Another Yellow Tree

9/15/26 Maple Leaf neighborhood

Although I wasn’t able to ID it, this yellow tree is different from the Frisia black locusts I sketched last week. It has the same coloration: Lime green leaves most of the year that turn bright lemon yellow in September.

Color note: I made a lot of fuss last week about looking for the right yellow/blue mix to get as close as possible to Caran d’Ache’s Dark Phthalocyanine Green (719). As soon as I got out on location, though, I sort of forgot the plan and instead carried on in my usual manner: Applied the light and medium values of greens for the tree’s foliage (and bright yellow for the sunlit part), then applied Night Blue (149) to the shaded side of the tree. And guess what? Even though I didn’t use the assigned yellow to mix with it, Night Blue did its job beautifully anyway: It mixed with and darkened the various greens I had applied first, and the shaded side looks fairly close to Dark Phthalocyanine Green.

Lesson learned: None. I might learn to stop overthinking colors if it weren’t so much geeky fun!

Technical note: See those leaves in the foreground tree? I dabbed the waterbrush directly onto the blunt back end of the Night Blue crayon (which faces up in my bag’s crayon case) to paint those on. I really like how Neocolor II crayons can be used just like watercolor pans this way – and appear just like paint, too. 

Thornton Creek Media Tests

 

9/12/26 Thornton Creek Channel (non-soluble colored pencils)

It’s mid-September, and that can mean only one thing: I’m gearing up for both InkTober and Pencilvember! For the past few years, I’ve been devoting each challenge month to a specific subject theme, such as ears or pets, with all drawings done from photo references. This year, I thought I’d go back to my roots of trying to draw as much as possible from life and without a theme. The challenge would be to stick to one medium that I rarely use for any length of time. It’s an effective way to get past any resistance and to practice a medium that doesn’t come easily. (Years ago, using ballpoint pens exclusively during InkTober got me to really enjoy and appreciate the medium.)

 

Derwent Drawing and a couple of Prismacolors

Without making commitments yet, I recently took a couple of media out with me to Thornton Creek Channel to see how they might do. Derwent Drawing pencils (or dry colored pencils in general) are a definite contender for Pencilvember. For a month now, I’ve been anticipating that fall might be a great time to give these pencils a solid try on location. As mentioned in that previous post, my plan would be to stay small with my sketches so that they would remain relatively fast. I’ve been so dependent on water to do the heavy lifting of building strong values with water-soluble pencils or crayons that using non-soluble pencils would be time-consuming. Or would it? Maybe this is a good time to see what shortcuts or techniques I can develop to make this medium more on-location friendly.

The sketch above, about two-thirds of an A5-ish page in my Stillman & Birn Zeta sketchbook, probably took twice as long as a similar size sketch using water-soluble materials. I’ll have to go even smaller for the same efficiency.

Staedtler Pigment Arts Brush Pens

I’m less certain about my candidate InkTober. For this trial run, I took a small set of Staedtler Pigment Arts Brush Pens, which I learned about from Roz Stendahl several months ago. Containing waterproof, pigment-based ink, they are similar to Faber-Castell Pitt Artist Brush pens, which I’ve been using for many years. The Staedtler pens are significantly cheaper than Faber-Castell, however. I go through Pitt pens fairly rapidly, especially Cold Gray III, which has long been a favorite for shading. The last time I needed to reorder Pitts, I thought I’d give Staedtler a try.

6 of the 12 colors in the "Nature" set

Although the lower price is appealing, one major disadvantage of the Staedtlers is that they aren’t available open stock. I chose the set of 12 “Nature” colors, which has a decent selection for landscape and urban sketching. I sort of enjoy the challenge of a limited, pre-selected palette that I didn’t even choose myself. But for 31 days during the height of fall color? I might need to supplement with Pitt brush pens, which I own in a much wider color range.

Perhaps the greater hurdle with brush markers is that I have never cared for the marker-ish look. My engineer brother once described the violin as analog (the ability to modulate from one note to the next) while the piano is digital (on or off). Along the same lines, colored pencils (or almost any dry media) are analog, while markers are digital. If I compare the two sketches here of the same scene, I certainly prefer the modulated look of colored pencils. (I didn’t like my recent attempts at Jimi Hendrix Park at all.) Maybe I just haven’t learned to use markers in a way that appeals to me.

Who knows – maybe I’ll declare December mixed-media month and use colored pencils and markers together! Past attempts usually haven’t been satisfying; brush markers have a way of taking over the party, no matter who else is in the room. But if art challenges like InkTober and Pencilvember aren’t for learning, why take part? I’m game.

This is the thumbnail I made to test the values and composition before
making the color sketches. The best part of it is the comment I overheard.

USk Rides to the Eastside

 

9/13/26 Northwest African American Museum

I woke to hard rain on the roof and windows.

It was the kind of morning that if I hadn’t been the lead, I would have skipped the USk outing. Instead, I boarded the light rail in damp jeans to an outing I had helped plan and had been looking forward to ever since the 2 Line to the Eastside opened last spring.

The first stop of our two-part outing was Judkins Park Station across the street from Jimi Hendrix Park. I was relieved and happy not to be alone on this wet day – a small group of hardy sketchers joined me! Although most stayed in the park to sketch in the light drizzle, I ducked into the Northwest African American Museum, which I hadn’t been to in years (above). Its exhibits tell illuminating stories of noteworthy Black Seattle residents and other significant national figures and their contributions to American history and culture.

I found a window at the museum with a view toward the park’s large sculpture, “Butterfly Canopy,” which I tend to sketch every time I’m in the park. After that, with a short time left before the throwdown, I attempted a strange (and unsuccessful) composition of the edge of the Butterfly and the top of the museum (both below).

Jimi Hendrix Park

After our throwdown, a handful of sketchers rode on to Part 2 of the outing: Bellevue Downtown Station. Most had not yet taken the light rail across Lake Washington, so it was fun to know that our outing was their first opportunity.

Riding the rails across the lake!

Famished by the time we got to Bellevue, I made lunch at Café Hagen* my first stop. It was as good a place as any to finish a page of sketches for the outing’s second leg. Although we didn’t get the best weather, a day of sketching with USk is always better than a day without!

Cafe Hagen, downtown Bellevue

* If you’re curious about my comment on the sketch of my Nordic Cheese Toast, I’ll give you the full review: Although the prettiest toast I’d ever seen, and while its other ingredients were delicious, the bread was so thick, hearty and crusty that I couldn’t penetrate it with the ordinary utensils I was given. With much struggle, I had to dig out softer bread from the center. Although I have done this only a few times in my life, I took the toast back to the counter and explained my difficulty to the servers. I asked them to tell the chef to try cutting the toast with the same type of knife I had been given. I doubt it had ever been tested; perhaps a hacksaw would do the job.

Lovely but inpenetrable

No More Juju

 

9/10/26 Green Lake

This little pinwheel palm had unpleasant associations for me.

In December 2019, I had just started my walk/sketch fitness program (which I’ve maintained to this day). As with any new endeavor, I was still freshly enthusiastic, despite the cold and sometimes wet weather. A few months later on one of those walks, I had stopped in front of Duke’s restaurant at Green Lake for my sketch reward. After sketching this palm tree, I tried to take a trophy photo, dropped my brand new phone and chipped the screen. I take trophy shots of my sketches nearly daily, and that was the only time I have ever dropped my phone; surely the palm had something to do with my bad luck. Shortly thereafter, COVID happened, and I came to associate sketching that poor, innocent palm with both bad things.

Remembering all of that as I walked past the palm at Duke’s recently, I decided I needed to sketch it again to eliminate the bad juju.

Training Season

 

9/10/26 Frisia black locust and Crimson King Norway maple, Maple Leaf neighborhood

I haven't officially declared leaf-peeping season yet, but I'm in training. A good warm-up were these bright yellow trees. Most of the year, their foliage is lime green, then in the fall, they turn lemon yellow and then yellow-orange. I think of them as “citrus trees,” but they’re actually Frisia black locusts.

The very dark reddish-black tree in front of the locust is a Crimson King Norway maple (above). For that confounding color, I used a dark sepia Derwent Inktense pencil with a light layer of magenta Caran d’Ache Museum Aquarelle pencil over that. Trying to get that hue reminded me of a similar challenge I gave myself during the first pandemic summer with some ornamental plums I’d spotted. They also have a deep purple, nearly black hue.

9/10/26 Frisia black locust, Maple Leaf neighborhood

Full Moon Over Discovery Park

 

9/9/26 Discovery Park Radar Dome and Heritage District

After my scouting mission to Discovery Park in July, it was fun to finally meet there with Urban Sketchers, especially on a gorgeous but not-too-hot day. With 560 acres, Discovery is Seattle’s largest park. We decided to focus on the Fort Lawton Historic District featuring the 100-foot high Cold War-era radar dome or “Radome.”

Rising like a mysterious full moon over the district’s turn-of-the-20^th-century (still occupied) homes, the Radome was both bizarre and irresistible, at least to me. I sketched it twice, once behind the historic homes (above) and once from the former Ft. Lawton Parade Grounds (below).

Ft. Lawton Post Chapel

With a short time left before the throwdown, I sketched the Fort Lawton Post Chapel that I’d admired the last time I visited. The World War II-era chapel is somewhat plain and not very distinctive as far as chapels go, but I always enjoy sketching steeples.

Once again, we were treated to “ideal” sketching weather that was comfortable even in the sun (if you’re fast like I am). Most sketchers found hospitable trees offering large areas of shade. I wouldn’t mind if the weather stayed like this for the next three months! (Of course, it will likely end any day now.)

Mixing Dark Phthalocyanine Green

 

Mixing for the unique 719 pencil

When I was discussing the colors in the Caran d’Ache Neocolor II Botanic set, I mentioned that one I’d really like to see added to the line is Dark Phthalocyanine Green (719) from the Museum Aquarelle pencil line. In these parts, that dark, cool green is useful for both fir trees and for the shadow side of most deciduous trees. I have used up more sticks of 719 than any other Museum Aquarelles. And I have never found it in any other colored pencil.

Although I used three green Neocolor II crayons in this recent sketch (detail shown) at Green Lake,
I still had to use a Dark Phthalocyanine Green Museum Aquarelle pencil for the deepest shadow areas.
It's a unique, versatile hue.

Even as I was drafting that post, the obvious occurred to me for the first time: Why not try to mix it with Neocolor II crayons? A few days later, I pulled out my color journal to work it out. I had firm restrictions, though: I had to be able to mix it with just two crayons because my daily-carry crayon holder is limited to 10. I also knew that if I had to use more than two, I’d probably forget which ones. A final restriction was that the selected colors had to be versatile. Anything in my daily-carry bag must work hard for its living – no lazy, single-purpose colors. (Well, except for Inktense Pink Flamingo, as that’s difficult to mix, and you never know when you’ll need it at the zoo. It’s also handy for unexpected blossoms.)

Why don’t I simply continue using Museum Aquarelle 719? Of course, that’s the easiest and most straightforward solution. But often when I’m using that color, I need a large mass that I want to scribble in quickly and efficiently. Neocolors are usually better for this. Whether still true when mixing two crayons remains to be seen, but it’s worth the experiment.

At the top of my color journal page, you’ll see “MA 719,” the Museum Aquarelle color I was trying to mix. I began by picking out most of the Neo II yellows and some blue candidates. The darkest cool blues seemed to be the closest match in the combos I tried. The combo I decided I liked best is Night Blue (149) with Yellow (020). You can see the blended swatches to the right of the MA 719 swatch.

I didn’t think the red-leaning blues would work, and I was right – the mixes were all too gray or too brown (in the lower right and lower left corners). But I liked the resulting gray when I mixed Yellow (020) with Royal Blue (130). I’ll keep that combo in my back pocket if I need a shadow gray (though usually I’m too lazy to mix shadow colors and go straight to a dark blue or purple).

I’ve removed the Dark Phthalocyanine Green pencil from my bag so that I won’t fall back on it in laziness! I want to give Night Blue + Yellow crayons a fair trial. Stay tuned.