Sunny Trees at Volunteer Park

 

2/5/26 Volunteer Park

The USk Seattle outing was for a choice of either the conservatory or the Seattle Asian Art Museum, both at Volunteer Park and both of which are free on First Thursdays. But when the day dawned with a clear sky and a forecast of temps in the 50s, I knew I wouldn’t be going indoors at all; I bundled up for outdoor sketching!

Seeking a spot where I could get a dose of vitamin D, I first sketched the memorial of William Henry Seward outside the conservatory (above). I’ve sketched this statue a few times before, including one during my first year of sketching. I remembered that experience and how the statue had gotten lost in front of a background of trees painted in the same value. I’m happy that I’ve learned at least a few things since then.

Across the street from Volunteer Park Cafe, 17th & Galer

After a bite to eat at nearby Volunteer Park Café, I walked across the street to sketch a lovely bare tree that I had spotted on my way to lunch. Although the Capitol Hill neighborhood is full of Seattle’s oldest, most impressive trees, this one had beautiful light on its trunk, and I could stand in the sun myself to sketch it. It’s always about location, location, location.

Technical notes: In the top sketch, I tried something a little different from my usual method: I used a gold-colored Derwent Inktense Block to indicate light on one of the mostly shaded conifers. I’m not sure it “reads” well as sunlight compared to the paper-white light on the statue.

Although I don’t care for the bright blue I chose for the statue, I’m happy that I’m making new color choices beyond my usual tried-and-true (that is, "reality").

The second sketch is an example of exactly what I was talking about in yesterday’s post. After drawing the tree and shrubbery with Derwent Drawing pencils, I wanted to imply the café building in the background by drawing the windows with a neutral color (so that the tree would stand out in front of it). All I had was a Blackwing graphite pencil. Although it has an extra-soft core, the Blackwing is not nearly as thick as the Derwent. Immediately I realized I would have to be more careful and deliberate (and therefore slower), or the pencil strokes would be more visible. The Derwent, on the other hand, is so thick that the pencil strokes blend into each other instantly. That’s what I was trying to articulate yesterday but couldn’t quite explain; that’s what makes the Derwent Drawing so expeditious.

Now I’ve answered my own question: Yes, I can use these pencils even outdoors!

Monochrome at Grateful Bread

 

2/3/26 Grateful Bread, Wedgwood neighborhood

Ching and I had a long-overdue sketchy catch-up. Grateful Bread’s relaxing ambiance was a good opportunity to express my newly reignited love for monochrome colored pencil sketching. I don’t know why I don’t do this more often on location. The material – a single Derwent Drawing pencil – is as simple as can be, and that simplicity makes it easy to talk and listen without distraction.

Actually, I do know why I don’t do it more often. In the past, I have occasionally used non-soluble colored pencils in the field, most often with soft Prismacolors. (Here are some I did a few years ago – in the rain! I’d forgotten that secret superpower of non-soluble pencils.) Soft is the operative word here; I can’t imagine enjoying trying to sketch in the field with a hard pencil (which requires time for the more slowly layered approach of traditional colored pencils). Yet even with soft Prismacolors, I have felt impatient; they still take too long to build darker values.

It’s different with Derwent Drawing pencils. Now I would choose them for on-location use any time over Prismacolors or other soft pencils in my possession. It’s not just that they’re soft; it’s the combination of softness plus incomparably thick cores. For the first time, a non-soluble pencil seems like it could keep up with my field demands for an efficient dry tool.

My next challenge, then, will be to sketch outdoors with one Drawing pencil. Would I be able to do something like I did below with a photo? 

2/2/26 photo reference

Four Views of Her Majesty

 

1/31/26 Mt. Rainier from NE 80th Street I-5 overpass, Maple Leaf neighborhood

After sharing yet another sketch of Mt. Rainier (above), a friend who loves zines suggested that I publish one including all my sketches of Her Majesty. Well, I’m no Hokusai, and I didn’t think I had as many as 36 views of Mt. Rainier. I became curious, though, so I went to my Flickr account, where I have tried to be consistent in tagging subject matter. I was surprised to find that I had 32 sketches of Rainier (the earliest from 2015) – so when I add these, I’ll have exactly 36.

If I ever get motivated to publish a zine, I’ll know what to title it.

12/30/25 When I sketch Rainier from home, it's hardly ever at sunset, as the mountain is usually silhouetted by then or often obscured by haze, even if it was visible in the morning. This sketch was a rare occasion when the low west sun turned the clouds pink and gave a blush to one side of the peak. After I finished that sketch, I turned to the west to capture all the color.

Scratching the Mixed-Media Itch

 

1/31/26 photo reference (Inktense Blocks, Neocolor II crayons, Derwent Drawing pencil)

A funny thing happened on my way to doomscrolling prevention: I rekindled my love of mixed media! As much as I’ve wanted to explore mixed media in the past, it’s just not practical for me on location. About 10 years ago, I was using watercolors along with a variety of pens, markers, colored pencils and brush pens filled with my own ink mixes, and it was a lot to carry around. I clearly remember how much stuff I hauled around in Japan and France. Compared to my minimalist kit now, I’m amazed that I was willing to daily-carry all that, especially while traveling.

So far, I’m still not willing to carry everything I’d like to have on location, but my evening sketches from photos are scratching a latent mixed-media itch. They also raise a doubt: Would I even be able to make sketches like these on location? Even if I brought a stool (talk about a lot to haul – no way) or had a comfy bench, these all took quite a bit longer than I typically stay in one spot. I’ve made a few urban sketches with the addition of water-soluble crayons or blocks while standing, but it’s not ideal. I’d have to make fundamental changes in the way I prefer to sketch if I wanted to pursue mixed media on location.

Sketching is never quite as satisfying if I can’t do it in the field. It’s my continual dilemma. For now, though, I’ve accepted that using photo references scratches the itch to some degree. In fact, the sketch at top of post is from a photo I snapped at Ravenna ravine last summer. On a hot day, Roy, Mary Jean and I stayed cool in the ravine’s deep shade. On location, I had made my usual quick sketch to capture this unusual scene of a boardwalk that was built around a moss-covered glacial erratic. At the time, I wished I had been able to capture color and a better sense of scale. Working from a photo at my comfy desk, I could do that.

1/28/26 photo reference (Inktense Blocks, Neocolor II crayons)

The other two sketches shown here are from the same reference photos I used to sketch in monochrome. Above, from a neighborhood golden hour walk, is one I couldn’t have done on location even if I had tried, as the sun was dropping too quickly. Look how low the sun was – even the edge of the lawn is casting a shadow on the pavement. I concede: That’s one satisfaction I can’t get from sketching on location.

1/27/26 photo reference (Neocolor II crayons)

Henry

 

1/23/26 Henry (reference photo by Lori Merriam)

When a friend shared a photo on Facebook of her dog with a fresh haircut, Henry stole my heart. Posting another photo recently, she sadly reported that the elderly dog had to be put down. I went back through her images to find the one of Henry’s haircut. Drawing his sweet face brought me much joy; I hope it brings her some comfort.

Playing and Eating

 

1/30/26 Panama Hotel Cafe, Chinatown/International District

The Panama Hotel Café is one of our favorite places to sketch. Roy, Mary Jean and I hadn’t been able to get together since before Christmas, so it was especially fun to meet up there for a morning of art play. My view (at left) wasn’t especially fun to sketch, but I didn’t care; the Panama’s ambiance is quiet, relaxing and, we all agreed, comfortable as a second home.

More fun was when we began our portrait party. Taking turns as the sitter, we made blind contour drawings and also sketched with our non-dominant hand. Hilarious both ways!

Mary Jean with my right hand

Mary Jean as blind contour

Roy as blind contour

Roy with my right hand

For lunch we tried E-Jae Pak-Mor, a Thai restaurant that had received a favorable review recently in the Seattle Times. With many items on the menu that I don’t see on typical Thai menus, it was clear why the Times called it one of Seattle’s best restaurants. I hastily sketched my Pakmor salad bowl before devouring it.

E-Jae Pak Mor (journal page incorrectly dated)

Full of that delicious lunch, I still had one thing that had been weighing heavily on my mind all day: Jan. 30 was National Croissant Day! Where would I get a croissant in Chinatown/International District? Googling “croissants near me” yielded literally nothing within walking distance, but MJ recalled seeing croissants at Fuji Bakery. I’d only ever had their amazing Crunchy Creamy Malasada doughnut, which had blinded me to all other pastries at the time, but sure enough, Fuji offered many types of croissants, too. It was just as well that they have only a takeout counter and no seating area, as I was too full for one just then – but take one out I did.

Later at home, I enjoyed my pain au chocolat, relieved not to miss observing one of my favorite holidays of the year.

Eating and drawing with good friends – does it get any better?

Self-Care in Monochrome

 

1/28/26 photo reference (Derwent Drawing pencil in Zeta sketchbook)

Wanting to finish up that old Stillman & Birn Beta sketchbook, which has a substantial tooth, I had been making my comfy, monochrome sketches in it. Although toothy paper is not usually recommended with soft colored pencils, I like it – the visible tooth imparts a rougher, unpolished look.

I had been thinking, though, how dreamy Derwent Drawing pencils would feel on smooth paper. After the Beta book was full, I pulled out a Stillman & Birn Zeta book, and holy-moly, my comfy, old robe grew a fleece lining! Not only did these sketches prevent me from doomscrolling; they quietly lulled me toward bedtime with their soothing comfort. I mean, seriously: Is there anything so relaxing as a soft pencil on smooth paper?

During these difficult times, when we’re bombarded with upsetting news daily, it’s reassuring to know that self-care can come from a colored pencil.

1/29/26 photo reference (two Drawing pencils used in this one)