Article selected for "The Painter's Keys"

I was very pleased to discover today that my article was selected for inclusion in Robert Genn's April 16 online letter to artists on his "The Painter's Keys" website. This was a very nice honor, as Genn has thousands of readers around the world and only includes 10 letters in each post. To any of my readers who aspire to paint, I highly recommend The Painter's Keys.

Here's what I wrote:

"I teach a workshop, "The Illustrated Journal in Ink & Watercolor," that speaks directly to this issue. In it I show students how to make quick watercolor and ink sketches that record moments in their lives. The students think they're learning techniques for travel sketching -- and indeed they are -- but I know what's happening is much more than this; they're learning how to paint. The results are always so much better in these sketching classes than in my more formal painting classes. Why? Because the students are relaxed (after all, it's just a "sketch" not a "painting") and absorbed in filling page after page with small studies, done from direct observation. They're drawing and coloring intuitively, with joy. When they come up for air, they seem surprised they've been having so much fun and that their tiny paintings are so expressive and charming. Apparently that's myelin in action, accompanied by intense, deep learning. I can't say enough about the value of doing lots and lots of small paintings, and I keep trying to pass that on to students. Some years ago, International Artist published a great book, Work Small, Learn Big: Sketching with Pen & Watercolor -- now, sadly, out of print, but still available in librairies -- that makes this same point. And online groups like SketchCrawl (www.sketchcrawl.com) and Urban Sketchers (www.urbansketchers.com), that encourage artists of all levels to get out and sketch, are creating an international community of like-minded folk. So, there's a lot of momentum, for this, Robert, and I'm glad to hear medical science is backing this up."

Upcoming journaling workshops!

Sample page from Marilynn's illustrated journal at Lake Superior

I was delighted to learn that my illustrated journaling workshops are filling up. My workshop at the John C. Campbell Folk School in North Carolina is full, with a waiting list, but there are still a few places available in the workshop at The Alabama Folk School. Here's the scoop:

April 5-8: THE ILLUSTRATED DISCOVERY JOURNAL

The Alabama Folk School at Camp McDowell, Nauvoo, AL, 205-387-1806

For the traveler, landscape painter, gardener--anyone who wants to record what they see and experience in a personal watercolor journal. You'll learn 6 skills: simplify your subjects, render them quickly in pencil, enhance your drawings with ink, add color with watercolor washes, design your sketchbook pages, and incorporate words into each page's design. We will work from real life and your photographs. Activities will include demonstrations, in-class exercises, and outdoor excursions circumstances permitting. Basic drawing skills are recommended for this class; however, even students who have very little drawing experience can create very charming journals.

I'm offering a weekend version of this workshop at the Spruill Center for the Arts in Atlanta May 8 & 9, and a 3-day at the Bascom Art Center in North Carolina June 10-12. Details are on my 2010 Workshop Schedule.

SketchCrawl #25

My "minimalist" sketching kit

SketchCrawl, the international drawing marathon, took place today, and four of us participated. I decided to go "minimalist" and take the smallest set of supplies I thought I could get away with. Here it is: the smallest -- 3 1/2" x 5 1/2" -- of the Moleskine watercolor sketchbooks, a tiny toystore tin I filled with Winsor&Newton watercolors, a waterbrush, tissues, pen, pencil and eraser. What's so cool about this is I can tuck it all in the little pouch on the left and carry it wherever I go.

Our destination was the Atlanta Botanical Garden. Here's the entrance...an overly-detailed study, but I was killing time waiting for fellow artists to show up.

The Henry Moore sculptures were still in place at the Garden. Set into rocks and vegetation, they looked like aboriginal totems.

The Japanese Garden is a tranquil place, and I could have sketched there all morning.

Just before lunch I dashed off this last sketch of the big fountain near the cafe where we all would soon be meeting for lunch.