Thwackenheimer Luminescence Converter

FloatingSkyMachine1_Sketch_LoRes

Just finished a small sketch this morning. Made me wonder what this thing does–besides float, of course.

Back in the late 2100s, Beryl Thwackenheimer devised a means by which to levitate a solid object by harnessing the energy shifts caused by variances in luminescence. Subtle changes in cloud formations, or even the appearance of a meteor in the night sky could actually cause the object to counteract gravity. The technique proved so effective that her first successful prototype got away from her before she had completed building it. These days, virtually every appliance and vehicle uses some version of the Thwackenheimer luminescence converter.

A flaw in Thwackenheimer’s system design causes the unit to repel any approaching object (like the ground, an ornithopter, or even a net). The extreme efficiency of this function has rendered impossible any attempts at recovery. It’s been a hundred and fifty years now, and fortunately, no one’s transporter has been damaged by the rogue prototype.

It’s still up there somewhere. No one can catch it and bring it down.

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Poplar Beach

PoplarBayLiveShotFour of us went for a walk on Poplar Beach, south of Half Moon Bay. All told, we had 10 legs. I saw this gully and went over there to do some painting. That left 8 legs to keep going. Sometime later, Ping turned around, leaving 6 legs to continue onward. Shya has 2 legs and Ellie has 4. Guess who went the farthest?

In any case, I was happy to sit on the sand and paint the crumbling cliffs. The coastal pines rimmed the skyline. A little breeze shifted the sand. I got lost in the painting, and suddenly it was time to get back before the parking meter expired.

As is so often the case, I had to run back to where everyone else would be waiting for me. This time, I was barefoot, though, holding my sandals.

When I caught up with my wife, we realized we were still 6 legs short. Plus, two of those legs had the key to the four wheels. Okay, yes: technically it’s five, if you include the steering wheel.

But who’s counting?

Anyway, here’s the informal picture of the finished painting. I did some details after we got home.

PoplarBay2

Under the Bridge

Bay Bridge From Pier 24 SFO Inktense 22x15cmWe’re spending some time in San Francisco with a good friend. The first day, we walked along the waterfront. I noticed a nice spot with a particular view of the Bay Bridge. When I had a chance, I went back down there with the newest iteration of my Inktense plein-air kit and found a seat on a big block of concrete, just to one side of Pier 24.

I was just starting to sketch in the basic layout on my Taiwanese “Fuang” watercolor paper when an Indian gentleman took an interest and sat down beside me to watch. I said hello, and we chatted while I was sketching.

“They just took your picture,” he told me, indicating a couple that had just passed by. “You’re world famous now!”

He was still with me when the sketch was done. As I brought out the Inktense kit and started painting with it, he told me proudly that his son does design work on computers. I enjoyed our chat.

“Okay, sir,” he said, as he stood up. “You have a good day.”

I definitely did. I hope he did, too.

 

New Clipboard Sketching Setup

SketchbookNew1Sketchbooks keep everything together in a book form, but I found them to be generally too thick and heavy. For a firm surface, I wanted a stiff backing sheet and cover (more weight). When the pages shifted, the graphite rubbed off. To save weight and preserve the artwork, I tore out completed drawings as soon as I got home. Then I had to trim off the ragged bits before scanning. If I was going to be on the road awhile, I might start a new sketchbook because the one I’m not-quite-finished-with may not have enough pages for the trip.  I sometimes reused the covers of an empty sketchbook, but more often I just recycled them.

SketchbookNew2After using up dozens of sketchbooks, I decided to try something a bit more “green”: a covered clipboard. This one is A5 size (half a sheet of letter-size paper), so it’s easily portable. I fold the cover all the way around to the back, so it’s no bigger than a normal sketchbook, and it’s plenty stiff. To keep the pencil digging into the paper below, I clip a thin, firm sheet of plastic under the current work-in-progress.

I’ve been using this setup for about a year now. The clipboard turned out to be even easier to hold than the old sketchbook, in either landscape or portrait orientation. It’s light, comfortable and unobtrusive. My 2mm/6B drafting pencil and .5mm/2B mechanical pencil work for everything from rough textures and dark shading to fine details. I use a small kneaded eraser to clean up smudges and pull out highlights. Sometimes I’ll use white charcoal for duotones. I’m considering ditching my retractable eraser, since I rarely use it. Maybe I can find a smaller pencil case.

SketchbookNew3Finished drawings are now put away inside a folded sheet of copy paper clipped in behind the paper stash. When I get home, I take them out, ready to scan. The clip holds everything firmly, so there is less shifting during transport. Very little graphite or white charcoal rubs off. These days, I carry a mix of loose sheets in a variety of colors and textures–just enough to give me options, and only as much as I need for the day. If I’m heading out on a longer trip, I keep an extra assortment in the suitcase. Finished work is removed from the clipboard and stored with the extra stash, and new sheets are added to the clipboard to replace the used ones.

This setup allows for more flexibility and it’s turned out to be less expensive (since I can buy loose sheets), thinner, lighter, and easier to use than a sketchbook. What about longevity? Well, back in 1995, I bought a covered clipboard for my legal pad at work. The “hinge” has split a few inches, but I still use it for writing. That’s a pretty good track record, I think.