Fun and Exhausting

Saturday's reception at Habitude was so much fun. Thanks to those who came. It was my first experience being the focus of an art event rather than being the hostess or one artist among others, and being a typical introvert, I found it both enjoyable and exhausting. Ten paintings were sold, which I found astounding. I'm so glad they've found good homes!

Here I am with my superhero, Bill, who hung most of the 29 paintings that were displayed.

This is my Personified Pears series.

My work will be featured on the June Ballard Artwalk

I was thrilled to receive an invitation from Habitude Salon, Spa, and Gallery to be their featured artist for the June 8 Artwalk in Ballard. Please join me there between 6 and 9 PM for a wine and snacks reception!

Habitude Salon, Spa, and Gallery
2801 NW Market Street,
Seattle, WA 98107

http://ballardartwalk.blogspot.com/p/map.html

My original watercolor paintings will remain on display there through July 10.
 

How to Start a Watercolor Meetup Group

Two years ago this month I started a meetup group on Meetup.com for watercolor painters in Seattle. Since then it's blossomed into a cohesive community with 94 members and a history of 167 meetups. We get together once per week to paint indoors and once per week to paint outdoors, in addition to various individual meetups to attend art shows and exhibits. Close friendships have formed within a supportive atmosphere, and everyone has learned a lot of new things about art.

The other day Barbara emailed me, asking for suggestions on how to set up her own watercolor meetup group in Everett. After responding with a lengthy missive, I decided to post my reply here as well. Usually when someone asks me a question, others are also interested in the answer.

Here’s what I told her:

1. Set up your site. First you need to set up a meetup site on http://www.meetup.com. The cost is $12 per month, and that price gives you everything you need to start and run your group. There’s no charge for participants to join Meetup. I suggest naming your group "[Your location] [your medium] Meetup Group," so people know what and where it is. For example, I named mine “Seattle Watercolor Meetup Group.”

You can associate keywords with your site that allow meetup.com members to find it. For example, my site has keywords such as painting, watercolor, art, and plein air. Individuals who have already joined meetup.com and listed one of your keywords as an interest will be notified about your site. In addition, anyone searching the internet for such a group will be able to find it, even if they haven’t already joined meetup.

To see how my site’s set up, go to http://www.meetup.com/Seattle-Watercolor-Meetup-Group/.

2. Decide whether to charge members for a meetup. You have the option to charge members for attending your meetups. I decided not to do this, even to recoup the cost of the site, because I didn't want to get in cross-ways with the community center where we meet each Friday. They give us space in return for a $2-3 drop-in fee per person because we’re considered non-profit, as I don't charge anything for the meetup. You'll figure out how to handle that issue in a way that works best for you.

Here's a photo of the Friday meetup, held in a wonderful space at the Loyal Heights Community Center in Seattle. This photo was taken a year ago. Now, we need two rows of tables to accommodate all of the attendees.

3. Choose a focus for the group. I decided to have our meetup group focus on watercolor painting for two reasons: (1) I'm a watercolor painter, and (2) watercolor is non-toxic and appropriate for doing indoors in a public space, such as the community center. During the cold, rainy Seattle winter, it’s pretty difficult to paint outdoors, and I wanted this group to meet at least once per week all year round. For our outdoor meetups, members are free to paint in any medium, although, interestingly, even the oil painters in the group opt for watercolor.

4. Set goals and the overall tone of the group. From the beginning, I wanted this to be a highly participatory group, rather than have everything rely on me. I scheduled the first meetup at a coffee shop, to discuss what members wanted to get out of the group. In that meetup we decided on a day and time to meet each week, based on the availability of a suitable room at the community center. We also discussed our collective "vision" for the group, determining that it was to develop a supportive and collaborative community of artists.

Our first meetup was held at Tully's Coffee, to discuss what we wanted the group to be like.

From that first meetup I emphasized that members should expect to get out of the group no more than what they put into it, and that each person is responsible for their own rewarding experience. I believe this set a positive and constructive tone that has been fundamental to the success of our group.

5. Increase membership. There were four artists at the first meetup. Of the original group, only one has dropped out, and over two years we've steadily added members. Today we have about 94, with 12-16 in attendance on any Friday. Our "paint around Seattle" group gets 4-8 weekly depending on the weather. This second weekly meetup spontaneously started after the first one had been running for a full year.

Our first "Paint Around Seattle" meetup, held last April in the Woodland Park Rose Garden.

We get a different mix of people each week, but active members come at least once or twice per month, so there's a lot of continuity, and some deep friendships have formed. Being an artist is a lonely occupation, and our group has brought many professional artists in addition to absolute beginners and everything in between. I believe the key to this success is the participatory nature of our group and emphasis on being supportive and positive. Attendees frequently comment about how warm, welcoming, and fun this group is.

6. Encourage participation. I encourage members to propose and host additional meetups and have named four co-organizers. If someone is interested, I coach them on how to set up a meetup (basically, you need a place to meet and need to greet people and make them feel welcome). Additional meetups can be scheduled in a series or be held just once for something like attending  an artwalk, show, or exhibit.

The work of member artists are included in shows all around Seattle, which we often attend in informal groups. I wasn't able to attend the opening of Nelda Hanson's show here at the Sunlight Cafe, but I met up with Beth later to view it.

One member, Eileen, has taken over the Thursday "paint around Seattle" group and figures out the place to paint each week, updates the meetup site, and exchanges cell phone numbers with people who plan to attend, in case anyone gets lost. Another member is hosting a non-publicized meetup at her studio twice per month in the evening for members who work. It isn't publicized for reasons of safety. She invites specific members offline.

I want to make this group as self-sustaining as possible, to succeed with or without me, but have come to realize that completely replacing myself as group leader requires at least one willing party and a lot of coaching -- and willing parties are rare. My current strategy is to hand off as much responsibility as willing members will take on, hoping that if and when I can no longer lead the group, there will be a few folks around with enough experience to keep the thing going.

7. Tips for conducting your meetups. Regarding conducting meetup sessions, it's vital to have a person "on point" for each one. For our group, this person (the host, me, or someone I nominate) makes sure that the still life and tables are set up for indoor meetups, greets each person as they arrive, and introduces newcomers to the others. This person sets the tone for the meetup, which is friendly, non-critical, and supportive. Ideally, this person will also have some ideas in mind to discuss about watercolor painting. This is especially important when the group is getting off the ground to help break the ice, but it's great any time. I used to provide a 30-minute seminar at the beginning of each meetup on watercolor basics. Sometimes I'd demonstrate a particular technique or else bring in a book to discuss. I encourage other members to volunteer for this, and when they do, it's a great addition.

The purpose of the group is to exchange ideas and develop a supportive art community, and getting to know one-another personally is key to these goals. It's helpful to have some off-topic topics in mind for this purpose. While people are sitting around painting, if the silence becomes deafening, it can be nice to discuss a good movie you've just seen, an exhibit, a book, and so forth. Most often, though, our conversation naturally settles on some aspect of art.

Initially I brought tea and cookies, but that was too much overhead, so abandoned that idea after a while. It's nice to do, but anything can get tedious if it becomes an obligation week in and week out. I have, however, set up a still life each Friday for almost the entire two years we've been meeting indoors. This, believe me, gets old, but at the same time, it's important to do. For one thing, painting from life is different than painting from photos. In addition, it helps generate discussion as people walk around and look at each others artistic "take" on the same subject. After a lot of prodding some members have started bringing in still life ingredients so I don't have to do it all, and occasionally a member will handle the whole thing, such as in the rare event that I'm not there (like at the moment, when I'm in Australia visiting my daughter).

"Nell's Breakfast" still life setup.

It’s a good idea to bring a camera and take snapshots of people painting as well as their work (if they're OK with that) to upload to the site. I also encourage people to upload their own photos of what they painted. People are shy about doing this, but less so when I tell them it's for the benefit of the rest of the group, which is true because the photos generate comradeship and chat.

In sum...
We all encourage and inspire one other in the Seattle Watercolor Meetup Group. The tone of our group is absolutely positive at all times. We've never had any disagreeableness, except one time when a new member came solely for the purpose of selling her art and dominated the session with her non-stop self-promotion. Members were polite, although quite irritated. Thinking it over afterwards, I decided that should something like that happen again, I would step in let the person know they were out of bounds. The woman didn't get the response she wanted and never came back, fortunately.

Members have told me over and over again how important this group has become in their life, which makes the effort that I put in feel worthwhile. I hope you’ll decide to create a similar group in your own area. If you do please let me know. Also, feel free to ping me with any questions.

Christina Scott painted this during a meetup at Greenlake.

You might also enjoy:
Art Studio On Wheels - How I set up my art studio in a small space.
Setting up an Outdoor Easel - I demonstrate how I converted my camera tripod into a watercolor easel.
How to Frame a Watercolor Painting - It can be a bit tricky your first time. Here's how I do it.

How to Frame a Watercolor Painting

I was just framing a painting for my mom and decided to take photos of the process in case some of you are interested in doing this for yourselves. I'm assuming you know absolutely nothing, so please bear with me if you already know the basics. For some ideas about where to get the materials mentioned in this post, see Watercolor Resources.

Materials

Watercolor "paper" is actually made from 100 percent cotton rag. Unlike canvas or linen used for oil paintings, watercolor paper isn't given a water-resistant coating. While some artists spray a protective finish on their work, most do not because it changes the way the painting looks, and not everyone likes the result. So most of the time you'll be framing work that isn't waterproofed.

To protect the painting you can use glass or acrylic. Acrylic is much harder to break than glass, which is good if you're shipping your framed painting or putting it in a show that requires acrylic. Otherwise glass is fine. Non-reflective glass or acrylic is nice, although more expensive than the regular stuff.

In addition to glass, you need to protect the painting with a mat and backing (usually foam core), which should be acid free and archival, unless you don't mind your painting turning yellow over time. I always use a double mat because it looks better. You also need some acid-free cloth tape to attach the painting to the mat. The mat keeps the painting from touching the glass, which is very important. If you opt not to use a mat, then you need to put a spacer between the glass and the painting so they don't touch.

Finally, you need a frame. In general, the larger the painting, the wider the frame molding can be, but it's all a matter of taste. Do, however, consider how the end result will look when you're selecting molding. You don't want to either overwhelm or underwhelm the artwork.

Sizing

You have three options for acquiring mats and frames. The cheapest way is to buy a pre-cut mat and pre-made frame. Alternatively, you can purchase the equipment to cut your own mats, and even buy parts to assemble your own frames. Eventually you can save money by cutting your own mats, if you do enough of them, although I've found the mat material to be expensive unless bought in bulk. Finally, you can simply order what you need from a framer.

It you're the painter, you have some options for saving money because you can paint in sizes that fit standard-size mats and frames, which are mass-produced and far less expensive than custom mats and frames. Here are a few examples:

Watercolor paper: 11" X 15" (1/4 sheet of 22" X 30" paper)
Mat inside dimensions: 10" X 14"
Mat outside dimensions: 16" X 20"
Frame inside dimensions: 16" X 20"
This is my go-to size because the mats and frames are readily available.


Watercolor paper: 12" X 15"
Mat inside dimensions: 11" X 14"
Mat outside dimensions: 16" X 20"
Frame inside dimensions: 16" X 20"


Watercolor paper: 6" X 8"
Mat inside dimensions: 5" X 7"
Frame inside dimensions: Various - just make sure the outside dimensions of the mat and and the inside dimensions of the frame are the same.

You can explore what's available online and in your area to decide what works best for you. Here are recommendations from West Charlton Frame Company for the correct size mats and frames to use for different size paintings. I highly recommend using this company for your custom framing needs.

Assembly

Here's the fun part. While framing the painting for my mom this morning, I took some hurried photos to show you the process.

I made this painting of a Great Blue Heron for my mom on Arches 140 lb cold-pressed watercolor paper.

To flatten the painting prior to framing it, I lightly misted the back with water, sandwiched it between two boards, and left it overnight under a pile of books.

This morning I laid the mat face down and then laid the painting face down on top of it, attempting to center the painting over the opening in the mat, which of course I couldn't see because it was upside down. To check, I held the mat and painting together with my fingers and lifted them up to take a peek. Deciding it looked OK, I attached the painting to the mat using two pieces of acid-free cloth tape at the top of the painting, like hinges. This will allow the painting to hang freely inside of the frame and expand and contract without buckling as the humidity changes.

Then I set the mat and painting down inside the frame. I finished it off by setting the acid-free foam core on top of that, and securing it all with the metal tabs that come with the frame.

Voila. Here's a crooked photo of the result. The frame fortunately is not crooked.

Art Studio on Wheels

Bill and I moved to a small urban home a couple of years ago with no extra room for all of my art stuff, I decided to rent studio space. Although I enjoyed being in the studio and working near other artists, I ended up feeling scattered. I like to work at home during the odd moment, and it always seemed that the very thing needed for a painting at home was at the studio, and vice versa.

I finally let go of the studio and moved my stuff back to the house, where it sat in a heap for several months while I tried to figure out what to do. How could I set up a working studio that wouldn't take up valuable space needed for other uses?

A December sale flyer gave me an inspiration: I'd build two wheeled carts and one small shelf out of Storables steel-post shelving components.

The solution: two 36" X 18" carts on wheels and one small shelf that sits on top of one of the carts, which I custom-made from industrial-post shelving components.

The two carts hold all of the stuff I need to have at hand when painting. They roll up against the wall in our basement multipurpose room (guest room, office, music room, and now art studio). The top of each cart is covered with a sheet of black melamine to create a work surface. Only 18" deep, the carts don't intrude much into the room, but to create a wider worktop, I simply roll them around so their long sides abut, making a 36" X 36" table. The extra small shelf sitting on top of the left-hand cart is easily removed as needed.

The cart consists of five 18" X 36" black steel shelves, four 34" posts, four wheeled casters, and an 18" X 36" piece of black melamine. I also bought heavy clear plastic sheets to cover the shelves so nothing falls through them. This cart holds a LOT of stuff! The small shelf is made of four 24" posts and two 10"X 24" shelves.

This cart consists of two 18" X 36" helves, four 34" posts, four wheeled casters, and an 18" X 36" piece of black melamine. The lower shelf is good for  holding paper and matts. Baskets hang from two connectors on the sides. I designed this cart so I can sit at it if I want. Otherwise, it holds still life setups. My drum-playing stool works perfectly with it.

And my portable easel (described in another post) works well with this setup. If we need to open the guest bed or have band practice in the room, I fold it and lean it up against the wall.

Trying Too Hard

If you're an artist, do you ever paint a scene, and then paint it over again to try and improve it? If so, does it work? I often find, much to my frustration, that the first attempt is better than the second one, and many of my artist friends report the same thing. This seems contrary to common sense because a painting should get better with practice, rather than worse. What's going on here?

I encountered this phenomenon yesterday, painting at Greenlake in Seattle with my watercolor meetup group. Below is attempt #1, depicting my friend, Christina, sitting on a dock painting.

First version. I liked it in general, but noticed that the three trees were similar in shape and size.

It came out well enough, but I thought the composition could be improved, so decided to give it another go to see if I couldn't do better with a second try.

Second version. The tree sizes were better, but nothing else. In fact, the painting didn't turn out as well overall as the first version (in my opinion, anyway). 

Oh dear. That didn't work! What happened?

Well, for one thing, my paint was starting to dry out in the fresh breeze that had been blowing all afternoon. So I should have added some fresh paint from the tubes to my palette. (For more about painting with gushy paint, see Overcoming Fear of Paint.)

But that's not all. Something happens to creativity when one stops being receptive and starts being analytical instead. Although very useful in certain situations, such as figuring out why my second painting came out poorly, being analytical requires a critical frame of mind. The artist must decide between bad and good, okay and good, good and better, and so forth. In the judging process, creativity flees, or at least hides behind a bush, because it has a very hard time coexisting with criticism. Brush strokes become more tentative, less confident and sure, as the artist wonders, "Oh, is this really the best place to put this stroke? Did I get the color right? Is there enough paint on my brush. Oh my!"

It seems that the time to be analytical comes after the act of creation, and not during it. For my next do-over, I'm going to try and remember this (without being too analytical about it!) and see if I can maintain a non-critical mindset while painting. Here's the process I'm going to try out:

1. Draw the scene.
2. Critique the drawing and make adjustments.
3. Paint with a non-critical mindset.
4. Critique the painting, deciding what I like and what I  want to improve.
5. Go through steps 1-4 again.

We'll see how it goes. 

Setting up an Outdoor Easel

As you know, the plein air painting season is in full swing. Outdoors I usually sit in a low beach chair with my paper clipped to gaterboard in my lap and my watercolor paint and water on the ground. This is OK, but standing up with the paper in front of my face works better because I can see what I'm doing more easily. However, although I've been looking for good outdoor easel for several years, none of them were ever "just right." Recently though, at her Yakima Canyon workshop, I saw Catherine Gill's easel, adapted from a camera tripod. It looked perfect, and so I decided to try setting my own up the same way.

To show you what I did, I'll start with the finished product and work my way backwards through the process:

Here's the finished easel. Gaterboard and paper, attached to the  tripod head, is completely adjustable for level and angle. I could even lay it down flat if I wanted, as if it were on a table. BTW, if you don't already have a tripod, you can buy the complete setup rather than baking your own. But that wouldn't be as fun doing it yourself, would it?

Side view. 

I bought the tray already made. It's plastic, lightweight to carry around, and has channels that the tripod legs fit into.  The legs can be spread farther apart if necessary.  You can see the different size holes for brushes and a water cup. The shelf is called a Traveler Series Watercolor Tripod Shelf and cost about $46 with shipping. Catherine's tray was made by a friend out of wood.

Here's where the tripod head attaches to the gaterboard. It attaches by using both parts of a tripod head quick-release attachment, a piece of plywood, and some velcro. It isn't necessary to decorate your gaterboard as nicely as mine.

Here's the female part of the camera attachment. I'm going to connect the gaterboard to it by using the male part of the camera attachment, as you'll see in the next photo.

Here's the male part of the camera attachment, called a quick release plate. I ordered one from B&H Photo so I wouldn't ruin the one that attaches to my camera. This plate usually clips onto the bottom of the camera. Instead, Bill screwed it into a square piece of plywood for me, which my neighbor Pete had kindly cut from a scrap left over from building his new kitchen cabinets. I had to get a particular screw from the hardware store that would work with the quick release plate. After looking at the plate, the hardware store guy knew just what I needed. 

On the other side of the plywood, I stuck some industrial strength velcro.

Here's the other side of the velcro stuck to the back of the gaterboard. Voila! All set!

 I've already used this ensemble a few times and just love it!

What's the What and So What?

I recently attended a painting workshop given by Catherine Gill, a wonderful artist and teacher from Seattle. You may be familiar with her recent book, Powerful Watercolor Landscapes, which is one of the very best books of its kind that I've ever read, and simply loaded with jewels of wisdom based on Cathe's 30 years as painting instructor.

Cathe Gill demonstrating

If you've read her book, or even heard her talk, you'll know that one of Cathe's signature expressions is "What's the what?" Before this workshop, I'd never taken a class with Cathe, but I'd certainly heard this phrase plenty from my studio mate, Mara Bohman, who's taken more than one. Mara would look at my work and exclaim, "What's the what? What IS the what??!"

Simply stated, the "what" in a painting is the thing that draws the viewer's eye first -- the most important thing in the picture. Without a clear "what" the viewer is likely to skim over the painting and move on. As I often didn't have an answer to Mara's question, I decided to really focus on this "what" business during the workshop and learn more about how it can help improve my artwork. It turns out there are various methods artists use to draw the viewer's eye, including:

• Value contrast-- The lightest light and the darkest dark placed next to each other, or at least near each other, draw the eye. The less the value contrast in an area, the less the eye is attracted to it.
• Shape - A big or complex shape can help define the "what."
• Color contrast -- Complementary colors placed near each other attract the eye. Complementary colors are those on opposite sides of the color wheel, for example red and green, blue and orange, purple and yellow.
• Edges -- Rough edges. These attract the most attention in a watercolor, so should be placed where you want the most attention. Next are the hard edges, and finally the blurry edges, which should be placed in the parts of the painting that are less important.
• Details -- Small marks also draw attention, so details should be reserved for the "what" part of the painting.

Cathe says that using just two or three of these elements is plenty to define the painting's what. The artist can reserve the others for the parts of the painting where the viewer's eye can travel after it visits the "what."

Cathe's reference photo

Here's Cathe's demo painting. Where is her "what"? Can you tell which of the methods listed above she used to attract your eye to it?

Robin's Sketchbook, Travels Near and Far

Robin loves to travel near and far, and lucky for us, she makes watercolor sketches of her adventures. Here are some of them. 

Diamond Head, Oahu Island, Hawaii

Somewhere in Central America

A Grey Whale swimming along the shore of Whidbey Island, Washington.

Around Seattle

Chautuaqua, New York

Mexico

Mexico

Chautuaqua, NY

Portland, Oregon

Occupy Seattle

You might also enjoy:

• Robin's Sketchbook, Children
• Robin's Sketchbook, Seattle Icons

Artists Are Not Like Software Engineers

As mentioned in a previous post, last year I joined an artist studio after having spent more than 20 years in high tech. While I've rubbed elbows with artistic types in the past, I've never been in a work environment with them before, and although this may not come as a surprise to you, what amounts to a revelation to me is this: Artists are not like software engineers.**

This fact first dawned on me during the studio annual meeting (required by regulation because of the studio's LLC status), which was held right after I joined. I'm used to business meetings being called and driven by a major stakeholder or owner of the project under discussion, or at least someone who has a lot of skin in the game. This person sets a formal agenda and keeps people focused on its points during the meeting. The goal is to reach agreement on how each point is to be addressed, and to assign action items to participants. Following the meeting, the owner follows up to make sure each action item is addressed and closed on and the results circulated to the meeting attendees according to an established timeline. (And of course, the fact that time is of the essence goes without saying.) 

I submit that if you're a business professional, you've probably read the previous paragraph and thought, "And...?" But if you're an artist, you're likely squirming in discomfort entertaining the image of such an environment, and mentally looking for the Exit door. I could be wrong about this, of course, as I'm just in the learning phases about how artists experience such things. But at least based on my observations so far, artists don't tend to be nearly as linear in their thinking and their goals tend to be somewhat open-ended, allowing for unexpected things to occur. Serendipitous Things. Not that either approach to conducting one's particular type of business is better or worse than the other. The two are just very, very different. 

So, back to my first studio meeting. There was a suggested time for us to get together, and when everyone had arrived, about 20 minutes or so after the suggested time (I was probably the only one who noticed), someone suggested that we look at the LLC documents to see what we were supposed to do. The documents were found and dug out of their folder, and it was determined that we needed to elect officers. The current president called for volunteers, and one person volunteered for each spot, while another person wrote down their names and positions on a piece of paper. Because we had a new treasurer, there was some discussion about the bank account and how money was collected and deposited. The departing treasurer indicated that people new to the LLC should go to the bank and sign the signature card. Next, the discussion turned to our studio party and somehow (I was unable to sort out how it happened) the date was picked, and a menu decided upon. 

During the entire meeting, I was certain that nothing was going to emerge from this loosey-goosey approach but chaos, but fortunately had the good sense to keep my mouth firmly shut. After a surprisingly short period of time, the business part of the meeting faded into a purely social time, and that was that. Six months later, I can report that everything was carried off flawlessly, and with no fuss whatever. In fact, the way the studio operates is awesome, but I won't take more time for that here. I think I'm still a bit shocked. 

So here's my attempt at a visual illustration of the two types of meetings. Interestingly, both software engineers and artists like to draw pictures (although software engineers like to call them "diagrams").

Typical Business Meeting in High Tech

Annual Studio Meeting

** Disclaimer: Of course, I realize that no person is purely artist or purely software engineer, or purely anything else for that matter. Individuals are always a mixture, and imposing stereotypes ensures that nuances will be missed. Nevertheless, I'm going to do it anyway because, taken as a group, IMHO artists are in fact very different from software engineers.

You might also enjoy:

• Overcoming Fear of Paint  -  Someone once said to expand your abilities and horizons, you should do one thing a day that makes you afraid.
• More Fear of Paint - I'm still putting lots of paint on the page while holding my breath.

Robin's Sketchbook, Children

Here are some more pages from Robin's sketchbook, most of them with her notes as captions. This time the theme is "children." Robin is both mother and teacher, so she has lots of time to observe them in school and at play.

Another fun week of school!

Imagine feeling so cool in your bike helmet--that you wear it all day at work as these children did at school! The bikes were used in gym that week...

The school year is almost over!

Going to a high school soccer game.

A sunny day! 

A stop at the Greenwood Library.

The students came to school today with Halloween costumes in their bags. It was lively all day! The candy wrappers will be crinkling tomorrow!

The Methow Valley was sunny and charming. From the roads up to the mountains for day hikes----it was beautiful!

You might also enjoy:

• Robin's Sketchbook, Seattle Icons - Photos of a watercolor sketchbook.
• Sketching on Location - Some of my own sketches.