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I had one little 7″ x 10″ sample of paper left from Papeterie Saint-Gilles so I tried it out yesterday using a reference photo I took in La Malbaie at low tide. This sheet has rough-textured surface, and is 100% cotton rag, handmade in Saint-Joseph-de-la-Rive. If I had to choose between the two sheets I tried, I would say I prefer the smoother surface one that I used to paint cherry tomatoes. It really took the colour well. In fact, before coming home, I did go back to the store to buy a few larger sheets that I hope to use in some studio watercolours. I have a feeling I will have lots of time for that this winter!

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Rue du Quai in Pointe-au-Pic is a popular spot for many reasons. There’s a row of colourful buildings at the base of a cliff, a spectacular view of the bay, a steep staircase that leads you up to the historic Le Manoir Richelieu hotel, a railway stop for the Train de Charlevoix and an iconic snack bar. On the overcast morning that I painted it, the masked crowds had just departed on the train, heading towards Baie St. Paul.

I chose to paint this view because having the dark cliff and the distant mountains in the sketch is so typical of many of the views in Charlevoix. That’s the reason I like painting there. There’s always a wall of trees or rocks behind everything. In fact, if you look up the topography of the region, you’ll find out the rolling hills were created by the impact of a meteorite about four million years ago.

Compositionally, this was a difficult sketch because of the road that curves up the left and the tracks and path a bit lower down that curve to the right. Plus I sketched standing up, with my palette precariously balanced on a fire hydrant, just to make things even more challenging.

When I got home I realized that the sketch didn’t really work well because the light rocks of the cliff and the dark trees around the rocks were too different in value. I pulled out my palette and darkened the rocks with a light wash of grey. In hindsight, with some advance planning on my part, I could have avoided the problem.

After I did the sketch in colour, I wanted to evaluate where I went wrong, so I created two value sketches to analyze the problem. My first colour version was something like the “before” sketch below. The rocks on the cliff were about the same value as the sky, so compositionally, there was a hole in the cliff.

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Another rainy day in Charlevoix, but this time I’m prepared. Yesterday I made a couple of stops at some interesting local producers.

Papeterie Saint-Gilles is well known in this area for its beautiful handmade cotton papers. It’s a popular attraction in this area, located in Saint-Joseph-de-la-Rive, right across from the Musée Maritime where I sketched yesterday, and very close to the water. I bought a few samples of the paper to try. These tomatoes are sketched on the smoother version (closest to a cold press paper) and if the rain lets up I’ll go out later to try the rough sheet. I clipped the paper into my sketchbook for now, but I’ll probably use photo corners to give the sheet a permanent home in the book. It’s very nice 100% cotton paper that holds the colour really well. If you manage to get to this area, you can watch them producing it when you visit.

The tomatoes come from La Ferme des Quatre-Temps in Port-au-Persil. This is another well-known stop as you make your way through Charlevoix. During the week the farm stand has local produce that you can buy using the honour system, but if you want more choice, the kiosk is open on Friday afternoons. I bought two sizes of tomatoes but the big heirloom ones were so huge they didn’t fit on the page. I’ll paint those too, if we don’t end up eating them first.

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Years ago I sat on the rocks at Port-au-Persil and painted the chapel in the distance. I had hoped to do the same today, but as soon as we parked, the first drops fell and from there it was rain for the rest of the day. But I’m an old pro at car sketching, and that works here too, if you can find a good viewpoint, which I did.

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As predicted, it was a rainy day in Charlevoix, but that gave me time to drive around and scope out painting locations for when the weather improves. We made it all the way to where the Saguenay and the St. Lawrence Rivers meet, and when the fog lifted, we were rewarded with sightings of belugas in the distance. When we returned, it was dry enough to sit on the porch and sketch the white birch.

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I’ll be doing a little remote posting this week, hopefully sketching the coastal views from Charlevoix. This area is one of the Quebec’s most scenic, but the forecast is for rain for most of the week, so not sure how far I’ll get. After an early departure and a long drive, looking down at the grapevines and listening to the birds is about all I want to do on day one.

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I received my second bouquet from my CSA farmers at Tourne-Sol. These blooms are so wild-looking, so interesting in shape and colour and so untamed that it make take several paintings to get them all in. It will require a subtle turning of the vase every day to capture all of their wonderful forms. Painted on Arches CP paper, 9″ x 12″.

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I’m so thrilled to launch a new class today. “The Broken Mill” was filmed entirely on location, in Pointe Claire Village, with the soundtrack of red-winged blackbirds and in the company of many bugs and the occasional dog walker.

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My subject is one I’ve sketched often — a 300-year-old windmill in Pointe Claire that is situated on a peninsula that juts out into Lac St. Louis — and is interesting not just for its historical significance but also because it was recently damaged in a storm (hence the “broken” in my course title) and is awaiting repair. For me, that enriches the story behind the sketch. 

You’ll learn about: 

• Plein Air Sketching Tools: My own take on a compact, transportable sketching kit
• Narrative: Choosing a subject that tells a story
• Good Planning: Creating a values thumbnail to establish composition, along with lights and darks
• Preliminary sketch: Using rough pencil lines to block in shapes and composition
• Ink and wash: Combining ink and wash to create a lively under-structure
• Shadows: Using shadows to add volume to your subject
• Darks: Finishing with details that “finish” your sketch

Along the way, you’ll also see how I deal with changing light, and how I mix colours on my palette for stone, sky and trees.

“The Broken Mill” includes:

• Eight video demos
• A downloadable reference image
• A full list of materials for my plein air sketching setup

For a preview of “The Broken Mill,” check out the trailer.

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We were all waiting on the street, me on the east side and them on the west. Me, for a dental appointment (during Covid times waiting rooms are off limits!). Them, to get into the bank, or get on a bus, or cross the street. I sat on a low wall, pulled out my leaky brush pen (leaky from neglect, I think) and tried to draw them quickly, as they moved along in the line, or crossed the street, or got on the bus. I drew until I got the call that the dentist was ready for me.

Waiting for the birds

I planted Campsis vp下载苹果 (Trumpet Vine) about four years ago. The first year, there were no flowers. Second year, the same. Last year, I had one cluster of buds that was quickly eaten by something. This year the thing is covered with flowers. I know, some consider it invasive, and it can grow up to 40 feet. But I have it in a spot where it has room to move, and I really enjoy the deep coral colour of the blooms, so I am letting it go for now. Plus, the flowers attract hummingbirds, and that is certainly something worth waiting for.