Where Words and Music Come Together

 

5/14/26 Ben Wheeler accompanies Cindy Williams Gutierrez as she reads her poems at Hugo House (quotations are from Gutierrez's poems or commentary during the Q&A)

Dave Nolet on bass 

I recently enjoyed a unique collaborative performance at Hugo House, a literary arts center for creative writers. Poet Cindy Williams Gutierrez read from her book, This Tender Geography, while classical guitarist Ben Wheeler and upright bass player Dave Nolet accompanied her. The interplay of poetry and music was rich and moving.

Here’s what made the evening extra special for me: Ben and I attended the same elementary, middle and high schools and had not seen each other since our 20^th Franklin High reunion eons ago! In addition, I attended the event with our mutual friend Marianne, whom I have known since kindergarten. All three of us were in the same second grade class! It was a fun reunion, and we vowed to get together again soon when we’ll have more time to catch up.

Reconnecting with people from my past has become very important to me, and I cherish every opportunity.

5/14/26 After the event, I went home and sketched from our reunion selfie:
Friends since second grade!

Peek-a-Boo View

 

5/12/26 Olympic Mountains from downtown Edmonds

Meeting a friend for lunch in Edmonds, I arrived early so that I could make a sketch to give to her. My intention was to walk around town or even the beach to find a subject, but just after I parked, I glimpsed this peek-a-boo view of the Olympics between buildings.

After lunch, we took a long walk along the beach, and snow-covered Mt. Baker was in her full glory. Although this peak is not too much farther from Seattle than Mt. Rainier is (though in the opposite direction), I don’t know of any viewpoint in Seattle where Baker is visible. It was a gift to see her from Edmonds. 

Mt. Baker from Edmonds beach.

Although Ruth and I had stayed in touch through holiday cards and occasionally on Facebook, we hadn’t spent time together in more than 20 years. A couple of months ago when I was ArtSpot’s featured artist, she saw my name on the promotional flier and surprised me by dropping by! We promised to get together before another couple of decades went by. Thinking about recent regrets when I didn’t act soon enough, I texted Ruth the very next morning to plan this meetup. I’m finally heeding the lessons that life keeps trying to teach me.

The whole day was one gift after another.

Komorebi

 

5/11/26 Ballard neighborhood

The Japanese term komorebi is translated as “sunlight leaking through trees.” (Japanese has so many perfect singular terms to describe sensory information that requires numerous, somewhat clumsy words to do the same job in English.) Whenever I see it, I can’t resist trying to capture it in a sketch, and it’s always a challenge.

Media notes: My recent use of Caran d’Ache Neocolor II water-soluble wax pastels along with water-soluble pencils has been an interesting learning curve. Neo II’s wax base can act as a resist if they are applied to paper first, which makes applying colored pencils over it tricky. When I use only watercolor pencils, it’s a no-brainer to pile on various colors at will, but putting Neo II into the mix requires a little planning.

In this sketch, the dark green is a Cd’A Museum Aquarelle pencil, and the bright yellow-green leaves are a Neo II crayon. I had to remember to apply the pencil first.

The trunk and limbs were a different pile-up: First I used a Sepia Neo II crayon to draw the tree with the “licking” method as if painting with traditional watercolors. My plan was to let that dry and then apply pencil over it (that’s one way that the resist effect can be avoided). But then I changed my mind, and while the Sepia was still wet, I went over it with an Indigo Blue Neo II. I like the mix of warm/cool as well as the smooth (the wash of Neo II) with the textured (dry Neo II).

For many years, I was a purist about using water-soluble colored pencils as my only coloring medium, at least on location. I seem to be turning into a mixed-media sketcher without my conscious intention!

Green Shakeup

 

Audition of natural green Neocolor II, Inktense and Museum Aquarelle

After a couple of weeks of being dissatisfied with my daily-carry selection of greens, I decided it was time for a total shakeup. I pulled all the greens out of my bag – Caran d’Ache Neocolor II crayons (which had been doing the heavy lifting of greens lately) and one Cd’A Museum Aquarelle pencil. Then I went through all my Neocolor II crayons, Museum Aquarelle pencils and Derwent Inktense pencils and selected the more natural greens that would be useful in my Pacific Northwest urban landscape. The image at top of post is the selection I auditioned. Below are the swatches.

The finalists are checkmarked.

Many were easy to eliminate after applying water. Especially among Neo II and Inktense, many greens look natural in their dry state, but once activated, they become almost garishly bright and less natural. I made the first cut below.

Among these finalists, the checkmarked greens went into my daily-carry bag.

The ones I checkmarked above are my final cut, currently in my daily-carry.

On an errand in South Lake Union, I made a sketch to test the new green palette. Also referred to as Amazontown (at least by me), SLU is mostly an ultra-modern, glassy, urban village, but Denny Park does offer a fringe of green. I enjoy finding compositions that contrast steel and glass with organic foliage. The unique accordion-folded shape of the Skyglass Apartment Building caught my eye behind Denny’s tallest trees.  

5/9/26 Skyglass Apartments and Denny Park, South Lake Union

So far, I like the way these greens go together straight out of the pencil/crayon. I hope I can push myself, though, to find more interesting blends by introducing non-greens. It’s that constant tension between wanting to stay “real” with nature – and not. Maybe some red complements to dull the greens? Maybe adding blue instead of leaning on that dark bluish-green I love so much for conifers? My summer challenge begins.

Abstract Colors, Abstract Shapes

 

4/29/26 Maple Leaf neighborhood (This house, which looks more like a beachfront hotel than a residence, is actually dark brown, but I had no problem turning it blue-violet, which has become a favorite dark in my palette. On the other hand, I felt compelled to color the trees around it in their natural hues.)

As Colin Woodward’s YouTubes have made me think more consciously about abstraction, I’ve come to realize that some types of abstraction come more easily to me than others. The textures and shapes of trees and foliage, for example, are easier to abstract than their hues, which I feel compelled to make as natural as possible (I talked about this a bit in yesterday’s post, too).

On the other hand, humanmade shapes likes houses and cars are more challenging to abstract, but it’s easy to use non-realistic (or non-real) colors to depict them.

5/3/26 Maple Leaf neighborhood (With some difficulty, I tried to abstract the cars as much as possible. The blur of foliage was easier to abstract by simply focusing on values.)

Strangest of all is that it’s easier to abstract both shapes and colors when I work from photo references (as below) than from life. It should all be the same to my brain, yet whenever I sketch from life, I feel I must be more life-like. (As is often the case, my brain can be annoying.)

4/15/26 photo reference (Both shapes and colors are easier to abstract when I draw from a photo)

Hacked flat waterbrush

In somewhat related news: Woodward, a painter in various media, uses many types of “real” brushes (he’s too polite to say, but I can tell that he eschews the waterbrush and keeps one around only for emergency use). One of his favorites is a flat wash brush. Although I have no intention of using real brushes on location, he inspired me to dig out a waterbrush I had hacked several years ago. It’s a standard Kuretake waterbrush with a flat edge that I cut (with some difficulty) at an angle. I goofed around with it at the time to make portraits, then forgot about it.

I’m glad I kept it! The point is finer than a Kuretake medium-size round waterbrush, which is my go-to, and it has come in handy a couple of times for details. More useful, though, is the angled flat edge, which enables activating a large area of foliage, for example, without getting the dreaded dab-dab-dab look that can occur when using a round Kuretake. (In fact, avoiding the dab-dab-dab look was what led me to start using a spritzer to activate foliage years ago.) It might just be a novelty, but I’m keeping it in my bag for now.

Northlake Commons (and Green Disgruntlement)

 

5/7/26 Northlake Commons

Mary Jean recently introduced me to a newish business complex near the north end of Lake Union just off the Burke-Gilman Trail. Northlake Commons still looks largely unoccupied, but all the better to explore the huge public spaces. Best of all, the complex has been beautifully landscaped (approved by MJ, a retired landscape architect) to soften the hard edges of the surrounding modern architecture. If you stand at the top of a stairway, you’ll see peek-a-boo views of Lake Union and the downtown skyline. (I see a USk Seattle outing here in my future.)

First I wanted to continue experimenting with varying textures and colors of greenery by focusing on one of several weeping cedar trees at the foot of a stairway (top of post). It’s one of my favorite types of composition with organic foliage against hard, built environments.

I considered sketching the lake view from the top of that stairway, but I wanted to get closer. Across the street, I discovered that one of the peek-a-boos was a tiny pocket park with a bench and even a picnic table. Hidden from the sidewalk, it must be a well-kept secret: That afternoon, it was just me and a family of Canada geese.

Lake Union from a tiny pocket park

Color notes: I’m unhappy with my current selection of green water-soluble materials. For many years, I had used a go-to trio of Caran d’Ache Museum Aquarelles that went well together, but growing tired of it was what prompted my lengthy exploration of primary triads several years ago. I wanted to get out of that rut.

Eventually I drifted back to the tried-and-true, but then my more recent discovery of designer Germanier’s surprising color choices led to my “wacky” palette experiments. Although I’m hoping that inspiration will still guide me now, when it comes to foliage, I always feel the tension between wanting to be true to nature and wanting to push myself.

Lots of greens, none quite right

My current dissatisfaction with greens is mostly due to my love of Caran d’Ache Neocolor II water-soluble crayons. Despite its wide green range (all of which I own), I can’t seem to find a trio (light, medium, dark values) that go well together. In addition, I also like to have a dark, cool green to take care of all the Pacific Northwest conifers fringing any horizon, and Neo II doesn’t have one that’s just right for that, either. Hence, I ended up with a nearly-turquoise green on the sunny edges of the weeping cedar which I made attempts to dull with a mossy green that I don’t like, either.

Using only Neo IIs for foliage wasn’t going to cut it. Since I’m trying to avoid my Museum Aquarelle green rut (sadly, MA’s range of greens is inadequate), it’s time to pull out Derwent Inktense Pencils. Although I went through an infatuation with Inktense a few years back, it had faded. However, seeing Colin Woodward’s use of Inktense revived the spark. Stay tuned for my green overhaul.

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.

Bittersweet at Gas Works Park

 

5/2/26 Cranes are poised for destruction at Gas Works Park

Back in February when I participated in a “heart bomb” for Gas Works Park, the decision to dismantle some of the historic structures had been tabled by the city. There was still hope to find alternative solutions that would address safety concerns while retaining the structures. 

The usual park residents

Then in April the Historic Seattle organization reported that one Seattle department had ordered another city department to remove “character-defining features (catwalks, platforms, railings, ladders, pipes, etc.), or “appurtenances,” on the iconic towers by May 15. It seems a decision had been made quickly without the knowledge or involvement of landmarks preservation organizations (see the full story and context at the link above).

USk Seattle had been thinking of a different location for our May 2 outing for International Urban Sketchers Week, but we made a quick decision to meet at Gas Works Park instead. We had to sketch ASAP if we wanted to capture as much of the original structures before they were forever changed.

Knowing that it would be the last time we’d see the gas works as they had always been, it was a bittersweet outing, and USk Seattle came out in full force. The blow was somewhat softened by the amazing weather: Temps in the low 70s with sunshine and a soft breeze off Lake Union! I was among the many sketchers who sat or stood comfortably in full sun without feeling too warm. What a treat!

I stood at the top of Kite Hill for most of my sketches so that I could include the backside of the gas works, where cranes were already in place to dismantle pieces that could be climbed. While it’s tragic that several trespassers have fallen to their deaths over the years, it’s important to note that the entire area has always been surrounded by fencing with signs everywhere prohibiting entry and climbing.

It’s also a great spot to capture kite fliers, people and dogs enjoying the sunshine at the crest of the hill.

Top of Kite Hill

Because I’m feeling sentimental about my favorite city park, I’m showing below some of my many sketches of Gas Works Park from the past 11 years.

1/19/26

4/18/25

9/17/22

9/2/21

6/22/17 The piping and catwalks that cast these cool shadows will soon be gone.

7/2/16

9/9/15

5/2/26

The Ever-Versatile Neocolor (and Latest Sketch Kit Improvement)

 

Ever-versatile Caran d'Ache Neocolor II water-soluble crayons

The tiny Sendak was one of several ways I tried carrying Neocolors in the field,
but they all required an auxiliary bag.

Although Neocolor II water-soluble wax pastels is a medium that I’ve dabbled in for as long as I’ve been sketching, it has only been the past year that I’ve given this Caran d’Ache product a serious workout. It started last summer when I tried carrying a supply of the crayons in the field. I tried several ways, actually, and none was ideal, so my regular use on location didn’t last long. It was enough, though, to reignite my love for Neo IIs.

In the winter, I put the Neo II crayons to work as a favorite doomscrolling prevention medium. Practicing from reference photos at home had double benefits: It encouraged me to mix the crayons with other media (which taught me which products they were friendly with), and, even more significantly, it encouraged me to try using them in the field again.

Sketching from photos helped me explore mixed media and encouraged me to try Neocolors in the field again.

The real breakthrough came when I devised a way to conveniently carry a half-dozen colors in my daily-carry bag instead of in an auxiliary bag. Then I discovered that my MacGyver’d solution had the additional benefit of serving as a painting palette!

Now that I’m using them regularly in the field, I’m appreciating the versatility of Neocolor II crayons even more. Unlike colored pencils, the chunky tips discourage fiddly details and especially encourage taking a more shape-based, painterly approach.

Using mixed media on location.

I especially enjoy using them in combination with both watercolor pencils and non-soluble pencils. Putting the crayon ends face up inside my bag enables me to use my “licking” method easily, and that encourages me to use them more like watercolor paints when I want to.

My life seemed perfect – except for one thing: I wanted more than the six colors that my MacGyver setup would allow. I needed something like that tiny coin purse, but larger.

Necessity is the mother of invention, or in my case, of late-night shopping. I knew Etsy was a good source of handmade things not available in stores or on Amazon. Indeed, I found a variety of simple, inexpensive fabric rolls sized for kids’ crayons, and one of them was exactly the dimensions I needed. It fits 10 Neocolor crayons perfectly. (Yes, it would have been easy to sew myself – if I still had a sewing machine and fabric scraps. But I prefer to support an entrepreneur. And don’t forget I’m lazy.)

This adorable roll, made by an Etsy merchant, is intended for kids' crayons. (It came with an elastic band to hold the roll closed, but I cut it off.)

I sewed the crayon case to the back of the Rickshaw pen case, which removes the bulk of the crayons from the main compartment. It has been working perfectly! (This post shows all the media in my daily-carry.)

The crayon roll is sewn to the back of my Rickshaw pen case.

But what about the tiny coin purse I had sewn inside – my original MacGyver solution? Initially, I was going to remove it. Then a thought occurred to me: My colored pencils eventually get to the point where they are not yet short enough to attach to an extender/holder, but they are short enough to disappear from view in the pencil case. The coin purse gives them the boost they need to stay visible for a while longer. (I avoid using extenders as long as possible because they add weight and bulk.)

The circled pink Inktense and gray Museum Aquarelle pencils are much shorter than they look. The tiny red coin purse sewn inside the pen case gives them a boost, which keeps them from disappearing from sight.

Isn’t it wonderful when my life is perfect! Well, at least my sketch kit (which, as we all know, is the most important part of life).

Ahhh.... my perfect life.