We had our weekly zoom call with our old family friend, Joe. I did my best to sketch him while we talked. It was slow, hard work and came out only so-so, mainly because my neuropathy is really bad lately (which is also why there’s been a dearth of posts). Still, I’m glad that I tried.
Sketch of our old friend, Joe.
Drawn with a Lamy LX Palladium, fine nib, filled with Diamine Harmony (an Inkvent 2021 ink).
Writing done with a PenBBS 535 Year of the Ox, RF nib, filled with Pilot Iroshizuku Ina-Ho.
The sketchbook is a Stillman and Birn Alpha 5.5’’ x 8.5’’.
I’ve been trying to draw better foliage, which made me want to investigate the various greens I can mix from my current palette. So for the first time I dedicated time and a few sketchbook pages to experiment with green watercolour mixes. I thought that the process would be tedious and boring, but it ended up being very interesting. Mixes that looked like mud on the palette came to life on the page. I discovered a whole host of green hues that I had no idea that I had access to. And once again I fell in love with Schmincke’s Glacier Green.
Note: DS stands for Daniel Smith and Sch for Schmincke. The paper is Stillman and Birn Alpha.
I had a strange Yom Kippur this year, as is to be expected. I decided to commemorate it in my sketchbook, this time using Faber Castel Albrecht Durer watercolour pencils in addition to my usual Schmincke and Daniel Smith watercolour mixture.
Drawn on a Stillman and Birn Alpha. Ink is Iroshizuku Ina Ho (lines), Robert Oster Fire and Ice (heading and text) and Sailor 123 (2021).
It’s been a while since my last update, so I thought that I’d write a new one. On August 24th I had my fourth chemo treatment, and it went rougher than the ones before it in terms of side effects. The worst of the bunch has been my neuropathy, which until now has been not so bad. This time however, both my hands were numb and tingly, and the tips of my fingers actually hurt. It’s been hard typing, holding a pen, drawing. It’s not that I’ve stopped doing these things, it’s just that it’s been a challenge to overcome the pain, to focus more to get my hands moving the way that I want them to. But I haven’t given up, and I’ve managed to type, write with my pens, and even create this drawing:
Not bad for someone with semi functioning fingers, right?
My hands have gotten better with time, but they are getting better slowly, and they still haven’t returned to normal. I’ve discovered that lighter fountain pens with bigger barrels are the best in terms of being easy on my hands, and although my handwriting has suffered a bit due to the pain, it is still recognizably my handwriting.
What’s next? On Thursday I have a PET CT which will determine what the rest of my chemo treatment will be, and on Sunday I’ll have the fifth chemo treatment. I’m not looking forward to either of these things, and as the PET CT is approaching my anxiety levels are rising (I really need good results on it). Meanwhile I’m trying to distract myself with work, books and season 2 of “Ted Lasso”. Here’s hoping for good results, and less pain for the Jewish New Year.
On the day before our last of our latest trip to London we went to see the Royal Style in the Making exhibition at Kensington Palace, colloquially known as the “Diana Wedding Dress Exhibition”. The tickets included a visit to Victoria’s childhood rooms in the palace, and the exhibition had other dresses on display, but you knew immediately what it was about once you entered the exhibition pavilion.
The dress was prominently displayed, most of the visitors (not many, due to Covid restrictions) were congregated around it, and it was HUGE. The thing was large, and puffy like an overdecorated wedding cake, and had a train that was just bananas. I can’t imagine what it was like being cramped with so many meters of lacy, embroidered fabric in the back of a car on her way to St. Paul’s Cathedral. Looking at that dress I thought to myself that it ended up being more symbolic of Diana’s life than designers Elizabeth and David Emanuel had envisioned. She was stuffed into an overly symbolic, stifling, uncomfortable life that made it difficult for her to show her best qualities: her warmth, her ease with human connection, her genuine care for people, and the simple way she just lit every room she entered.
Royal Style: The Wedding Dress and Two Better Dress Designs.
There were two other dress designs in the exhibition that caught my eye. The first was a salmon coloured dress that David Sassoon created for Princess Diana as her wedding day dress and she ended up wearing as a “working” dress. It’s much more sensible, colourful, chic and warm and it although it still has terrible 80’s style stamped over it, you can see how it would have worked well on her at the time.
The second dress is prototype of the Queen Mother’s Coronation dress, and it is sleek, chic, and yet also intricate and sophisticated. Of all the dresses in the exhibition, this dress best stood the test of time, and I could see it be worn by an A-level star at the Met Gala.
If you are in London and you can get tickets to this exhibition, I do recommend going, both to see Victoria’s childhood rooms, and to see the dresses on display (although fair warning, there aren’t many of them). Princess Diana had a good eye for fashion and how it would allow her to connect with people (she didn’t wear hats because you can’t cuddle a child with a hat, and she liked costume jewellery because it gave the children she picked up something to play with), and to send subtle and not so subtle messages about what was going on in her life (search for the black sheep sweater or the fabulous “revenge dress” to see what I mean).
When I visited London in June Greenwich ended up being one of the biggest disappointments of the trip. The place was hard hit by the pandemic, and everything that made it so special to me seemed to have been wiped out because of it. There was no vintage and antique market next to the movie theatre. There were no grandmas selling baked goods for charity in the movie theatre foyer. Nauticalia, the maritime themed shop on zero longitude, had shut down. A good third of the stores around the Greenwich Market were permanently closed, and there was a general dismal aura around the place. The Maritime Museum required pre-booking an entrance, and so not many people visited it. Greenwich is a place that needs tourists to thrive, and with a pandemic and pandemic restrictions it felt deflated, a shadow of its former, sparkling self.
What still is vibrant and lovely is the place itself, and to remind myself of its potential and of my potential to visit it again someday in better times I created a quick sketch of the road leading to the Cutty Sark.
Schminke and Daniel Smith watercolours, Noodler’s Lexington Grey ink, Stillman and Birn Pocket Alpha.
My brush got frazzled on the way which made it tough to use. I fixed it later that night with some hot water.
London is weird right now, with Covid-19 measures still in effect and very few tourists around. A lot of places are closed or have closed down. I still love the city, though.
Another page out of my sketchbook. I’ve had the DDC Rumpl blanket for over two months and it’s become a house favourite. The only thing I regret is buying only one.
Writing at Large 