Author: Susan Cornelis

Radical Radishes

When we first started exploring a move to the Pacific Northwest I contacted Jane Wingfield, a friend I’d made years before at an Urban Sketcher symposium in Chicago. I remembered her Instagram name as Olysketcher and realized that meant Olympia! When I planned my first exploratory trip north, Jane invited me to meet her at the Farmer’s Market, which is by the harbor in Olympia. As it turned out Jane was the one person I knew in Olympia when we moved here in June.

Fast forward to Saturday when I met Jane and another urban sketcher Eleanor Doughty at the Market for sketching, and afterward for that favorite activity of sketchers – sharing our sketchbooks, materials, workshops we’ve taken/taught, travel sketch itineraries and more. That usually involves trying out each other’s pens and paints too, much like siblings trying on each other’s clothes.

Higgens Black India ink applied with a bamboo pen and watercolor

It was morning and I was uncharacteristically willing to stand and sketch while balancing the open ink bottle – the only way to capture these radical radishes as seen from the back. They were radically red, radically fresh, radically regal on their throne of green. And they were screaming out “We are the queens (kings?) of the harvest fair!” which is saying alot, because oh my the apples and pears and corn and. . .

The owners of Skipping Stone Garden, Sarah and Gabriel Baisan, parents of the rad radishes, caught me in the act, and posed with their bounteous beauties. Not only is their produce artistic inspiration, but they grow a variety of produce as well as soil-grown microgreens on less than one-quarter acre!

There was time for more, so I headed over to the picnic tables and grabbed one right in front of the jazz band that was playing. I regret to say I got distracted and forgot to ask their name! A shame since I really liked their music.

variety of pen work and watercolor

. .. or actually, probably a good thing, since I confess I made a mess of the drawing when I got home, trying something “interesting” with color

Faces

gouache on gray toned paper

A fellow from the Sktchy picture archives – someone I’d like to meet !

What to say about this – dividing the face into fractals of color – why not stripes and dashes and thick and thin – adding and subtracting but mostly adding! That’s the beauty of gouache. You can just keep going. Come in at the end with pure color accents. That red on the tip of the nose and ear, blue in the shadow and pure white to pop. 

gouache on beige toned paper

I had to paint this redhead. Red goes with turquoise, green. Red like my hair was, and sort of still is with the help of hair coloring over the gray. Haha!

Ashley Creek Farm

What is it about pumpkins and autumn? Is it the pie? or the color orange which we experience as sun saturation that warms the belly and the soul? Is it orange’s tendency to make a blue sky electric?

I think I’ve probably painted pumpkins every year since my beginning in watercolor in 1992 and possibly even longer. So when the local sketchers got permission for a private access to what I’m guessing is the primo pumpkin harvest farm in the county, Ashley Creek Farm, I couldn’t wait!

The farm was getting ready for the hoards of pumpkin-loving families to arrive for their season opener, when their field fills up with carloads and they sell pumpkins so fast that they are constantly replenishing them from the fields nearby. It’s not just the pumpkins that draw folks, but the idyllic and beautifully cultivated farm by a creek with hundred year old trees and house.

I was drawn to the contrast of blue-green to orange and red pumpkins and orange tractor! and anxious to practice with my new bamboo pen and India ink, followed by the Derwent Line and Wash palette.

And while I was sitting there painting I kept glancing over to the farmer who was feeding the cows and driving the tractor. He was a much older gentleman who walked with a cane and moved through his farm chores slowly and with great care. I was delighted when he came over to see the art makers and show interest and gratitude for our efforts. 

And so I got to hear Robert Sand’s story of moving in the 1950’s to Tumwater, Washington  from eastern Nebraska where he grew up on a farm. He raised 6 (or 7) children on this farm, teaching them the work ethic of farming.

He wanted to join us for our “critique” time after sketching and shared specific appreciation for each of our sketches, charming us all!

But Robert was not the only art lover. His black kitty stole the show by making a big deal of the art, particularly Ineke’s lovely sketch of the house!

Daily Visits

I told myself that moving to a place where we knew (almost) no one would be a challenge at our age. I would have to overcome any natural shyness and join groups, participate in local activities, get out and mingle to make new friends. Ha! Not on your life during a pandemic, and especially lately with the Covid numbers spiraling upward. 

So instead I spend time with plants and animals that don’t need vaccinations and masks. The daily visits I refer to here are mostly the ones I make out to the garden with its infinite diversity and lessons to teach. Most of my outside painting is with eyes and other senses and without brushes. What can you call that blue of the sky? and what’s that rustle sound of those leaves that shimmer like golden coins? And if you close your eyes where in your body do you hear that bird song?

Sometimes lately though I get some paint on too!

I have been eating my lunch out where I can watch the Juncos and chickadees dribbling bird seed from their red perch. 

bamboo pen and ink and Derwent Line and Wash paletter

Another day just as the sun slanted toward the horizon I brought my sketch kit out to the back where two gigantic sunflower “volunteers” were luring me. The challenge was to hold the ink bottle and sketchbook in one hand and the bamboo pen in the other and draw. You’d think the flower would be facing the sun wouldn’t you? But for some reason these two plants are contrarians. Instead the sun was shining directly in my eyes and back lighting the flower. Speed was required to finish before the call to dinner and blindness from the sun. What fun!

Tried the other sunflower another day, this time with my usual watercolor palette and in a bigger 9 X 12″ sketchbook with more room for gestural strokes, and once again thought, wow, this is a lot more fun!

But today I brought my subject indoors and focused on detail. I’ve become the garden clean up crew, with Bob’s help of course, since we’ve had a hard time hiring help.  I had just pulled up a flower bulb in my vigorous clearing of dead growth. And what I found stopped me dead in my tracks as I contemplated my cavernous ignorance about plant biology. Perhaps you could help me understand what I saw? 

I mean really, all that bewitching beauty is underground! Just imagine what we are missing out on, just living our lives on top of all this and never seeing it. Those were my thoughts which ranged more to metaphor and visual poetry and spiritual ecstasy than scientific explanation.

Neverthless I would appreciate knowing more about the function of those jewelled clusters! Any suggestions? Ellyn, are you there?

Grandfather Bunny

Out in the side yard doing some garden trimming I suddenly came eye to eye and inches way from a bunny lying under cover of a plant I was about to trim. When he made no effort to move away. . .well, here’s the art and the story to go with it.

acrylic inks on w/c paper

Found in a tangle of lily fronds, eyes open and question posed in absolute stillness, “if I do nothing will she go away? But from my touching proximity, I knew those deep dark eyes that gazed at me would not spur action. You were waiting for that which my world is trying to escape. I restored your soft shell of leaves around you and was drawn to speak to you as that beloved wildness that I have wished to reclaim for these many years, way back into childhood, standing at its door, impeded by my human-ness.

And so I softly pleaded with you Grandfather Bunny to let me step across the threshold with you, to hop and nibble and land softly with grass stained flower fragrant belly onto the softest spot in the garden. For a few moments I was almost close enough, but could not interrupt your last minutes of life with my human gaze, even though my prayers were to spend time with you in a rabbit warren, in the path of deer and all manner of birds and bugs.

Perhaps you knew that and had already sent blessings back to me from the other side, when I found you an hour later, eyes closed and body left behind, not a scratch on it, and I brought you inside because it was darkening out and I was not ready to abandon you to nature’s hungry reclamation crew. . .yet.

Next day I located a resting place under a conifer, on the far side of the ancestral grove, and the hole dug, filled it first with love and then your perfect wild body.

And the day after I found a fresh hole in the earth above you. I wonder, did someone in your home team come to get you and take you home? Or did you find your way back out and beyond so that now you are munching clover in a sunny field somewhere. . . eternal.

Monarch Sculpture Park

Turn right at the end of my street and suburban neighborhoods give way to more open countryside with woods and fields and barns and gardens. Cross a railroad track, turn onto Old Highway 99. One more turn and you’re there.

Or take your bike on the Chehalis Trail and stop when you see large sculptures. The Monarch Sculpture Park is a contemparary outdoor sculpture park and center for the arts, open daily. Walk right in. There’s no gate, but signs to welcome you. You hear distant voices of a handful of small children and moms, but otherwise you have the place to yourself. Is it a spiritual retreat or a magical mystery tour, or a stunning nature retreat? It’s all three! And a fabulous place to sketch. In fact I’d like to go every day for a week and fill a sketchbook with paintings and musings.

bamboo pen and India ink, Derwent line and wash paints, 9X12″

Our local sketch group met there last Thursday. I was immediately drawn into this scene and compelled to draw the bamboo with my bamboo pen, which has become my favorite drawing implement! so capable of boldness and subtlety. When the tip runs out of ink, which happens quickly, you can dip the pen tip in water and keep drawing for a bit with the lines quality so subtle.

I paired it with the Derwent Line and Wash Paints with their strange colors and granulating pigments. It’s hard to go dark with these paints so the black ink takes over when more depth is needed.

watercolor and pen

Sitting in a big open meadow, viewing these collossal white humanoid sculptures, I was struck with a delicious memory of papier mache sculptures from childhood! The layers of drippy paper smelling of wet newsprint. At the kitchen table with mom.

The red and the white with the green backdrop. I couldn’t resist. Sculptures by artist/owner Myrna Orsini, a creative and generous soul to whom I offer my gratitude! I’ll be back again and again.

Olympia Harbor Day

With the Puget Sound running right through the center of it, Olympia is among other things (like the state capital) a seafaring town of the recreational sort. So each year there’s three days of tug boat races and all kinds of showing off of the boat arts. Last year Covid put the cabash on it, but this year became this very low key one day event with music and model tugs on dry land and non stop live music, fully masked though outside, and no food or drink served. 

This suited my friend Shambhavi, fellow urban sketcher who lives in Seattle, and I just fine. No crowds to worry about. Tuneful folk music as a back drop and the sunny harbor scene to sketch.

While I waged war with the water reflections on a tugboat in the distance, Shambhavi chose a colorful model tugboat, and did a lovely sketch that the owner of the boat asked to photograph. He then climbed in his boat to show that it is indeed seaworthy for an adult human! and a race winner!

Then we became the front row audience for a folk singing group, Cosmo’s Dream, singing a medley their own songs, sea shanties and favorite folk songs.

All in all a pretty fine afternoon, and next year I’ll be here for the three day harbor extravaganza!

Camouflage

We tend to think of the creatures who eat the vegetation in our gardens as unwelcome intruders. Can you imagine what they must think of us?! Lately I’ve been startling bunnies and deer on a regular basis. One deer family in particular, a mom and two spotted fawns. Their pert heads lift at me with the unuttered challenge of “what the heck do you want?” They pause rather than bolting, unwilling to give up their munching or napping on the soft grass in the shade of the ancestral grove (the back side garden, under the birch trees, where we’ve “installed” the Grandmothers whose ashes we have shepherded since they died less than a decade ago). This deer family knows they are welcome there.

My mother had a very soft spot for creatures like deer, and surely would not mind a all watching the doe jump easily into the fenced-in vegetable garden and help herself to the bean and tomato plants. We can certainly survive without those extra veggies, and the plants of this world are accustomed to being munched on by all manner of creature. 

I did however subject this family to a round of picture taking and exact payment for their “rent” of my garden and its bounty, by including them in my art making.

Daler Rowney inks on w/c paper, 1st layer

Prior to the recent deer sighting, I was actually inspired by the trip to the Japanese Garden and a picture I took of the koi pond.

This image reminded me to play around with the “painting on water shapes” technique I love, as an expressive and highly spontaneous way to achieve nature shapes, especially since I live in an area dominated by trees, trees, trees!

So I started by wetting the paper with lines of water and crosslines connecting them in almost a tangle.

Next step: dropper onto the wet shapes with two different inks, somewhat randomly.

And next: tip the paper and add drops of water into the shapes if necessary, so that the inks mix and move.

Then I dipped a dip pen into the darker ink and added some calligraphy to delineate or suggest tree texture and branches, including dry pen texture.

Lastly I dipped a cotton ball in the inks and dabbed on leaf and bush foliage.

And that’s when the doe found her way in. With a bit more ink she found her place, a native with every right to live here with us and share this fertile ground. She fits right in. I considered adding birds and dragonflies and all manner of other creatures to this Where’s Waldo piece, but decided I’d told the story I wanted to, and time to move on.

Currently I’m reading a book which has had a significant influence on me lately, and I highly recommend it as a great read. . .Martin Marten by Brian Doyle

It’s about a boy coming of age and a marten also coming of age and a million other things to surprise and delight, so that you begin to see the world from the perspective of the non-human creatures, plants, etc which inhabit “our” world while we overlap and inhabit “theirs”.  (As you can see it’s making me more verbose than usual!)

A Lively City and Peaceful Garden

Seems like ages since I’ve taken an online painting course. But when I saw The Lively City advertised on Sketchbook Skool I thought it seemed like an exciting new approach to reportage sketching that I could try. The teacher, Jedidiah Dore, an urban sketcher and reportage illustrator in New York City, uses a bamboo reed pen and ink, bright watercolor washes, and other techniques to create uniquely expressive and highly energetic scenes of the city.

Gathering up the materials I have in my studio, I took myself out to the East Bay Waterfront in Olympia to try it out with one of my favorite views here of the bay and marina with a backdrop of the Olympic range. 

In my rush to get out of the house I moved my materials into a larger bag. When I pulled them out on location I realized that I’d forgotten the bottle of India ink to use with the reed pen and dip pen. Phooey! I had my fountain pen, a more controllable tool, which however robbed me of some of the initial spontaneity and line texture which Jedidiah achieves at the get go with big expressive lines. But I enjoyed the process, which abandoned my usual approach of matching colors, and establishing atmospheric perspective. The result was purely an invention of my own of how it felt to be there on that glorious day. Thanks to Jedidiah for encouraging the play with pen and ink and spontaneity which makes painting feel more like play.

The Thursday sketch group met at the Yashiro Japanese Garden, a tiny garden enclosed in bamboo with fountain, koi pond and temple structures. Normally a peaceful, quiet spot where you can download and listen to the local symphony orchestra while enjoying the Zen-like setting. On this day we were greeted by a crew of gardeners weeding in the bushes and clearing the grasses from the path using a noisy torch to singe them. I guess that’s a way to avoid using Roundup?

Not being able to tune out the noise of the gardening ruckus so that I could settle into the peaceful fountain and pond scene, I got interested in the gardeners. And when they left, settled into the pond scene, equal parts stationary lily pads and gently flowing koi. 

As I left I passed a gardener who was thinning out the bamboo and I asked for some fresh bamboo stalks to use as dip pens, perhaps for the new Lively City works that have yet to emerge!

Pathos

The Bumblehummer in a recent post turned out to be a female Rufous hummingbird, for those of you who wondered. Positive identification occurred when I emailed the local Audubon society and in the process made a new friend! Kim is a wealth of information and answered a slew of bird questions I hardly knew I had. And now I have an invitation to go birding with the Gals Go Birding group. And Kim even teaches a workshop for people like me whose vision is fading, called Birding By Ear

Undoubtedly there will be more birds arriving on the blog, but today I’ll slip in a recent portrait . ..

gouache on gray toned paper (Inspiration from the app, now called Museum

.. .which I have named Pathos, because the beauty of this woman rests in the utter depth of feeling her face conveys. Her heart breaks for the suffering of humanity, which knows no bounds. Her own suffering is etched on her skin, even while she glows with the light of compassion. One’s eyes brim over just by gazing on her image and the heart muscle jolts awake.