Eph’s Towing

 

5/6/26 QFC parking lot, Magnolia

Shortly after I had pulled out of the Fishermen’s Terminal parking lot last week, I knew something was wrong: The Miata’s clutch would barely engage, and shifting into each gear was a struggle. I pulled into a nearby QFC lot.

Eph’s Towing, recommended by Chuck’s Auto, came to my rescue. When I told Ephraim how questionable the car’s operation was, he decided to maneuver the car out of the parking space and align it with the tow’s flat bed by hand! I was impressed and relieved to see him treat my 30-year-old baby with such care.

Many towing services won’t allow the owner to ride along in the cab, but Eph was happy to take me along. It turned out that we are both Seattle natives and Franklin High grads (although he was probably four decades behind me)! I enjoyed hearing how he got into the towing business and how grateful he is for the flexible work, which enables him to spend more time raising his two young kids. Currently renting a house in Burien, he and his wife are saving toward buying a home. Despite Seattle’s well-known unaffordability, they like it here and hope to stay.

Eph securing my baby to the tow bed (photo reference)

As he dropped me and my Miata off at Chuck’s Auto, I wished Eph well and later left him a five-star review on Google (which he had requested in response to my words of gratitude).

Epilogue: The faulty clutch cylinder was the one that had been replaced just under three years ago (another towing incident that had required a much longer sketchwait than this one), so it was still within warranty. Whew! An automotive bullet dodged, and the Miata rides again!

A Larger Demo

 

A practice demo I did at home using markers on 9x12 paper.

My second in-classroom workshop for ArtSpot was on drawing animals with colored pencils. Since the brush pen workshop had focused on pets, I broadened the second one to include any animal, but the chosen subjects were all pets anyway. As I’ve found with my own commissions, pets are always an endearing subject!

After my first workshop, I thought hard about how I could improve my demos. The issue was that since I typically work on small paper, it’s difficult for the students to see my work in progress. Yet trying to use colored pencils on a larger scale would be time-consuming. I decided to use a 9-by-12-inch sketchbook at an easel to demonstrate the drawing methods (scaling, measuring, the drawing sequence) using bold markers. I felt that students could grasp the concepts that way, then apply them to colored pencils.

I think it worked out better, and the students all did really well. It’s always rewarding to interact with hard-working, motivated students!

Demo sketch on how I might use bright yellow to imply highlights that are
difficult to see in the reference photo.

An urban sketching-style group selfie!

Photo courtesy of ArtSpot

Photo courtesy of ArtSpot (I'm holding the demo I did with markers at the easel)

A Single Snow Gum Eucalyptus

 

5/3/26 snow gum eucalyptus, Maple Leaf neighborhood

A pair of spectacular snow gum eucalyptus trees on my walking route were among the many trees I sketched a couple of years ago while following the book, Street Trees of Seattle. Sadly, about a year ago, I saw that one of the pair had lost a major branch that had been precariously hanging over the street. A few months later, the entire tree was taken down due to poor health. According to author Taha Ebrahimi, these were the first snow gum eucalyptus street trees to be registered in the City of Seattle in 1978.

I didn’t have the heart to sketch the remaining tree for a long time. Walking by recently on a beautiful morning, I finally sketched it. In the foreground you can see the wide stump of the one that had to be cut down, but at least its remaining sister is still thriving and dancing.

(Even after sketching it several times, I still can’t seem to scale it accurately so that it fits on the page! The top of the crown reaches far beyond what I show here.)

Fishermen’s Terminal for USk Week

 

5/6/26 Fishermen's Terminal

For our second outing during International Urban Sketchers Week, USk Seattle chose Fishermen’s Terminal, which we think of as our inaugural site. A bit chillier and windier that day than I found comfortable, I ducked in and out of pockets of shelter from the wind (and found a boat aptly named Windswept).

I found small vignettes of fishing boats, the Fishermen’s Memorial Monument, and other nautical pieces to put together on the page. Floral arrangements were still in place in front of the memorial, where families gather each May to remember lost fishermen. Many names of fishermen who have died at sea are engraved in paving stones, and it’s always moving to see how many were very young.

Working Toward Abstraction

 

4/30/26 Volunteer Park

Sometimes the all-mighty algorithm finally gets it right.

With my reignited love for Caran d’Ache Neocolor II water-soluble crayons, I’ve been looking around for unique or unusual ways that urban sketchers or mixed-media plein air artists are using them.

For quite a while, I wasn’t very inspired. A lot of YouTubers are swatching all the colors for their audience, but I wasn’t seeing much art that involved unique approaches or techniques.

Eventually Colin Woodward popped up in my YouTube feed. Primarily a watercolor and acrylic painter, the Irish artist has lately been exploring both Neocolor II crayons and Derwent Inktense pencils – and he sometimes takes them out for plein air work. A-ha – finally something new and appealing! I’ve been bingeing on his videos ever since.

Although he’s done a few urban scenes, most of his landscapes are of northern Ireland’s lovely woods and streams. His spare, abstract style involves nuanced brushwork to activate water-soluble pigments; in other words, he’s applying water the way a watercolor painter would. One thing I really like about his informative demos is that he explains subtleties like why he changed the grip on his crayon or chose a particular brush at that moment.

Without trying to emulate his brushwork style (which involves a lot of nice watercolor brushes that I don’t intend to use, especially in the field), I tried a sketch at Volunteer Park (top of post). (This type of multi-layered scene of different types of trees is exactly what I was practicing from home recently.) I used my same old waterbrush – but more actively than I typically would. For years now, my primary means of activating color in trees and other foliage has been to spritz the page lightly with water. I like the organic look that results – most of the time. But other times I’ve lost control of the amount of water or direction of the spray.

Central to my sketch is the dense foliage of a magnificent sequoia. That’s very different from the lighter, airier foliage of deciduous trees that I have watched Woodward draw. Still, I tried to be more conscious of the tree’s form as I activated in a more controlled manner.

5/1/26 Maple Leaf neighborhood

What my sketch above lacks is Woodward’s abstract elegance. The next day, still thinking of Woodward’s northern Irish landscapes, I stopped on my walk for a typical Tina landscape (about as far from northern Ireland as I could get!): a Maple Leaf alley, at right. In an A6-size Hahnemühle sketchbook, it’s difficult to do any kind of detail with chunky Neocolor crayons, so all I could do was make smudges of color for the trash cans. I like that forced abstraction!

Though my baby steps may not be obvious, I’ve been working toward greater abstraction for a while now. Sometimes it comes out because I’m cold and need to work extra fast. It’s a lot easier when I’m working from reference photos, I discovered. I can set myself an assignment to be looser and more abstract and then focus on that task in the comfort of my home. On location, I have so much “reality” in front of me that I tend to switch on auto-pilot urban sketching, which always comes out tighter and more “real.”

Detail from on-location comics

Another thing I’ve observed about my own process is that the comic-y, line-drawing sketches (example at left) I’ve been making the past couple of years go a long way in satisfying my need for capturing “reality” with no need for abstraction. The drawings are tight and descriptive for a reason, and I like them that way. Sometimes when I do both types in the same location (these sketches from a recent drink & draw are a good example), the part of me with a need for tightness relaxes and allows me to be more abstract. That insight is a big personal win!

My goal for this spring and summer, when I tend to use more color, will be to push myself a bit harder toward abstraction on location. Maybe Woodward’s inspiration will be the nudge I need.

Street Action

 

4/28/26 Maple Leaf neighborhood

I was just finishing lunch when the floors and windows suddenly started shaking: A jackhammer was ripping into the pavement in front of a neighbor’s house. Grabbing my bag on the way, I dashed upstairs to sketch the action.

This is all I was able to catch of the jackhammering business. 

Too late for the noisy jackhammer, I caught the workers manually removing large chunks of broken concrete and dumping them into the shovel on the opposite end of the jackhammer (multi-use heavy equipment is so cool!). They had dug a shallow hole.

Shortly after that, a truck with a tank arrived – a pumper truck, I guess? A hose was lowered into a hole that had been revealed, and something liquid was sucked up. I had to leave for an appointment, so I couldn’t catch whatever happened next. When I returned, I saw that they had patched up the pavement.

The patch was only temporary, however. The following week, a concrete mixer arrived with a large crew of workers (below). A tree blocked most of the mud truck from my view, but I had fun trying to catch the various gestures made by the crewmen as they smoothed out the new pavement.

5/5/26 The concrete mixer arrived.

What would I do with myself without all this front-row action?

Farewell, Ada’s Technical Books

 

4/30/26 Ada's Technical Books, Capitol Hill neighborhood

I often observe Independent Bookstore Day by sketching some of my favorites. Although I didn’t get around to it on April 25, the official day, I still wanted to get over to Ada’s Technical Books, which is closing in June.

A unique niche on Capitol Hill for 16 years, the store also had a nice café and coffee shop. Back in the day (2015), when USk Seattle was small enough to have cold weather outings in cafés, we met in Ada’s cozy back area.

I admit, I have never purchased a book there; my reading interests have never leaned toward the technical. I have, however, enjoyed the café several times (and I bought colored pencils the last time I sketched the store). I had intended to have lunch as sort of a farewell, but the kitchen was closed that day.

It’s always bittersweet when an indie bookstore closes. I hope another opens in its place.

Technical notes: This is the kind of scene I would never choose to sketch if it weren’t itself the reason for the sketch. The shop was mostly blocked by the outdoor seating shelter and a tree. In addition, the storefront was cluttered with a tent (someone’s residence?) and other stuff, most of which I ignored, but there wasn’t much of the store to see, let alone sketch.

On the other hand, it gave me an opportunity to use my latest warm/cool colored pencil pairing: Mars Orange and Grape Derwent Drawing pencils.