Nocturne

Everyone’s phone now gives them the ability to take great photos & movies. This is a blessing and a curse. It is nice to capture something, especially when on the road that one wants to show friends. The downside to this is, go to any big city in Europe and you see tourists so busy hunting the perfect instagram shot that they are not actually there in the moment. Ambient sights, sounds and smells are  not absorbed into memory. The old adage that “travel broadens the mind” is a sort of shorthand for being open to experiences and impressions so that they add to you and become part of you. I’ve seen some lovely shots of Paris on friend’s social media sites but when asked about their travels, they can not convey anything aside from the day of their trip they were at the local.

This is not recent news though. Another less apparent negative effect is that, with the ability to snap a photo of anyone, hundreds of photos of a night out with new friends, people under a certain age have forgotten or never learned how to look at a painting.

The relationship between painter and model/subject is not supposed to be one of exacting reportage. Ideally, it is as if the painter is describing the model but using their own words. Words in this case being the painter’s style. Because of the ability to document in photos, a person, people want an exacting reproduction all done in hyper realism. (like their phone photos)

When Matisse painted a woman reclining on a couch, you knew her foot was her foot but you would never dream of doing an  anatomical study from it. Largely, people do not want to see a painting which looks like a painting, where brush strokes are evident as is the artist’s hand. With my recent foray into social media, i have met some wonderful painters who are held back by trying to make their work look too real, too exacting and so stillborn. “Painterly” aesthetics is currently not as appealing to the masses as overly processed and perfected type thing which could be a glossy Haute couture ad.

Some museums during shelter in place have been offering free virtual tours. In a recent New Yorker column, Peter Schjeldahl, one of the finest living authors on art, suggested that viewing art online was not great. He drew the ire of many. There is though a huge difference between seeing an image of a work and actually being there. The digital image, even when shot in high definition still has factors which effect its appearance and impact such as the aspects of the device one is looking on. And the reality of looking at photos of paintings online, more often than not there will not be a sense of communion since chances are one has the television on or other distractions, the myth of multi-tasking. If one goes to a museum, instagram moment hunting aside, ostensibly you are there to experience art and nothing else. There is just an indescribable aspect to being in a building, in the same room as a work with it in front of you and others around you. There is not a “feeling” seeing it flattened out on a device’s screen. It gives the gist of a piece at best, it is akin to hearing a recorded voice not the voice speaking in the same space as you.

I get great pleasure in portraying human flesh in my works. How i do it is not a matter of degree of chops but intentional. It’s painterly and expressionistic. To do close up parts, it almost borders at times on abstraction. I have done pieces, close ups, where there is not the guide-indication of an eye or finger to tell of a body. It is even more abstract yet there is something fleshy about it. I feel very fortunate to be able to work the magic the makes a white square seem as if it has volume & mass, heat of blood flowing just below the skin.

Nocturne Watercolor & Paper 5×8 inches

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Collage

There is a lot of precision in my drawings & paintings. I have always been serious about my sculptures but those are of a completely different process. They are largely improvised on the spot using whatever materials I have around. Often, they are not meant to last.

Collage is fairly new medium to me. They fall somewhere between my paintings & sculpture.There is an element of surrealism in them that does not appear in my work of other mediums. Ahead of time,  I always have in my mind the composition but i also leave room for some improvisations.

My first collages were really large 22×30 inches. They were not meant to last which made it feel freeing. Eventually being all the remained, the photos of the work would themselves become the art.

I used glue sticks and scissors to create my works. With my paintings, they need few days to dry. With the collages as soon as I was finished I needed to snap some photos as pieces would begin curling, bubbling or falling off.

Right out of the gate i got the same feeling of serving the process I get in creating my other works. People were interested in obtaining the actual pieces and not just prints/photos of them.

I invested in several pairs of good scissors and started using adhesive which also coats the works surface as well. In reading up on adhesives I found there is controversy over where images for a collage come from. Depending upon the  country, there are things which are illegal or if not that then despite semantics, a jerky thing to do. Were my images to be lifted I know that I would not be happy about it. This brought about my decision to largely use images from photos which I myself took. An added advantage to this is that it often feels as if collage is not taken as seriously stateside. Collage seems to conjure up images of of someone with nothing to do clipping pictures out of magazines while watching television. Using my own photos bolsters the legitimacy as art form and not mere hobby.

Painting, sculpture, collage, it is never an either or for me. All are part of the whole. I do find my painting helps my achieve more volume and mass in my collages. Now, all my works cross influence and inspire each other.

For drawing I constantly change up what equipment i use, the idea being that I can create work when on the road and in under far from ideal situations ( a waitress’s pencil, the back of a paper bag et al) . A lovely letter from someone compared my collages to jazz. This planted the idea in my head to start doing smaller sized collages as to be able to do them on the road.  I could do them all in pages of a nice notebook, initially using easy to travel with glue stick and applying adhesive once back home.

I enjoy going for the density of composition, which I prefer in all my works, without letting it get too muddy and reduced to visual babel. The initial challenge of achieving this in smaller collage was great fun.

“Xavier Amin Dphrepaulezz”

22×30 inches
We are all living under a fluorescent sky temporarily. To stay productive is a huge help. Anyone who can create beauty, now is the time to do so as a reminder of what we will eventually return to. I named this piece after composer/musician (a.k.a Fantastic Negrito) whose work mixes a deep soulfulness with the lament of the blues and some funk.
Composition wise I utilize my preferred density regardless of medium along w/the feeling of a sort of open ended narrative.

 

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“Self Portrait” 11×14

These are all photos I took and my first smaller collage. I was very pleased with the results.

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Paper

I had unintentionally lucked out. Where I lived in Paris had five art supplies stores all within a five to ten minute walk. Each was good for specific things.

One aspect of all which was nice was that each was for working artists, this was reflected in the pricing, quality and selection. All the places were “historic” except the one closest to me. This one was still good though, it just meant the Soutine had never bought his pencils nor charcoal there.

All the staff at each place are artists themselves but they are almost shy about it. There is none of the (sometimes) overbearing networking as occurs in North America. I became Pals with Quintin. He finally showed me some of his work. intricate ink on paper works. I did not just offer up the small talk compliments but discussed technique with him which cemented our friendship.

After that, for years, every time I went into his shop I would get the sale price plus employ discount on my basket full of stuff.

A few years ago I went in early in the morning on my way to an afternoon of sketching and heavy lunching. We chatted and at first he seemed distracted but after a few minutes of talk it became clear it was more a type of embarrassment.

He was going to follow a girl he liked, really liked, to Ibiza where he would also work on his graphic novel. It was unclear if they would take him back on the staff when he eventually returned to Paris. I should load up as much as possible now as to take advantage of the deep discount.

It was the end of an era. Most likely a mistake on his part but that and/or an over earnestness is right of passage for youth as they find their way. I put things in my basket, he handed me blocks of watercolor paper. Seeing me doing math in my head, assured me not to worry about it.

Standing at the counter i knew to let the woman behind me go first, feigning to have forgotten something.

We were alone now, we shook hands. He turned around and grabbed a bunch of stuff off the backboard which he put in my swollen bags. Shaking hands, we exchanged information.

Back in my studio looking at all the stuff he gave me, I was pretty sure they would not be having him back. I had blocks of 7×10 French cotton paper which became one of my mainstays. I had so much of it that it lasted me several years.

I am constantly, from piece to piece switching what paper I use as it keeps things fresh. I do not know how it works for others but in my head i envision a piece before executing it and this vision includes its size too. This has kept my piles of paper dwindling but at a leisurely pace.

Despite plans already solidified, shelter in place finds me on the wrong side of the ocean, Paris right now for me as for most, just a magical daydream. I am very fortunate to be able to continue to work though. My stateside studio has taborets full of supplies.

Since I am going to be around, as i mulled over a new piece I carefully emptied them as to dust inside them. Something which was more busy work to contemplate by than actually needed. To my surprise I found that I had finally reached the end of my Quentin paper! It is all right I have plenty of other paper but this was, for me, the best cotton paper.

I decided to get a new paper to try, a 9×12 non-cotton paper. Right off the bat I enjoyed using the paper. It handles different from my French cotton paper but still enjoyable. Using the new paper, despite all going on, I get that familiar pleasure of serving the process & my craft. I hope Quintin is on some Spanish beach with his hippy chic drinking wine and looking out at the sea, I hope that I find myself walking around my arrondissement sooner than later.

 

“Blue Pillow” 9×12 Watercolor & Paper (new paper)

“Hand Selfie” 8×5 watercolor & Paper

 

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Blue Pillows

With my work, I prefer a certain degree of density. The great thing about watercolors is that they allow for this density but in conjunction with a delicacy inherent to the medium.

Often I like the viewer to feel as if they are ease dropping upon a scene. It ads to the emotional cadence of a piece to not have anything explicitly spelled out. When walking through Paris, one will see these little vignettes play out in endless variations, their true meaning unknown to all except the direct participants.

It is a give and take as equally, I have found myself a player on this urban-impromptu stage. Being watched as I lean against the balcony railing, doing dishes in the back-facing kitchen or sitting up late at night reading in bed, mine just another square of light and gentle activity among the mosiac.

This piece is 9×12 watercolor & multi media paper.

 

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Left Bank

What makes for a good trip or proper travel is not checking off a list of places to see with their associated objects;

The Louvre, Mona Lisa….

It is absorbing the feel of a place, ambience of scents, sounds..In taking time to do this, one notices how others live their lives & what is important to them. It also allows for a deeper memory retention of the entire experience which then adds to the “you”. It is what is actually meant by “Travel broadens the mind”.

For artists there is even more of a potential benefit.

Every artists works & travels differently. I am always “working” regardless of where I am in the world. The only variation is what equipment I am utilizing. Short trips will find me leaving the paints at home, filling my coat pocket with my trusty pocket pads as I like to travel as light as possible and most likely would not have time anyways.

Any give place should effect an artist. Not in the most obvious way such as “I am in London, I painted Big Ben”.

It is ambient light, the lines of architecture, they become further accoutrements to the palette. It does not mean that one enters artistic phases ala Picasso and Cubism et al. Rather, work done in one place  does not look exactly as it appears back home. The artists voice is ever present but there are different components to the fore, mixed in with some of the more familiar.

If you have never been or only as part of a tour group, then every place in France is lumped in together. Despite some commonalities, each area is distinctive with their own cuisine and habits. It is the same with the ambient light.

Aix-en-Provence is all beautiful yellows punctuated by bursts of trees and the sounds of fountains. Lyon is soft pinks as if the buildings are made or at least coated with the delicate charcuterie which they are the masters of making. Paris in itself is diverse. From arrondissement to arrondissement, from the Left Bank to the Right .

People, myself included, proudly proclaim themselves of their side of the river and which number arrondissement.

I like even some of the seemingly “ugly” streets with their time worn dirty gray and fatigued creams. These areas tend to be where some of my artistic heroes lived, cheap rent and every third door a no nonsense bar having been the draw.

I like working with colored pencils on gray or brown paper. I limit my palette intentionally as a challenge to myself. Getting the effects that I want in this way makes it “easier” when using paints. Although I use mainly pinks, it is realistic in that in the real world there are seemingly limitless colors but go out on street  look at buildings and the street. On encounters a fairly limited palette.

These pinks, urban children of Fauvists, remind me of some parts of Paris. Not that this color is found there but it is same effect, translated in my minds eye. This little corner I continue to pass almost daily. It has been there forever and i do not think it ever had any straight lines about it.

I initially encountered it when staying at my first great apartment. It was en route to my groceries and favorite bars. Four floors, impossibly winding stairs that made you drag your shoulder against the wall as you ascended since the light was always broken. The biggest part of the place was the bathroom, with a large old tub, frosted glass windows which opened up onto a shadowy verdant courtyard with its cracked flagstones. I kept the primitive hi fi in the bathroom doorway since it was connected to the bedroom. Only music with a minimal of voices sounded good as it was a mono player. Mostly Zoot Sims duets and Lester Young trios.The neighbors would lean against their window boxes of geraniums smoking and slowly nodding their heads to the music. Dark silhouettes with one wavering orange eye-dot that would flare with inhalation.

Hard work and I was fortunate to be able to trade up apartments. I remained in my neighborhood just moving a few streets down. The building has become one of the visual shorthand for the deep affection that I hold for the every day in Paris and those first exciting years.

W.Wolfson ’19

Left Bank 9×12 colored paper and pencil

 

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Val-de-Grâce

I used to work with pastels before seriously taking up painting. I greatly enjoyed the process but the pieces largely lacked the density, volume & mass that I prefer my work to posses.

Once I had obtained chops with my painting, I saw how I could have achieved the desired effects with the then abandoned pastels.

Like a lot of art things which become part of me/important to me, i fell into using colored pencils by complete happenstance. My painting showed me how to get what I wanted out of them much as it would have with pastels. There is a dichotomy to using colored pencils  in that to get what i want out of them, i need to concentrate while also utilizing a looseness which I avoid with my painting.

For subject matter, rarely do I do portraits with colored paper. I prefer instead landscapes and cityscapes.

I prefer to use colored paper, either gray or brown. I vary the size with the largest being 9×12. I intentionally limit my color palette, each piece only mainly using varying shades of three colors with the tiny splash here or there of  seemingly “wrong” colors. This i equate to the dissonant notes sometimes employed by Prokofiev and Monk.

Technique and conceptualization of colored pencil pieces are very different from my paintings. Having to utilize different approach & technique adds to how I think about painting. Aside from enjoying the process in itself, this gives it great value for me.

 

9×12 Val-de-Grâce

 

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New pencil stroll

I had been to one of my favorite art supply stores. It’s one of three oldest remaining in Paris. It is very small. I always like the ones which are tiny but organized.

There is the perfume which excites, a melange of pencils, cardboard and that scent paint gives off which in itself is a marriage of several things. The close quarters gives the feeling of being in a warren similar, with  variations, to what each artist will return to with their treasures.

I stood behind a woman whose slowness made the wait seem interminable but which was indicative of the personal service offered up to each customer.

While waiting I grabbed randomly, a fistful of pencils by a company that I knew to be good but had yet to try.

My turn, the heat had made me drowsy. When I’m old and shrunken, if it’s not busy, I will ask to curl up and sleep atop one of the taboret like a cat. For now though, I went afterwards to Marc’s to wake up with some ice cold sancerre  and good conversation.

I did not immediately give any of them a try, nor did I even know exactly what I had grabbed. They were all various “B” (soft lead) pencils.

I greatly enjoy Blackwing Palominos, which i would describe as semi soft with a creamy property. I constantly mix it up with what equipment I use but there is always a Blackwing in my kit too.

The Lyra 669 5 B is made in Germany. It had an easy glide across the paper. I noticed that the first portrait I used it for on 9×12 70lb paper, it had a very graphic look.

I have a thing for pencils which have their own distinctive voice.  It’s great fun to learn when  its specific  properties will best suit collaborating with me on a piece in the same way a musician uses specific instruments for certain type of song.

9×12 quick sketch portrait

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New Companion

I can borrow a pen from a waitress to mark up a paper place mat or the nubbin of a pencil and some scrap paper and be satisfied doing my thing. The results need not be frame worthy or even worth saving (after seven years,  having moved my long term studio, I am now of the mind that i need not save every single foot, hand etc woodshedding sketch that I do). The pay off has become the process.

Although I no longer feel the need to save every bit of visual minutia that I birth, ego does demand it still look good, even knowing that  some of it is mere exercise destined for the barrel.

I like to challenge myself by trading off what equipment i use, even for mere woodshedding, every few days. The (proven to me at least) theory behind this is that, regardless of what equipment I have on hand, I will be able to make something worth while as I am not rigidly dependent upon specific things to create.

Even with my flexibility, I feel out of sorts and naked were I to leave home without at least my trusty pocket pad on hand. I travel with various amounts of equipment and sized paper, the specifics being dictated by location and length of stay.

The constant is always my pocket pad. Called “The Passport” on account of its size, it is from Midori. Before seeing one in person, there had been a huge push on some of the sites i interact with, especially Flicker. There were beautiful photos of these notebooks sitting on a well turned out desk next to some great fountain pens and other accoutrements. Or on a bedside table at the Ritz by a pocket watch, brass Art Deco key chain and cigar cutter.

In each case, the photos made me want not  just the notebook but most of the things in the photo.

I have no idea if they were the first to come up with it but Midori notebooks used The Midori system. They were refillable, and highly customizable. You could get all kinds of extra sleeves, charms, pockets and all kinds of other things not all of which are necessarily practical if, like me you are going to constantly be using it off and on throughout the day.

They come in two sizes, the traveler (6x 4.4x 0.09) and the passport  (3.86x 5.28). I got the passport. Upon initially looking at it, I was far from enamored. The paper it came with was too thin for sketching and was not easy to get at the time nor cheap for someone who could easily go through at least a pad a week sketching.

However, the system itself was clever. It was a leather square folded in half with a slit at the halfway mark. Going down this slit was a thin elastic permanently held in place by a lead disc which has become a recognizable part of the midori aesthetic.  There is also a smaller elastic loop pushed through one side of the cover held in place by a knot. This loops around the book to hold it closed. Midori offers these elastics in all kinds of colors now.

The center elastic slips over the center page of the book where the staples are. You can add as many books as you want by pressing covers back to back and putting standard elastic through the center page.

As much as I thought that the actual notebooks looked far nicer in the photos and the paper was not a good match for me, I did like the system. I made my own booklets to slip into the cover, usually grouping them together in threes.

Midori offered among other things, plastic zipper pouches. They are attached the same way as you would a booklet. I go three booklets with one zipper pouch containing a bunch of pencil blenders and tiny Blackingwing eraser along with one extra elastic in case one ever breaks.

No matter where I have been in the world, at the end of the day my Midori has been in my pocket or resting at night by my bedside table. It gives me an odd comfort but also inspiration.

I have large collection now of pocket pads and while the midori is not the nicest nor any longer the easiest (I have many now where pad slides into covers and also lays far flatter than the midori which forever wants to close even as I use it) I would feel strange not having it on me even were I to have another pad too.

The Place Maubert market in Paris. There are great kiosks selling all kinds of foods. The scents of spices and meats takes one away to places even further afield than being there. Also to be found are small tables selling everything from typical flea market junk , to shirts and pullovers in  Breton Sailor style. Wedged between tables of cheeses being kept fresh by straw and pastries made from honey and rosewater are artisan tables.

This year I met a man who handmade leather journals. He did it all using old school hand tools. The styles wildly varied, some of it clearly aimed at the tourists. Regardless of size, they all snapped shut and the blank pads slipped into the cover/holder. The paper it came with is surprisingly nice, blank booklets.

We chatted a little. I showed him my little Midori. He pinched the leather cover between thumb and index finger and while he maintained  politeness he also seemed to feel sorry for me. I fought the defensive urge to tell him of my large collection.

One part of his table was full of comparably sized notepad. Being handmade, they were surprisingly inexpensive. He threw an extra blank pad in my bag.

Although it is a different manner of holding the paper than my midori, I was able to use a similar trick, slipping elastic in middle, to have this new pad hold one of midori zipper pouches. Seemingly this gives me the best of both worlds but I do not see myself retiring the midori ever completely as he has been too good a friend, having seen everything without shock nor complaint.

 

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Two

I have a definite methodology to how I work. But on the road there are variations. This is an aspect of how I feel a location should subtly add its flavor to work being done (there). In the states, I do my hour or two of woodshedding at night, the end of my day.

In Paris the lighting is better to do it in the morning with my coffee.

Even in my stateside studio, different times of year present better hours to paint by, as I use natural light to do so. It takes anywhere from three days to a week to really nail down what hours to pick up the brush. I am lucky though, that there are some aspects of a piece that I can do in less than ideal lighting.

I do not go to museums every time I am in France, as I know that I will always be back. Sometimes all I need is the poetry of the streets to inspire.

There is the constant though, of chatting with my peers.

While here, a huge sale by a post-pop artist got us all talking. The question of “Is it art?”

Eventually we all got bored with gnashing our teeth and started discussing nudity in art and the conected social mores in North America.

There is a cyclical debate of what seperates art from eroticism (“dirty” or “porn” labels)

Some say it is merely a matter of intent. This is too simplistic and facilitates filling the room with devil’s advocates and semantics.

Of course,  intent is always important as proven by Duchamp, but a more reliable yardstick which also keeps in mind a modicum of rationality are the components and concept of the work.

A work can seduce or excite but is it doing so because a main componant is titillation? The same question can be asked of shock value. If a work happens to induce heat, then regardless of why, it can’t be “dirty”. Someone setting out first and foremost to excite makes it so that a different label may be appropriate to apply.

Courbet’s L’Origine du Monde comes to mind. It is graphic to some but beautiful, there is no question that it is art.

The first question being asked should never be “Is there nudity?” nor even necessarily “is it art?” but rather, “is it good ?”

Having to ask if it is art is sort of like  guestioning yourself if there has been too many drinks to safely drive home, it becomes almost besides the point.

I used my canson watercolor paper 140 lb. A thing which appeals to me about it is that it’s not temperamental, being effected by wet weather as the French cotton ones that I used to solely use was.

For photos of my work I am just using my phone and as the paper has little tooth, the photos (I never work any digital magic on pics) gives accurate gist of a piece.

Song & Bellissima 5.5 x 8.5 watercolor and paper

 

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Equipment

As much as I say & feel that I do not watch much television, being in Europe makes me start to suspect my assessment is a little off. This is reinforced by the amount of books that  I go through away from the states. Halfway through my Parisian residency I always need to restock my bedside pile.

There are certain publishers which one can not go wrong in choosing almost anything by them such as NYRB and Green Intenger. The same goes in non fiction  for certain authors. For art writing & biographies, it does not matter if you know or like the artists, anything by Jed Perl, Richard Ellman, Ross King and John Richardson is worth delving into.

To almost zero notice John Richardson passed away recently. He had become a gallerist, putting together some amazing Picasso shows, often in conjunction with the artist’s family. He wrote articles for such magazines as vanity fair. His earlier years he had sat at collector Douglas Cooper’s side, moving through (art) history, bearing witness to important events and also the behind the scenes dynamics. He wrote several fantastic books on this which shows the all too human side of great artists without ever lapsing into mere salacious gossip.

Perhaps the most important thing John Richardson did was the massive multi volume set on the life of Picasso. He was working on the fourth, final volume when he died. These volumes get into meticulous detail about the artist’s life, those around him and the times he lived in. Impressively, over the course of all the volumes Richardson manages to write without agenda, neither praising Picasso to the sky nor trying to tear him down. The artist as a talented yet imperfect man is presented.

Picasso is sometimes talked about as a magician for the protean way he seemed to conjure up new genres. He was mercurial in his ability to shift styles, often creating his own new ones before dropping them to birth a new phase. However, a point Richardson goes into and one which has become more public knowledge was that he did not spontaneously create from nothing. Picasso was a bit of a magpie. Direct contemporaries used to tell each other not to have works on display when he came to visit the studio or he would borrow ideas that he liked, making them his own. Many opted to turn unfinished canvas around to face the wall like an ill behaved child.

All artists wear masks out in public. Piccasso’s public persona was that of a sui generous, fully formed at birth. There is no disputing that the talent was there from the get go but like even the most individualized genius, he took from and was inspired by ideas from outside of himself. According to  him, all his then radical ideas which freed up generations of painters were solely of his invention. There seemed to be a feeling that he would be a lesser titan were sources to be cited. Oceanic art, Matisse et al were kept hidden ingredients in his recipe book.   Great trouble was taken on his part to hide or camouflage the sources not his own which he turned to gold.

To me, this always seemed oddly tragic as much time and energy was wasted on trying to cover up that which has become common knowledge. Even some of the poorer written biographies on Picasso now easily trace some of what ideas from others went into radically new and important works.

I am paraphrasing here but towards the end of the third volume it was said that he still possessed a virtuoso’s voice but with very little to say. I think part of this was that he was existing outside of the stream of life. The vitality of being in competition with his peers or if not that then at least among them at cafes, parties and studios serves as stimulation. Being surrounded by a crowd who hangs on your every word and who in one way or another are dependent upon you is not the same.  On the first flush of huge fame it was more important to him that he keep his secrets. After that, that he not be wrong, corrected or not the alpha.

By comparison, artists like Renoir, Matisse, Calder and Giacometti even once famous and older, would make it a point to still put in appearances  at cafes and studios to see what was new with the upcoming generations while chatting of their latest works.

All this inspired me. I would never waste any time nor effort in being secretive. If someone created an effect in one of their works which I do not know how to do, unashamed, I will ask “how?”. If anyone asks me about what equipment I use/used on a piece, i will gladly tel them.  Much to my surprise, not all my peers are like this. Asking a slightly older painter how she achieved an effect, what she had used, I received a curt “watercolors”. When I politely asked for specifics it became clear she did not want to tell me. This is absurd as two people can have same recipe and ingredients yet when the dish is made they will be different from one another.

We should all feel free to ask away as none of us are Picasso.

When back in Europe I always have my painting kit & my sketch kit. Over the years the painting one is largely unchanged. A few colors added, a few taken out of the palette. My sketching kit is ever in flux. The Blackwing pencil & Kuro Toga .5 MM pencil being the two constants.

 

2019 Sketch Kit for the Road:

(Left to right )

Sharpener, .5 MM Kuro Toga, Staedler 2MM Lead Clutch, blender, two writing pen refills Waterman & Parker) Tombow Mono Zero eraser, two sided Faber Castell Lead extender, BlackWing Palomino w/Blackinwing Point Cap, Faber Castell 2B pencil w/Blackwing Point Cap, Faber Castell 7B w/Blackwing Point Cap, Staedler Eraser, two blenders Faber Castell HB Pencil, gum eraser, 2x 5MM Pentel  Lead refills 4B & 2B, Pad of Sandpiper to custom hone Lead Clutch point, Rubber eraser (bottom)

 

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