Stone House Watercolor Portrait - Cincinnati

“Attention is the most basic form of love.
By paying attention we let ourselves be touched by life,
and our hearts naturally become more open and engaged.”

― Tara Brach

After posting photos of my last house portrait in our neighborhood Facebook group, I received a message from a neighbor asking if I would paint their house too.  He told me his address and when I looked it up I was so excited to see this was the house!  This is one of my favorite houses in the neighborhood.  I have always loved the massive stone facade and the gorgeous arches.  I also particularly like the aqua-blue verdigris color of the exposed rafters and gabled window.  The combination of that color with the orange-red of the tile roof makes me swoon. 

I asked my architect friends what the style of the house was and they said that "the house has some Mediterranean influences, but is basically an eclectic expression, typical to the pretty free-flowing fashions of the 1890s/early 1900s" and it could be described as a "rustic country villa."  

Below you can see some progress photos.  I always start by inking in my pencil sketch with a Micron pen and then slowly build up my color layers.

Once all the colors are laid in, the fun begins.  I keep darkening the colors until the house starts to pop.

If I have the time, I like to tinker with it for a couple days.  I work on it, then take a break, and when I come back I see something that needs more work.  I keep returning until I don't see anything that needs touching up.  It is best to give it time and go slowly until finally, it doesn't need anything else.  

Now, when I am on my walks I am starting to feel like I really know the houses in my neighborhood.  When I pass one that I have drawn, I feel like I am passing by an old friend who I used to know very well.  A friend who I have studied very closely and my eyes have taken in their every nook and cranny.  Perhaps, an old lover would be a better analogy.  Because, when I think about it, drawing these old homes (or anything for that matter) is an act of love.  Giving something your full attention and spending time with an object (or person) is certainly devotion.  And this kind of appreciation most certainly precipitates love in the case of me and these old homes.  I didn't think I could love my neighborhood more, but painting these portraits has shown me a deeper way...a delightfully slow and observant way. 

“When I slow down, I can dive deeper—and that’s how I prefer to live.”
— Cait Flanders  

“In an age of speed, I began to think,
nothing could be more invigorating than going slow.
In an age of distraction,
nothing can feel more luxurious than paying attention.”
— Pico Iyer

Mid Century Modern House Sketch

Every time I draw someone's house it is an adventure.  It is sort of like reading a book where you know the main character will experience trials and tribulations and beauty and there is risk involved.  You don't know how it will turn out...or if it will turn out at all... or if their actions will lead them to ruin or success. 

The main difficulty with this illustration was the thin white scrolled columns on the porch. I debated whether or not to try and leave white areas white from the beginning.  But I knew the lines were too thin and I would probably not be able to do that.  I also considered using a masking pen, but sometimes the masking fluid comes out globby.  And sometimes removing the masking can rip the paper.  So I decided to use a white pen.  I knew I liked my Uniball Signo white pen and realized mine had dried up when I did a sample test.  When I went to the art store, the woman working the front desk was super helpful and also suggested the thin tipped Posca pens.  In the end I used both...the Posca for the straight lines and the Uniball for the scrolls.

I can't tell you how nerve wracking it is to work for days on an illustration and to then have one shot at making perfect white lines.  The fear of messing it up grows daily.  I try not to think too much about it and I just dive in and hope for the best.  For the most part the white pens worked great.  In a couple spots they petered out and I had to make the lines twice.  I can't tell you how relieved I was when I finished those lines!  

"Each of us must confront our own fears, must come face to face with them. How we handle our fears will determine where we go with the rest of our lives. To experience adventure or to be limited by the fear of it."

― Judy Blume

Below you can see some work in progress photos.  The first one shows the inked-in pencil drawing.     

Above you can see my messy desk.  I like to work in front of the computer so I can zoom in on the photo if I need to.  Below is a close-up of the early layers of watercolors.

"Architecture is basically a container of something.
I hope they will enjoy not so much the teacup, but the tea."

– Yoshio Taniguchi

The final chapter of this illustration's story was meeting the home owner.  She invited me in and I got to meet her niece and nephew and see her beautiful art collection.  I learned her house was built in 1954 by noted Cincinnati architect Leslie Moss.  I got to see some of the interior details like the curved cove ceilings and the welcoming open split-level entry way.  The house also includes a well-preserved pink-and-green tiled bathroom and a yellow-and-black tiled kitchen.  The current owner removed carpet that had been there for decades to reveal pristine oak floors.  She also decorated the house with mid-century furniture and decor that accents the house perfectly.  Her art collection was incredible and includes work by Cincinnati artists Terence Hammonds, Dylan Tennison, and Jolie Harris...and now me!

I so enjoy seeing people's homes inside and out.  It was a delight to meet my neighbor and to illustrate her house.  It is a special treat when the homeowner clearly loves their house and appreciates all the little details.  A big thank you to her for supporting me on this art adventure.   

Harrison Ford House Sketch

Recently a neighbor commissioned me to do a house portrait.  I met this neighbor a few years ago while I was on a walk and noticed a bulldog in their front yard.  I LOVE bulldogs so I stopped and asked if I could pet the dog.  She said I could and that his name was Harrison Ford.  I proceeded to squat down and called his name.  Next thing I knew, Harrison Ford was coming towards me, hopped up to greet me, and pushed me all the way onto my back.  Harrison was not a light boy!  He let me pet him and tolerated my love with an aloof, heavy-jowled disdain appropriate for a bulldog.

As I was saying goodbye, his owner mentioned that Harrison Ford had an Instagram account (@harrisonfordbulldog).  When I got home I looked him up and was amazed that Harrison had quite the following!  Currently he has over 50,000 followers and is indeed a world-famous bulldog!  In addition to the incredibly cute photos, Harrison's comments are hilarious.  If you are an animal-lover you must go there now and give him a follow.

So when Harrison's human mom asked me to do a house portrait I naturally asked if she wanted Harrison to be on the front steps.  I was surprised when she hesitated.  But the reason she paused was that Harrison was going to become a big brother in a couple days and she wasn't sure if I would be willing to put them both in.  She sent me a photo of little Norman Peanut and I couldn't even believe the cuteness overload.  I told her I would be happy to put them both in the portrait, even though they might be small.  

Norman Peanut and Harrison Ford

Below you can see the black and white drawing before adding watercolor.

And here is the mostly-finished portrait after adding color.

A close-up so you can see the boys.

I love how you never know how a brief encounter may affect your life.  Little did I know when I left for my walk that day that I would encounter a world-famous bulldog and end up sketching his house!  So much magic in this world.

"Fate has a weird way of circling back over paths that were meant to cross." 

—Gail McHugh

"Paths cross all the time in this world of ours, sometimes in the strangest places." 

—Stephen King

A special thank you to Harrison and Norman's mom Sarah for letting me use her beautiful photos,
commissioning the portrait, and for her incredible sense of humor.  

Bringing Field Sketches Home

Last week I attended John Muir Laws' Wild Wonder Nature Journaling Conference at Asilomar, Pacific Grove, California.  Asilomar has a gorgeous campus right on the beach and the week was full of nature journaling classes both in the classroom and in the field.  I took mostly field sketching classes where we would sit in a location and sketch for about 30-60 minutes.  When I was finished sketching I was some times pleased with what I had drawn, but very often felt my drawings could have gone farther had I had more time.  And at the end of the class when everyone laid there sketches out for viewing, I could see elements of other's work I wanted to try.

The subject of "finishing" field sketches is quite controversial.  Some argue that the sketch is not meant to look "pretty" but that it simply serves as a way to note field markings and other pertinent information that cannot be gleaned without actually seeing your subject.  Others like to have the rule that a true sketch should only be done while sitting in the field and that photos flatten and distort the subject.

But I personally have found that "finishing" field sketches is an invaluable way to improve my skills.  I like to challenge myself to see if I can get any of the sketches to a place where I like them. It is my way of spending more time with my subject and allows me to explore new techniques.  To me it is fantastically fun to pull out my sketchbook and watercolors, turn on some music and color in my drawings like a child with her coloring book.  I truly find this process to be both relaxing and exhilarating at the same time.  I do see great value in sketching from life.  Nothing can replace it.  But I also think there is much to be gained in playing around.  So don't be afraid to muck around with a field sketch and try some new things.

“This is the real secret of life -- to be completely engaged with what you are doing in the here and now. And instead of calling it work, realize it is play.”

― Alan Watts

After years of color correcting images in Photoshop I realized there are always a few things that I do the same when I look at any photo or artwork. Below are my top ten tips for "finishing" field sketches.  I would love to know of other's strategies for this process so please leave me comments if you have other suggestions.

Some people also argue that a sketchbook should be ugly.  There should be scribbly notes, out-of-proportion drawings, and messy attempts. And those who do not have these items are vain, afraid of criticism, or worse..."perfectionists".  The perfectionists are people who imagine their sketchbook being opened to people laughing and jeering at the childlike images while chanting "she can't draw!"  That scenario makes me laugh just typing it, but don't we all have these fears?  I will admit that there is an element of vanity in this "finishing" work, but there is also an incredible amount of juicy fun to be had.  So I encourage you to do this only if you think it is fun.

RED-NECKED PHALAROPE

The idea for this post started because my friend Jodi teased me that I wouldn't show my "ugly" bird on the blog (my words, not hers).  It made me pause to think about why we don't like to show our field sketches and what would be helpful to me and others. The phalarope below is a perfect example of what can be learned from working on a sketch at home.  While in the field I was able to see this red-necked phalarope through the scope for 10-20 second at a time.  I thought I did an OK job at getting some field markings in before some dogs came and scared it away.

But when I got home and pulled out my field guides and images on google, I could see I had the shape of the head wrong.  This bird has a tall forehead that looks like it has been smacked with a flat board.  I was able to add some height to the head and if I ever have to draw a phalarope again I won't make the same mistake!  I was also able to refine the feathers, study the shape of the bill and how it connects to the face, and even try making a shadow in the water!  This took about 30-45 minutes and was so much fun!     

POINT LOBOS

The class I took with John Muir Laws was one of my favorites.  It is rare to meet someone who is an incredible naturalist, amazing artist, AND a phenomenal teacher.  During his class we took a trip to Point Lobos State Natural Reserve where he encouraged us to try either drawing an entire landscape in a small rectangle, or to draw the outline of the landscape and then color rectangular portions of that landscape.  I attempted the latter but ran out of time to finish the color before we had to meet back to show our work.  When Jack saw mine he said he would leave it just like it was to show the process.  I could totally see what he meant, but the thought of it made me squirm inside because I was DYING to see what it would look like finished!  Wild dogs couldn't keep me from filling in that last bit of color!

As a side note, my original plan was to put the Point Lobos logo in the circle.  But after I finished coloring in the rectangles I changed my mind.  I decided I just wanted to put the color of the waves and water in the circle.  After I finished it looked kind of plain so I penciled in a little sea lion (lobo marino means sea lion in Spanish).  We had seen them off the point that morning and even though I didn't see one while sitting there I couldn't resist because I friggin LOVE sea lions!  (It just occurred to me that tip number 11 should be "Don't be afraid to add elements to your sketch that weren't there but that help you get a sense of place...in other words...put a bird on it! or a sea lion!)

ABRONIA

This sketch is a perfect example of trying something, but liking it the way it was to begin with.  I knew I kind of liked this fleshy plant just like it was...sketchy and soft.  But I also knew it would pop more if I inked the outlines.  Once an idea springs in my head it is hard not to do it.  The solution to this dilemma is to always take a picture first.  That way you can have your cake and eat it too.

OAK FOREST

This was one of my least favorite sketches and I wasn't really interested in fussing or playing with it.  So I left it alone.

GIANT SEA KELP

Sadly, the Giant Sea Kelp is another example of a sketch where I liked the "before" better than the "after."  But I learned so much from this process.  I have been struggling lately between leaving my sketches as just watercolor or inking them in.  I find that inking them in is an easy way to distinguish elements but that it turns out more cartoony.  It's not that cartoony is bad, but it is just a whole different look.  I find that through this process of "going too far" I am learning when to stop.  I did at least get to try splatter painting the sand in this one.

This sketch was done in a class by Catherine Hamilton on "Improving Live Drawing and Color Perception Skills."  If you ever get a chance to take a class with her DO IT!  She is incredibly knowledgeable and you must follow her on Instagram (@birdspot).

ASILOMAR DUNE MAPPING

During the conference I signed up to take a class on making maps with Emily Underwood.  We were led up to a bluff overlooking the dunes with a boardwalk.  Unfortunately the fog was rolling in and we could barely see so we had to use a bit of imagination.  I wasn't that into my sketch, but while I was sitting there I had the thought it would be cool to add a compass rose.  I had so much fun drawing it but after I added it I thought it was a bit too heavy for the drawing.  I then tried to thicken the dune lines which I quickly regretted.  The only extra bit that I did afterward that I liked was to add shadows to the plants.  Again, this one might have been better left alone, but next time I do a map I will know to keep the compass rose light.

SPHINX MOTH

This was a fairly quick sketch of a moth I did while in the "How to Draw Insects" class by Stephanie Dole .  Sometimes when I have a photo or a drawing that is fairly unremarkable I like to add text to it to spice things up.  Adding type to images often has a magical effect.  Since this moth was very muted in its color scheme I decided to leave it un-inked and to do the text in watercolor pencils.  In my humble opinion, the text really helped to add interest to this image.

Also, just a note that you can get so many free fonts now.  I like to use dafont.com.  I have never liked my handwriting and it has lead to a love of fonts.  If I am being particular I will print it out, pencil the back of the paper, and then trace it to transfer the type.  If I am being ridiculously particular I will scan the image, drop the text in, and then print and transfer to my sketch.  But last year when I was in Guatemala I didn't have access to any printer so I ended up just looking fonts up on my phone and drawing them onto my sketchbook.  Going through all of these various processes has made me more confident in drawing type.

OBI KAUFMANN

While taking a class from Obi Kaufmann I did a quick sketch of him doing a watercolor demo.  I liked the simplicity of just adding a small line of text for his name.  Also, after checking the reference photo I added a little red to his necklace which made me happy (oh, the little things!).

ASILOMAR STATE BEACH

This last sketch is a perfect example of darkening the darks and increasing hue saturation.  After the class everyone laid their sketchbooks down on the sand and I noticed one woman's work was stunning.  I also noticed she had beautifully darkened the rocks where the water touched them and where the shadows were darkest.  In my mind I noted it and decided that if I returned to this sketch I would do the same.  I also noticed that some people had captured the waves perfectly.  I had essentially left a white space for the waves because I wasn't sure what to do.  At first I tried darkening the back of the wave.  Then I tried dry-brushing a curve but didn't like the detailed look with the rest of the sketch.  Then I realized that a wave is just a cylinder on its side and tried to smooth it all out and shade it like a tube.  I am not sure I hit the nail on the head, but wow was it good practice drawing water!

The final element I added was the second circle in the sky.  My friend Jessica always makes these incredible circles in her skies and I love them.  My first circle was a happy accident from my plastic water cup.  So this morning I tried to make a circle with a water glass.  It wasn't quite as perfect but was as fun experiment.

In some sense there were winners and losers with these "befores" and "afters."  In certain sketches I made improvements here and mistakes there.  But if you consider all of my mistakes as learning opportunities then I think I won lots of prizes.

In addition to the technicalities of improving my watercolor skills, the most important thing I have learned through this process is discovering what I like.  I consider art as a process of learning about myself.  What subject draws me in?  Do I like the color darker or lighter?  Do I want this line thinner or thicker?  Should I add highlights?  And the beauty is no one can answer those questions but me.  In other words, what makes me happy?  What makes my heart sing?  I believe art is a way of finding what brings you joy and if we could all do that what a wonderful world it would be. 

"I see trees of green, red roses too

I see them bloom for me and you

And I think to myself what a wonderful world

I see skies of blue and clouds of white

The bright blessed day, the dark sacred night

And I think to myself what a wonderful world"

Songwriter, George Weiss, Robert Thiele