Join us to sketch at Daniel Smith Fine Artists’ Materials store in Seattle in the Sodo neighborhood, this Sunday, September 5 at 10am. We will sketch as a way to remember this wonderful store and say THANK YOU to the amazing staff. Please post your sketches, photos, stories, thank you’s to them at #thankyoudanielsmithstoreseattle on Instagram.
Yes, it’s been terribly long since I posted to this blog! Sincere apologies for the absence. I am fine, my family is fine. So where have I been? The answer is WRITING A BOOK! Yes, it will be my third book, and it is HUGE. I can’t go into details yet, but just know that I stopped my day job and teaching back in April to get it up and running. More on this in the future, and on to the business at hand…
Yes, tragically, the center of our creative and arts community, the Daniel Smith Store and mothership is closing. It has been closed throughout the pandemic, although I’m happy to report that they retained ALL their full-time staff by moving them from sales to paint production, which is BOOMING. They are now the top seller of paint in the world! But I have many memories from this place and the wonderful staff who became friends…book signing opportunities, workshops from amazing people from around the globe, not to mention the beautiful, tall, sunlit space with aisles to explore and tools that you could actually hold in your hand and even test before you bought them. Gone are those days. But here are two ways to say THANK YOU for all they have done for us over the years.
- If you are from this area, consider this is an invitation to say THANKS to phenomenal Daniel Smith store staff: Join Seattle Urban Sketchers this Sunday, September 5 from 10am-1pm for an opportunity to sketch the store!!! Yes, inside or out, wearing masks.
2. Post your sketch on Instagram, or any sketch or photo you have–maybe of a workshop you took–and story you’d like to tell, or even just say “Thank you” and then tag #thankyoudanielsmithstoreseattle so that the staff can read all the stories and know how much they are appreciated.
And as for my sketches, I’ve done a few and will go back in time and post a few…like the day it was 108 degrees out and I was sleeping on the basement floor…? Hope everyone is well.
PS, I’ll be personally signing copies of my 101 Sketching Tips book there on Sunday!
Looking at sketches on Instagram or Facebook, it’s often hard to see the details in my sketches. I love to work in large, horizontal wide-angle compositions, but they tend to not read particularly well in online formats–if I post the entire sketch, the details get lost. In order to see some of that architectural detail I love, the past few days I’ve posted a few cropped, zoomed-in images of sketches from this summer in Spain, Italy, and Croatia on both IG and FB.
A number of people have posted comments about how they like the “glow” in the shade and shadows, so I thought I’d write a blog post to talk about how I get that effect. To create an incredible glow, I rely on the magic of Daniel Smith’s Quinacridone Burnt Orange! You can see it in the warm orange color to the left of the tower in the image from Dubrovnik.
First, let’s talk about the differences between SHADE and SHADOW. Shade is the backside of a lit form, while SHADOW is the darkness that is cast onto other surfaces by forms. Shade tends to appear warmer and lighter when compared to shadow, which appears cooler and darker.
I start by painting the upper/outer, darker part of the shade or shadow using a blueish gray made from three colors: Winsor & Newton French Ultramarine + W&N Burnt Sienna added to make a Payne’s gray, then finally I add a touch–just a few molecules– of Permanent Alizarin Crimson to add depth and warmth. That tiny bit of PAC makes a huge difference! I will vary the percentages to get the color on the gray side or more on the blue or purple side.
So first I paint the gray, then while it’s wet, I drop in the QBO in areas where I want a sense of bounced light, often toward the bottom of a wall or the ground near a wall. QBO displaces the gray and leaves a warm, orangey glow. Some people ask why not just use the Burnt Sienna as they are almost identical in hue. The reason? They behave very differently on paper or when mixed. The wet-on-wet QBO somehow retains its bright orangey color, while the BS goes to a gray, and it’s that orange that creates the glow.
Take a look at these cropped sketches. You’ll also see lots of Quinacridone Burnt Orange dropped into lots of places for that magical glow!