Bed-Bound and Bored, or "The Perfect Plein Air Sketching Setup"

Inspiration

 

Goal

An injury leaves me unable to sit or stand for long until some months of rehabilitation after surgery, so I need something like a lap desk that will allow me to paint small things in a reclining position, and not go insane from boredom.

I made this one rather large as I don't plan to travel with it.  I will probably make another smaller one in the future, and have a smaller travel palette as well as a collapsible water cup and a better brush carrier system.  I've added notes about what materials I'd change for the next one.  The starred items were "found" items from my house or one of my parents', so the total cost of this board was about $10, not including any art supplies.

 

Materials

• 1/8" plywood*, high quality at least on one side, 18" x 24" (or small enough to fit in a back pack or carry-on for travel), cut to size in my father's shop
• Off-white satin no-prime latex paint* (verathane would be better, or at least gloss)
• One 3" paint brush* borrowed from my mother's shop
• 18" of 1/4" width elastic* for sewing, white (a dark color would show dirt less)
• 17 small finish nails* or brads, make sure the head is broad enough, 3/4" long (shorter would be better)
• One finish hammer,* or other small hammer, borrowed from my mother's shop
• 8" of 1" wide strip stick-on velcro, cut to 4" lengths (or 16" if you have more than one palette to swap)
• One plastic cup* for water, of dimensions you like (a collapsible one would pack better, and I'd prefer two cups, one for washing out the brush and one for rinsing)
• Hot glue* didn't hold the magnet inside the cup, so I'm now trying Scotch superglue gel.*  (I like this one because it doesn't set before you can align the pieces and seems to hold for years.)
• Two strong magnets* (test to make sure they'll hold the water cup in place through the board) 
• A 'clear' industrial strength tape called Tough Tape to tape one magnet on the back of the board  (could have used white duct tape to match the paint)
• One new 'natural' (non-plastic) kitchen sponge
• One 1" binder clip* for holding the sponge
• One wooden suitcase-style art supply case* that was a gift in my childhood, used for storage.  I removed the plastic trays and moved the supplies to a lidded plastic storage box.
• (You could attach a pillow to the back to make it a true lap desk if you prefer.  I have lapdesks I will probably use under this.)
• A carpenter's tape measure*, borrowed

 

Step 1:  Design the board's size and overall layout

Consider not only where you will use the board, but how you will transport it.  Do you want a board that fits luggage you currently own, or will you need to buy something new to keep as a 'kit'?  How big of a board will this be?  Is it necessary that it's all flat-pack or low-profile?  If I'd considered it in advance, I would have cut the board to fit inside the art case.  As it is, I may use velcro or staple in some elastic straps to store supplies in both the top and the bottom of the case.  Eventually I'll get a smaller zippered mesh case with multiple sections so I can carry my supplies more compactly with a smaller travel board.

What are your cost limitations?  This was officially a gift, so I could have spent more, but the options in the art stores were too limited, and I was able to use borrowed and donated supplies.  How crafty are you?  I'm handy, so I enjoyed making it, but it would be possible to purchase gessoboard or a corrugated plastic board that didn't need a table saw or paint.

What are your space and supply limitations?  A verathaned board would mean I could tape directly to the board, but I didn't want the hassle of using verathane or the curing time.  In retrospect, I probably had time.  I spent a week visiting family with garages and shops, but I wouldn't have been able to use verathane at home; low-odor latex may have been okay.  I had access to more tools there than at home.  I wouldn't have wanted to buy a quart of paint and a brush when I only used a few ounces of paint.  I certainly wouldn't have bought an electric saw for this.  I wouldn't have room to store it, never mind the cost!

 

Step 2:  Assemble the supplies first

I had to make a few design changes on the fly.  I did find a drill bit gauge as used in the inspiration post, but the plastic was too flimsy.  I looked at circle templates, but not only was the plastic too flimsy, the circles were too big.  I considered using the plastic carrying tube for the brushes and mounting that somehow on the board, but found that too awkward and limiting -- no room for drawing utensils!  I tried a few different cups and magnets.  I had to reassess how I'd apply the velcro so my standard-sized palettes would fit and still allow space for the paper.

 

Step 3:  Prepare the board

Cut the board to size.  Sand the surfaces smooth and use sandpaper to round the edges.  Dust the board.  Wait for the dust to settle.  Paint the edges and the front; let it dry.  Paint the back; let it dry.  Using ~400 grit sandpaper, sand the front and dust it.  Wait for the dust to settle.  Paint the front of the board and let it dry again.  Repeat as many layers as you see fit. 

 

Step 4: Lay out the materials on the board

Make sure everything will fit the way you want it to.  Put the brushes or water cup and sponge on the other sides if that's more comfortable for you.  Is the result fairly balanced?

 

Step 5: Cut and attach the velcro

I put the rough velcro on the board and the soft velcro on the palettes, in case I want to use the palettes elsewhere and not scratch things.  I cut 4" strips because that fit both of my palettes.  I attached the soft velcro to the back of one of my palettes, then put the rough on that.  I peeled the plastic off of the back of the rough, and used the palette to place the rough on the art board.  I then attached more strips of soft velcro to the rough, peeled the plastic of the backs, and aligned my other palette on top of that.  This was the easiest way to ensure the right alignment and spacing when I couldn't see between the art board and the palettes.

 

Step 6:  Cut and attach the elastic

With the board securely balanced on a chair seat or other sturdy low surface, I leaned the board up against the edge of the shop table and held it in place with my knee.  I folded over the end of the elastic so a frayed edge wouldn't show, centered the finish nail, and carefully tapped it in, seating it flush with the board, creating a dimple in the elastic.  This is tricky with 1/8" plywood, and shorter nails would have been less likely to split the wood.  I put a strip of masking tape over that end of the board to cover any possible splinters.  I stretched the elastic ever so slightly and folded under the other end and nailed it into place.  I measured halfway and added another nail.  I continued to place nails halfway between other nails until they were all spaced about 1" apart.

 

Step 7:  Attach the water cup

Estimate the position of the water cup with the magnet inside and place the other magnet on the back.  Carefully turn the board over and tape over the magnet on the back.  Righting the board, remove the cup and other magnet.  Place glue on the bottom of the magnet (remembering the orientation) and place it inside the cup, then place the cup on the board over the other magnet, using the magnetic force to hold it in place while the glue dries.

 

Step 8:  Attach the sponge

Clean the sponge thoroughly first; mine was shipped with vinegar and who knows what else in it.  Depending on the size of your board and other materials, you may want to cut the sponge in half.  I used a sponge with a scrubby on one side, and separated the scrubby from the sponge enough to insert one side of the binder clip.  You can probably also use a non-scrubby sponge and clip the whole edge of the sponge to the board.

 

Step 9: Ensure your art supplies fit in your storage or travel kit

I have two watercolor palettes in the box, but I probably wouldn't travel with both.  I will use velcro to store some art supplies inside the lid.

The water cup has a lid for dry travel!  I will get a collapsible water cup.  I will also buy brush storage that fits inside the travel / storage kit.

 

 

Step 10:  Add your art supplies to your board and enjoy!

 

Update 12.April.2018:

My first test.  I need to find a small, bright, clip-on LED lamp and I will need a breakfast-in-bed lap-table to keep it off of my legs.  I should have cut a handle just under the top strip of velcro (not seen in this image as it's under the palette).  I can move the palette down so it's easier to reach, but it would be better if I turn it 90˚ as well.  It might have been better to make it less deep, or I may need to move the magnet that holds the water cup.  I need a way to change the water more easily than going to the sink, and I will want to have several small projects to alternate while layers dry.  I did find a place to put the palette while it dries.  I don't know what people do who use them for plein air activities.
 

Update 19.October.2018:

I will cut the board down to size so it fits in the carry case.  This will make it easier to reach the palette and the water cups, as well as help it fit on my lap.  I may need to turn the palette so I have more room for the painting.  I will attach a second magnet for a second water cup, so I can have one for dirty water and one for clean.  I am considering travel brushes and two lidded collapsible water cups that will fit inside the carry case.

Update 02. January.2019:

I have cut the board down to size so it fits in the carry case, repainted the edge, and re-finished the end of the elastic on the other edge.  I've attached a second magnet for a second water cup.  I now have a set of four travel brushes and one lidded collapsible water cup that will fit inside the case.




More pictures to follow.

 

 

Inktober, Day 8: Crooked

The prompt was "Crooked."  I drew some crooked trees that can be colored or not by the recipient.

 

Materials

• Pigma Micron 005 pen
• H hardness drawing pencil
• White erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.5x5" 

 

 

Step 1:  Sketch with a pencil

Sketch the general shapes, then add the patterns.

 

Step 2:  Draw with a pen

Using the 005, outline the shapes, then add the patterns

 

Step 3:  Carefully erase the pencil marks

Results

I would repeat this.  It was quick and the patterns could be varied.  I would sketch in my patterns with a pencil before drawing them freehand in ink, next time.  I do like it well enough to give as a gift.

Piecework Christmas Stockings

Goal

 

Inspiration

My eldest aunt was an award-winning quilter and designer.  She made me the red Christmas stocking when I was little.  I used that for the general shape and size.  She also made quilts with the "log cabin" design, including one that was intentionally askew she called the "drunken homesteader."  I used this for my template.  My mother does piecework and has an array of leftover pieces.  This was my first attempt at piecework. 

  

 

Materials

• Large graph paper, pencil, eraser, ruler, pen, and marker for the template
• Scraps of fabrics in reds, greens, holiday fabrics, and a few complementary colors
• Cork board and pins for layout
• Sewing machine and threads in similar colors
• Patience, a seam ripper, and extra pieces

 

Step 1:  Outline the shape with a pencil on a large sheet of graph paper

Plain paper would also work, but graph paper will make the next step easier.

 

Step 2a:  Choose square size

I chose squares not quite as wide as the leg of the stocking, and centered them in the leg, so I'd have two diagonal squares vertically and a total of three whole squares visible.  I considered the size of the pieces I could cut from existing scraps.  I decided each square would have one square center and two rows of "logs".  You may have to adjust your stocking size (and outline).

 

Step 2b:  Determine piece sizes

Don't forget to account for seam allowance.  I chose piece sizes based on what I could cut into squares and logs out of the existing small pieces.  The square size relative to the stocking size may change your piece size, or your piece sizes might determine the number of log rows and square size.

 

Step 2c:  Choose color pattern

Each square alternates a red or green center.  The red centers have a first row of logs surrounding it in green, and the second row of logs around that are red, and vice versa for the green centers.  The color pattern may change the number of log rows you include. 

I also chose a unique "signature" center for each person I was gifting, so they could easily identify their stockings--an orange clownfish and a blue clownfish for each sibling and a silver snowflake on a black background for the parent.  This also indicates the accessory color for each stocking.  The orange clownfish also has magenta douches and the blue clownfish has teal and purple.  The snowflake has black and more earthy reds and greens.

 

Step 3:  Determine number of squares

A stocking is a fairly small item, so I chose to make unique squares for all but the smallest corners of partial squares--those were cut off of other squares.  On larger or more symmetrical items I might use half of each edge square on another side.

 

Step 4: Cut center squares

One center per square, but cut extra in case you need to swap for overall color palette, or in case you damage some.  Choose larger patterns and cut an identifiable piece.

 

Step 5: Calculate rough numbers of logs of each size, and cut extra

Four small logs and four large logs per square.  Roughly half reds and half greens, with some other Christmasy-enough and sparkly fabrics.  Choose smaller patterns, some solids, some tone-on-tone, some vibrantly patterned.  The more variety the better, but you will be repeating some of course.

 

Step 6: Arrange center squares

Array them together and substitute individual centers until the whole array is pleasing.  Lay them out on the template, pinning them to the upright cork board through the paper.

 

Step 7:  Choose four small logs and four large logs for each square

Array them together and substitute individual centers until the whole array is pleasing.  Lay them out on the template, pinning them to the upright cork board through the paper, as in the image on the left.  Then arrange them into squares so you have a rough idea that no two that are too similar will be next to each other, as in the image on the right.  Notice the "stacks" of each size and color 'type' pinned to the sides of each paper.  These have randomized pieces of similar pattern and color.  Each set of four was one solid, one tonal, one patterned, and one 'special', a.k.a. Christmas or glitter.  As you may see, 'solid' sometimes included a simple polka dot or stripe.  Don't be too literal with the categories.

 

 

Step 8:  Step back (or walk away for a while), to see if you like the overall effect

Change out any pieces that seem too obvious or individual.

 

Step 9a:  Sew the first 'ring' of logs

Unpin one center and its small logs so you have a stack of short logs.  Sew the inner logs to the center, sort of in a circle.  (I'm not going to detail this, because I don't have a step-by-step, and it's been too long since I made these.)  Pin each partially finished square back into place.

 

Step 9b:  Iron and trim the squares

Unpin the unfinished squares one-by-one and iron them, then trim each to square.

 

Step 10a:  Sew the first 'ring' of logs

Unpin one center and its large logs so you have a large of short logs.  Sew the outer logs to the inner ones, sort of in a circle.  (I'm not going to detail this, because I don't have a step-by-step, and it's been too long since I made these.)  Pin each finished square back into place.

 

Step 10b:  Iron and trim the squares

Unpin the finished squares one-by-one and iron them, then trim each to square and the size of the squares on your template, plus a seam allowance.

 

Step 11a:  Sew the squares into rows

Unpin one row of squares and stack them, then sew the first two together, and add the third to the second, etc.  Pin the row back into place.

 

Step 11b: Iron and trim the rows

Unpin the finished rows one-by-one and iron them, then trim each so they're all the same width.

 

Step 12a:  Sew the rows into together

Unpin the rows and stack them, then sew the first two together, and add the third to the second, etc.  Pin the whole piece back into place.

 

Step 12b:  Iron and trim the stocking

Unpin the piece and iron it, then trim the stocking to the correct shape, including a seam allowance.

 

Step 13:  Choose and cut batting and backing and/or lining fabrics

The backing fabric should be a complementary large-print Christmas fabric.  Something pleasant, but this will not be seen as much.  The lining fabric should be complementary, but can be plain as it will be inside.  Layer the backing fabric, batting, two layers of lining fabric, and another layer of batting behind the stocking.  Using the stocking as a template, cut the other layers. 

 

Step 14:  Sew the batting to the outer fabric for front and back

 

Step 15:  Sew lining pieces together with 'good sides' facing each other

This hides the seams of the stocking between the batting and the lining.

 

Step 16:  Slide the lining inside the stocking

Turn down the top edges so they're inside and iron them to stay in place.

 

Step 17:  Design and cut the pieces for the trim and the loop

The loop doesn't need batting--it's a strip of folded cloth sewn length-wise inside-out and turned right-side out.  I used a double layer of batting for the cuff, and wrapped a double width piece of white fabric around it so there would not be a seam at the top of the cuff.  Iron it so it has the correct shape.

 

Step 18:  Sew the cuff and loop to the stocking

Slide the unfinished edges of the cuff between the unfinished turned-down edges of the stocking.  Place the loop and tuck it's unfinished edges in the same way.  Pin these edges.  Sew the cuff to the top of the stocking, effectively extending the length of the stocking so you don't cover any of the piecework.

 

Step 19:  Tack the lining to stocking

By hand, in a few places around the edge, conceal tack stitches in the seams, anchoring the inner lining so it doesn't invert when presents are removed.

 

 Results

 

I would repeat this, but I'd make a few adjustments to the pattern.  I'd probably make the stocking taller with less interesting squares at the top, so I could turn the cuff down over them.  I'd worry less about the edge squares being unique as it would be difficult to tell one half from the other when cut apart, since the log fabrics are so varied.  I might change the way I assemble the entire stocking, but I'd have to look at patterns for ideas.  I did this all on-the-fly, as it were, without any pattern but the one that evolved as I went along. 

Watercolor Bohr Atom

I did this without masking fluid, and was asking myself HOW people do such things, and that's how I learned of masking!

Materials

• Some cold-press watercolor paper, ~15x20".
• Some quality watercolor brushes my aunt gave me upon her trip from England.
• A 24 pan set of Yarka St. Petersburg Artists' Watercolors she also gave me.
• A set of 42+ Derwent watercolor pencils.
• A jar for water, and lots of rinses and refills.

 

Results

This was incredibly difficult without masking fluid, and I made it as a gift, so I may not have a reason to repeat it, but now that I know about masking fluid, I rather want to, just to play!

Inktober Day 4: Underwater

The prompt was "Underwater."  So here's a glass squid 'underwater' in a glass ink bottle.

 

Materials

• Pigma Micron 005 and 02 pens
• H hardness drawing pencil
• White erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.5x5" 

 

 

Step 1:  Sketch, detail, and shade with a pencil

Sketch the outlines, then sketch in the details such as the suckers, then add the shading and contours.

 

Step 2:  Draw with pens

Using the 005, lightly sketch the edges of the glass jar, label, lettering, and cork.  Add the "inside edge" of the jar.  Draw the suckers of the squid and then add the remaining lines of the squid arms.  Draw the squid head and contour the jar and cork.  Add the details of the water and shade under/behind the squid.  Go over the label, lettering, cork, and outer edges of the jar with the 02.

 

Step 3:  Carefully erase the pencil marks

Results

This took much longer than most and I don't like shading and contouring with pens instead of pencils.  If I had shading markers, I might revisit this one, as I do find it fun and interesting.  It will definitely work as a gift!

Watercolor Wolf-dog Running, Blue & Green

Goals

 

 

 

 

 

 

 

 

 

 

Materials

• Some cold-press watercolor paper, ~15x20".
• Some quality watercolor brushes my aunt gave me upon her trip from England.
• A 24 pan set of Yarka St. Petersburg Artists' Watercolors she also gave me.
• A set of 42+ Derwent watercolor pencils.
• A jar for water, and lots of rinses and refills.

 

Results

This was more difficult as I modeled this after a living pet.  I made two, one for each sister.  I made the blue one first, and then the green.  Sadly I don't have better images of these.  Also, this was before I had masking fluid.

Watercolor Fox Running

Goal

 

Materials

• Some cold-press watercolor paper, ~15x20".
• Some quality watercolor brushes my aunt gave me upon her trip from England.
• A 24 pan set of Yarka St. Petersburg Artists' Watercolors she also gave me.
• A set of 42+ Derwent watercolor pencils.
• A jar for water, and lots of rinses and refills.

 

Step 1:  Sketch & Wash

I didn't have masking fluid, so I did this without.  Remember to leave white space.  I was able to paint a solid enough white for the eyes over the red-orange.

 

 Step 2:  First Wash Layer

 

 

Step 3:  Second Wash Layer, more intense and varied colors

 

Step 4:  Details

 

Step 5:  Finish

Pencil Batman Gotham Heights

Goal

 

Materials

• Newsprint, ~24x36"
• Various drawing pencils
• Assorted shapes and sizes of erasers

 

Step 1:  Sketch

 

Step 2:  Add detail and shade Batman

Step 3:  Add detail and shade Gotham

Step 4:  Add detail and shade cape

Step 5, Final:  Add background shapes in the mist and erase for midground mist effect

Inktober Day 5: Long (Ridge)

The prompt was "Long."  So here's a long snowy ridge to walk along.

 

Materials

• Pigma Micron 005 and 02 pens
• H hardness drawing pencil
• White erasers of various shapes and sizes
• Cold-pressed watercolor paper cut to 3.5x5" 

 

 

Step 1:  Sketch with a pencil

Sketch the ridge lines and general areas with a pencil.  I should have sketched the shading in as well.

 

Step 2:  Draw with a pens

Using the 005, carefully choose the steepness and direction of the slop from each ridge point.  Some areas are shaded or especially rough and rocky, so hatching may be good here.  Some areas are sheer so I used lines.  I used the 02 to add the ridge and valley lines, after the shading, and varying the line weight to indicate distance.  This cleaned up the look.

 

Step 3:  Carefully erase the pencil marks

Results

I may repeat this.  It's not an interesting final product, but maybe I could make it more so.  I will still give it as a gift.  It was good practice.

Inktober, Day 6: Sword (Fern)

I skipped a few days ahead.  The prompt was "Sword."  In sticking with more of a nature theme, I thought of sword ferns, which I know to be fussy with details.  I thought to play with the Pigma Graphic 2 with this and did it on the back of my scratch paper, with only the barest framework sketch in under five minutes.

 

Materials

• Pigma Graphic 2 marker
• H hardness drawing pencil
• Cold-pressed watercolor paper cut to 3.5x5" 

 

 

Step 1:  Sketch with a pencil

Sketch the general framework

 

Step 2:  Draw with pen

I still don't like the 2.  I'm not sure it has a use in my artwork.  The tip is too stubby and not varied enough.

 

Results

I may repeat this.  It's fast.  I would not give this dirty one as a gift.  I would probably want a different pen, and I may place pieces of ferns in the corners at various angles to make it look like a section of stylized wallpaper rather than a single badly done biological drawing.