The other day, M. asked me how I decide what sketchbook to bring when I go out to draw. Great question!



At any given time, I have a dozen or more sketchbooks in various states of completion. I tag each of my sketchbooks on the first page with my name, phone, and date started, so I can tell you that the oldest work-in-progress book dates back to (welp!) 2011.

Most of the older ones either have paper that I'm not too fond of or were acquired for a specific purpose (I'm looking at you, Pacon Art Street Sketchbook from the kids' workshop I led). Of course I also have a large and ever-growing stash of new, untouched sketchbooks, including freebies from various conferences and impulse buys.

So which sketchbook gets to ride along when I'm packing my bag? It depends on what I'm drawing (and how I'm feeling). Obviously if I'm just aiming for the smallest kit possible to shove in a purse, I choose a 3"x5" pocket sketchbook, but I usually prefer 5"x8".

Am I likely to work solely in line, or will I do a more involved drawing, perhaps with watercolor? If the latter, I would take a sketchbook with heavier paper, made for watercolor (e.g., Strathmore Field Watercolor, Hand Book Field Watercolor, Fluid 100 Watercolor Block).



Will there be other, more accomplished artists around? I may go for the familiar to give me a confidence boost (Stillman & Birn Beta or Zeta, Moleskine watercolor).



If I'm aiming for quantity (ahem, Inktober), I may choose a thinner paper. This month, for instance, my Canson Art Book Universal Sketch is on heavy rotation. Since it's hardbound, it survives being shoved into a backpack or tote on my daily commute.

Here's a quick ink sketch I did last week to plan what I'd carve on a pumpkin:



Daily challenges are a great excuse to use up pages in sketchbooks I don't like. Instead of letting those books languish in the drawer forever, I can fill them with quick thumbnails, notes in workshops, draft blog posts, etc. And since sketchbooks with thinner paper are usually cheaper, I don't get anxious about achieving perfection on every page!

I'm always curious to see how other artists are participating in the daily ink drawing challenge that is Inktober. Some are purists, only drawing in ink. Others are looser in their interpretation, stretching themselves to work in ink + other media.



I do a bit of everything. I'm also going easy on myself this year -- it's a busy time, so I'm letting myself catch up with multiple drawings if I miss a day.



I also don't stick to one type of subject. Some of my drawings are representational. Others represent only what's in my imagination. I also use this challenge to practice mark-making.



How do you Inktober?

After several days of late-night Inktober sketches from my imagination, I was determined to do something different yesterday. So I got front-row seats to SJDanceCo's performance, Roots & Wings, at the Hammer Theatre in downtown San Jose.



There was just enough light from the orchestra pit and stage to see the paper. I sketched this with a Sharpie pen in a Canson Art Book Universal - Sketch. It's a relatively thin paper; this sketchbook is one that I started in Santo Domingo in 2012 and have come back to every so often. It's liberating to draw on this paper, as it keeps me from getting too precious with the lines. If I mess up, I don't feel bad about turning the page and starting over.



Drawing these dancers was incredibly challenging. They moved fast and contorted their bodies in positions that weren't easy to comprehend much less capture on the page. When I added color later, I tried to keep my washes loose and minimal. I made notes on the page to help me remember the colors, as photography wasn't permitted.

The sketch at the top of this post is of a solo performer -- she used a flowing red piece of cloth as her foil in her graceful, emotional piece.

Another act seemed to involve the dancers' fraught relationship with clothing of various kinds. Still another celebrated the joy of childhood, with props including a large balloon and a tricycle.



Have you ever tried sketching a dance performance of any kind? What are your tips for capturing the fluidity of the bodies as they twist and leap around the stage?

Still going strong with my Inktober sketches. Here's one from Martial Cottle Park, and then a series of late-night quick captures from my imagination (seeded by the official Inktober prompts).

I'm fortunate that I live in front of a large park here in California; I open the backyard gate and find myself faced with miles of trails -- a convenient subject for an Inktober sketch!



Yesterday's installment of Inktober was during dinner at Jang Su Jang, a Korean restaurant in Santa Clara.



The day before, it was a quick sketch from TV.

If it's October, it must be Inktober! It's an annual worldwide activity in which artists draw in ink every day of the month and post their work.

I was visiting my parents in their new home in Voorhees, NJ, over the weekend, so I took advantage of a few hours in Philadelphia to draw the scene above -- from the passenger seat of the car.

Given all we were doing to help my parents settle in, I didn't have a lot of time to draw. Here's the usual last-minute sketch of M. sleeping, aka "Oh, no, it's 11 pm and I still haven't done my Inktober drawing!"



If you've seen my previous Inktober posts, you know that M. likes to throw random words at me as prompts. Don't ask.



How about you? Are you participating in this year's Inktober?

Spent a fantastic afternoon sketching with Liz Steel, Jane Blundell, Shiho Nakaza and our local artists at Grace Cathedral in San Francisco. I didn't get there till nearly 3 pm, so I only had about 20 minutes to dash off this sketch before we did our "throw down" of sketchbooks.

So excited to announce that my Craftsy class, Urban Sketching in 15 Minutes a Day, is live! It's great for beginners. You'll learn simple ways to quickly convey the essence of a place, moment or passing scene – whether you’re walking to lunch or traveling in a car, bus or train.

What you get:

• 6 Streaming HD video lessons with anytime, anywhere access
• Class resources, including a printable supply list
• Detailed instruction, explanation and demonstration
• Me! I'll be personally answering your questions in the class

Last weekend, San Jose once again hosted Viva CalleSJ, an open streets event to encourage walking and bicycling. Each time, I discover more parts of the city.

This year we started near Alum Rock, and M. brought along his Box Bike. I had the best seat in the house -- I got to sit inside the box bike and sketched while M. pedaled along the route!







We stopped in front of Five Wounds Portuguese National Church -- I've wanted to draw it for some time so was glad to get the chance.



Someday I'd love to go down to LA to sketch during a CicLAvia event.

Yep, we do indeed, just 20 minutes away. Sketched this during the heat wave, at the South Bay Polo Club's Garlic Cup a few weeks ago. (It's in Gilroy, where everything is made of garlic.)

Interestingly, the announcer didn't proclaim "We have polo!" every few minutes as seemed to be the norm in Saratoga. Also unlike at our previous polo experiences in Saratoga and Greenwich, the attendees seemed to be a more diverse and laid-back crowd. Fewer UFO-size hats, more coolers. Plus there were tacos and margaritas - fun!

So far I've sketched golf and polo and yoga and ballroom dancing around the Bay Area. Still on the list to sketch: fencing, cricket. What else?

So the whole country decided to throw a party for me this year. Woot!

Yep, I'm one of the lucky ones who happened to be celebrating a birthday at the same time we all collectively stopped in our tracks to gaze at the sun. For one brief moment we forgot about all the crazy.

I celebrated by hitting not one but two national parks. First stop: Lassen Volcanic National Park. What's that, you say? Oh, only the awesomeness of steam vents and sulfur and bubbling springs without the crush of people at Yellowstone.

We hiked around Manzanita Lake. I stopped to sit on a log and paint.





Direct to watercolor, no sketching first, in a Hand Book Field Watercolor journal.

Then we trekked to Bumpass Hell. The back way, involving a steep, muddy hike, because the easy trail was still closed. Because of snow. In August!

It was exhausting, but so worth it. This painting doesn't really do the scene justice, but it's the best I could eke out with what little energy I had.



We drove onward to Crater Lake National Park. Sadly, we could barely see it because of the smoke from all the wildfires. We spent the night in the town of Jacksonville, Oregon, near Ashland. It has a very lovely downtown.



For the main event, we went to Roxy Ann Winery in Medford, which was hosting a viewing party. Yes, we didn't see totality, but ~90% while sipping fresh-from-the-orchard peach mimosas? Yes, please!



Austin (or Cleveland?) 2024, here we come!

Took advantage of our office summer picnic a few weeks ago at the San Francisco Zoo to sketch. Because, flamingoes!







And parrots (I think?).



So what is this awesome toned paper? It's that Daiso kraft paper scrapbook I'd previously used for gouache.


Here's a roadie I had done a few weeks earlier, in the same sketchbook.

A week after I got back from Chicago, I was off to Denver for a video shoot with Craftsy. More details on the project will be coming soon, but here's a behind-the-scenes look at my days in front of the camera in Colorado.

M. and I arrived in Denver on Sunday. We took light rail from the airport to Union Station (it's the city's transport hub, meeting place, and living room) and got lunch.





We went to the two main shoot locations so I could get familiar with them. We also went to Meininger, the local art materials shop, so I could get some supplies. Next to their pen section, they have this handy guide to tell you which ones are waterproof -- so clever!



Monday was spent prepping. I got my hair and makeup done by the lovely Danica, who's also done makeup for President Obama.



My producer, Stephanie, and I scouted locations and went over the script. I met the crew and learned that the first order of business each day was ordering lunch. (Hey, everyone's gotta eat!)

I also got a look at the studio where we would be shooting the indoor portions. I learned a ton about video production, such as the reason that a clapperboard (slate) is used for each take (the black-and-white pattern and sharp noise help synchronize sound and video).



Tuesday was spent on location in a park, getting as many sections done between raindrops as we could. We'd ordered Mediterranean food for lunch, but while we were wrapping up the first walk-and-talk, a squirrel got into our pita bread! It was quite the picnic.

The afternoon shoot was even more challenging -- we shot that inside a car. The crew had to MacGyver the camera to the dash, which mostly worked except when the car lurched and the whole rig would fall forward. Talk about extreme sketching!

Wednesday, we were back at the park to shoot another section and then returned to the studios to do the last outdoor part. No squirrels this time, just extremely loud cicadas whose music would wax and wane in the background.

The last day was all indoor studio -- had to finish up the remaining portions plus record intros and outros. Time for a few final pics with Danica and Stephanie before heading off to the airport.





Stay tuned: I'll be sharing more about all of this in the coming weeks!