainbow. Whatever its roots, sketchers like to shun the white and walk a bit on the wild side, if only once in a while.
A company called Bright Ideas has a solution and it’s called the Bright Ideas Journal. This is a 5×7 book with 408 pages. I suppose you could get away with very light applications of watercolor but the paper isn’t heavy enough for the serious watercolorist. As a substrate for pencil and/or ink drawings, however, this journal is pretty sweet.
It’s thick (about 1-inch) compared to most sketchbooks because of its 408 pages of paper in ten different colors but a big plus is that this book lays flat, very flat because of the open spine binding. Some may grumble because each page has the name of its section printed in the lower right corner. What purpose this could possibly serve is lost on me but I don’t find it objectionable for my ‘small sketches’ needs.
I haven’t had much chance to experiment with it but the paper takes ink very well, with no feathering, no bleedthrough and ghosting only if you hold up the sheet to the light. I think I’m going to have a lot of fun with this book and I thank the Bright Ideas folks for their bright idea. I ran down to the local park and did this quick test sketch so I’d have at least one ‘test’ that isn’t a bunch of scribbles.