My first Urban Sketchers Sketchcrawl of the year (there was one earlier, in March, but my mom was hospitalized, so I couldn’t make it) to the brand new Park HaMesila in the beautiful Neve Zedek neighbourhood. A dump and parking lot have been transformed into a park that will lead all the way to the Tachana complex once it’s complete. At the moment it offers a very little shade and not much greenery, but you can see the potential, and you can definitely see how much people are loving it.
The park follows the old Turkish railroad (which went from Jaffa to Jerusalem and was notoriously slow), and though I didn’t draw them because things were starting to get too busy in my sketch, the path has old rail lines embedded into it, which is a lovely touch.
I then drew part of Suzanne Dellal’s Center of Dance (it’s the Batsheva’s Dance Company’s home, and in Hebew is generally pronounced Suzanne Dallal).
A spread summarizing my day and a bit more of the neighbourhood, created at home (unlike the first two) from pictures. I traced the map from a navigation map that I got from a local navigation race that happened to take place in the area, and had fun with some design elements that I learned in the Sketchbook Design course that I took.
I used my new palette and a brand new Stillman and Birn Alpha and I quite like the freedom that its lightweight paper encourages.
This is the first time that I’ve used my new watercolour palette and I’m still figuring stuff out. I’m also using an 8’’x10’’ Stillman and Birn Alpha which is a large format that I’m still getting used to and isn’t the best for smooth washes. I’m embracing the patchiness here and letting the paint do its thing. More importantly, despite temptation I’m not making any adjustments to the new palette now, as I need more time with it.
Also, the Sailor Fude 55 degrees fountain pen is magic. I used one here with Noodler’s Lexington Grey.
Schmincke recently came out with a new series of limited edition Horadam (artist grade) watercolour paints that are super-granulating.Granulation in watercolour is the an affect that is created when the pigments in the paint separate and settle in a diffused patten on the paper, oftentimes allowing other pigments that they are mixed with to show through. In my everyday watercolour palette Schmincke’s Ultramarine Finest (494) is a prime example of a granulating paint that I use both for its effect as an individual paint and when mixed with various browns and greens. The new 900 limited edition series of Horadam watercolours that Schmincke has issued is composed of 25 paints that are divided into five sets: Galaxy, Glacier, Deep Sea, Forest and Tundra. I decided to purchase all five sets out of curiosity, since limited editions in artist grade watercolours aren’t common, I already use Schmincke almost exclusively, and I’ve been embracing granulation more lately in my work.
The paints can be purchased in individual 15ml tubes (which is a lot of watercolour paint), in fancy wooden boxed sets of 15ml tubes and in cardboard boxes of 5ml tubes, which is what was available at my local art supply shop and what suited me to buy anyway. 15ml of watercolour paint is a commitment, and artist grade watercolour in general and Schmincke in particular aren’t cheap. The paints aren’t sold in half pans, which I would have preferred over the tubes, and which means that you are going to need empty pans or a palette to use them.
The Galaxy set includes Galaxy Pink, Violet, Blue, Brown and Black. There are some naming peculariaries in this entire series of paints, such as the fact that the paints are super-granulating but the set is called: Supergranulation on the box, and Super Granulation by the dealers. In any case, like all the colours in this set the paints in the Galaxy set have good lightfastness. They are all non-staining (which means that they can easily be lifted off the paper), the Violet and Blue are semi transparent, the Pink and Brown and Black are semi-opaque. This is the most vibrant of the sets, but don’t believe the photos on the package or in the various marketing materials, none of the colours in any of these sets really pops or is as vibrant as they appear to be. All these colours tend towards naturalistic, landscape painting tones.
The colours in the Forest Set are: Olive, Green, Blue, Brown and Grey. They are all extremely lightfast, the Olive and the Brown are semi transparent, the Blue and the Grey are semi opaque and the Green is opaque. I have no idea why the Forest Brown (944) is called Forest Brown as it’s not a brown at all, it’s more of a greyish green. Forest Blue is also a misnomer, as it’s also a green, this time one that looks like it was mixed with indigo. This is the most monotone of the sets, though if you are focused on landscapes, there are some interesting greens here.
The Glacier set boasts the best paint in the series in my opinion, the Glacier Green which is just a delicious paint to have on your palette – a phenomenal and unique green with pronounced brown undertones. I can’t wait to use it in my work, and I’ll be buying a 15ml tube of this. The rest of the colours in this set are Glacier Blue, Turquoise, Brown and Black. Despite what the marketing material may say, there is very little difference between the various blacks in these sets, and if I could I would have skipped all of them and used the Forest Grey and the Tundra Violet instead. All the colours in this set rate in the 4-5 star lightfastness range and all apart from the Brown (which is semi-staining) are non-staining. The Blue is semi-transparent, the Turquoise, Green and Black are semi-opaque and the Brown is opaque.
The Deep Sea set features the following colours: Violet, Indigo, Blue, Green and Black. The Green here is a misnomer, as it’s also a blue (with only the slightest green tinge) and the violet is greyish and flat compared to the Glaxy Violet (and in any case if you’re looking for a vibrant violet look elsewhere in Schmincke’s lineup). This is probably the most redundant set of the five, and you can pretty much skip the colours here without missing on much. Indigo, Blue and Green are semi-transparent, Violet and Black are semi-opaque. Lightfastness is very good to excellent and non of these are staining.
The Tundra set contains Orange, Pink, Violet, Blue and Green. Tundra Violet is another misnomer as the paint is practically black with a tinge of purple. This is the most staining set (Violet and Green are staining, the rest are semi-staining), but also a pretty mixable one. Orange, Blue and Pink are transparent, Violet is semi-transparent and only Green is opaque. It’s also one of the most compelling greens in the set, with it’s olive like tones and its pinkish undertones it’s both unique and generally useful for landscapes.
Schmincke aren’t selling these in pans, which is pretty inconvenient if you just want to swap one or two of these into your existing palette.
I first saw these paints on Schmincke’s Instagram and then on the Jackson’sArt blog. In both the paints are much more vibrant and with much more pronounced granulating, to the point of almost marbling, than what I got when I first created a the above reference drawing. I had a feeling that this was somewhat due to the extreme closeups that they took, and likely also the paper that they used.
In any case, since I and many others also use Stillman and Birn Alpha paper for watercolours, I decided to try and create a painting using these paints exclusively. In the end I also added Schmincke Indian Yellow (220) for the signs, but I didn’t mix it with anything else. As you can see, the granulation is still pretty pronounced throughout, but the colours, with the exception of the Glacier Blue aren’t exactly vibrant or saturated.
I then decided to break out the good paper, and tested the paints on 100% cotton 300gsm cold pressed rough watercolour paper. Here you can see the granulation at its best, and yes, as promised it is pronounced in all of these paints. Yet as I suspected the choice of paper does nothing to make these paints more vibrant, which means that I certainly won’t be using them to replace large swaths of my current palette or recommending that you use them exclusively (especially since there are no yellows here and the red selection is pretty poor).
Here are the paints all labeled (I got the Deep Sea Black and Green swabs out of order).
Here’s a very quick sketch with these paints on the cold press paper. They are built for washes and wet on wet work, and so relish this paper.
And here they are on Stillmand and Birn Beta paper, which is better watercolour paper than the Alpha but still not good watercolour paper. You still get much of their effect here, especially if you don’t much around too much with the paint. These aren’t the best for mixing on the palette but do work well with layering and working wet on wet on the page. If you like to put down paint in washes and see what it does, these paints are for you. If you like to work in a more controlled fashion, you likely aren’t a fan of granulating watercolours anyway.
You can see the granulation here, and some of the best colours in this set at work (Tundra Orange, Glacier Green, Tundra Violet, Forest Green, Tundra Green and Glacier Brown).
Again you can see the granulation at work and how the effect lets the whiteness of the page show through, bringing light to a dark patch.
So, would I recommend all 25 paints? Of course not. Of the paints in these sets here are the ones that seem worthwhile:
963 Glacier Green (the best of the bunch!)
983 Tundra Violet (a great replacement for black in your palette, if you have it)
952 Deep Sea Indigo (bonus points for a transparent indigo with reddish purple undertones!)
964 Glacier Brown (the best brown of the bunch and the most saturated of them, with dark black green undertones)
942 Forest Green (a saturated green in a natural but not easy to mix colour with reddish undertones)
985 Tundra Green (a natural greyish yellow green that is not easy to mix and has brown undertones)
981 Tundra Orange (because this is a transparent paint in a colour that is rarely otherwise granulating, with pinkish undertones and a good generally useful hue that will work well in mixing).
If you’re looking to buy sets, the Tundra set and the Glacier set are the best in my opinion, but it depends on what colours you use most often in your palette.
A drawing of a decrepit, old building in central Tel Aviv. Painted only using the new Schmincke super-granulating watercolours (Galaxy, Glacier, Deep Sea, Forest and Tundra). The only exception is the yellow, which doesn’t exist in this range.
My review of these colours will probably be up this weekend.
Day five of the One Week 100 People challenge, the final day of the challenge. I made it, using only pen and ink, and focusing on portraits the whole way through! It was tough but rewarding, and if I’d change one thing about it is get a better ink than Platinum Carbon. It kept drying up on me, and for the last four drawings I switched to a Lamy Safari fine with Noodler’s Black. That also wasn’t ideal, but it was better than the Platinum. I really want to test out the De Atramentis Document inks, but with shipping rates and reliability being what they are I’m stuck with three equally poor alternatives: Noodler’s Black, Platinum Carbon Ink and Rohrer and Klingner SketchINK. They all dry up in the nib and are hard starters, and the best of the bunch in terms of flow (Noodler’s) is the least waterproof of them all.
Anyway, I really recommend the One Week 100 People Challenge to anyone who wants to improve their people drawing skills, and I plan on doing it again next year.
Day three of the One Week 100 People challenge. It appears that the street photographers aren’t exactly catering to sketchers, or they’d take more profile pictures than they currently do 🙂 I’m getting into a pretty good rhythm, and more importantly I’m getting better at figuring out where to start each portrait. Many start with a general outline, others start with the hair, or the nose->eyes->lips. Every day it gets a little easier to draw people, and though 20 people a day is still far from easy, I do feel like I’m getting the most out of this challenge this year because of my choice to work directly in pen and with no shading or paint.
Day two of the One Week 100 People challenge and today was more challenging than yesterday, mainly because I started late and had trouble finding decent photographs. Photographers apparently love photographing blurry people, masked people, people with their backs to them, other photographers (while they are taking photographs and their face is half covered by the camera), or people from a large distance. Some of them also love photoshopping their subjects to death, so I’m now able to find a half decent subject only every five or six photographs. Thankfully the pool is huge and varied, with people in all ages and from all over the world, so while things are slowing down a bit, I’m still grateful for the the opportunity to enjoy the work published in this wonderful group. Even if I can’t use all of the photos there, I am thoroughly enjoying perusing through all of them.
I’m doing the One Week 100 People challenge again this year (I skipped it last year but I have done it before). It’s a challenge that I find difficult but very rewarding, and this year perhaps more so than in the past. I’ve decided to work from Flickr photos, to challenge myself to draw every clear face that I see in the photo pool that I’m using, to work fast and directly in pen and ink. I’m also not hiding behind watercolour at the moment, but we’ll see for how long my resolve holds. These all took a minute or two each, and were drawn with a TWSBI Vac 700 with an EF nib and Platinum Carbon ink on a Stillman and Birn pocket softcover Alpha. There’s some feathering and spread with this ink, which I’m not enjoying, so I may switch to Staedtler Pigment Liner pens later this week.
In early January we had a bout of very foggy days and I took photos of various city scenes in the lockdown and the fog thinking that I’d later draw them. I thought that drawing fog in watercolour would be pretty straightforward, because what is easier than just drawing wet on wet and letting the watercolour do its thing? But after looking more closely at the photos I realized that fog isn’t just grey sky melting into the landscape, it’s also a muting of colours, a flattening of the landscape, the lack of shadow. In the end I drew two small landscapes, one urban and one of the park, and although they were challenging I enjoyed drawing them enough to want to have the same experience with the text. The grey writing in Hebrew in the bottom right corner is a line out of a well known rock song that embodies a lot of the spirit of Tel Aviv. It was written using Diamine Silver Fox on a semi-wet background, to facilitate ink spread.
These drawing also showcase a shift I have made in my palette and my mixing over the past few weeks. Once things settle down I’ll probably post about my new palette.
Tel Aviv Municipality has come up with a great way to support local businesses during the lockdown. Once a day at 11:00 they open the option for around 30-40 people to purchase a box from a local business. The box costs 50 NIS, and comes with a zoom session with the store owner, where you learn about their business and make something together. There was a beer box, a sushi box, a stationery box, a magic shop box, a cocktail box, a pickles box, and more. The boxes proved to be more popular than city hall envisioned, so after a few days they limited it to one box per resident. Luckily I managed to get three boxes before the limit took place, and this was the first one. We learned how to make two plant holders out of reclaimed pallet wood from a lovely design studio in Jaffa called Molet. They create kits and give workshops using wood pallets and the results are charming and fun. My dad had a workshop with them before the pandemic and really enjoyed it, and I’ll try and get the people at work to go to a workshop there once we can.
This sketchbook page was created as part of Liz Steel‘s Sketchbook Design course and explores using collage and colour blocks as design elements.