Tea, Milk, Honey – Getting Ready for Santo Domingo
A few weeks ago we had rain during a sketchcrawl. Our backup plan was drawing in the Centre d’histoire de Montréal. I liked the looks of the old firehouse/museum, so when we needed a second location after Le375, well, perfect chance to go back for this.
The museum is helpfully placed right across from a cafe – so one can sit under shady trees and sketch in comfort. Which we did, for about three hours.
I thought this might be my last trial run before leaving for the workshop – but I had some time yesterday, so I whipped up some cheat sheets for my workshop. Just some notes for people, in case I’m not able to articulate it well when we’re painting in 40 degree heat 
I figure I’ll post them now, and anyone who’s sketching from home can try out the exercise. Perhaps at the 36th World Wide Sketchcrawl, going on July 14th, at the same time as the group sketching event in Santo Domingo.
Looks great Marc. I was a witness to the first beauty of the fire station!
Have a great trip. See you there!
Get info, thanks for sharing!
Hello, your sketches and watercolors are so lovely, I like the way you do your trees and the folige.if you ever put any videos on you tube would you do one on how to do tree folige with brush ect I m teaching myself and would like to see how you do your trees,
Have a great dayLinda
Great info, I’m going to print them out and give it a shot. Many thanks!
Marc, these are WONDERFUL…I’ll bet your workshop was a great success! May I link to this page in my next newsletter, please?
For sure Kate – no problem showing this around – these ‘cheat sheets’ are for everyone!
Thank you! I envied your students…
Thanks for sharing these fantastic and concise sheets. I can’t wait to apply them in practice. BTW, however unlikely, I do hope to make it to the Portland workshop.
Thank you for posting these, I love that you just ‘whipped them up’… you have a great blog, I appreciate your work and the tips! I am curious, do you separate your transparent from opaque pigments for the different steps? Or is it only the application that matters?
I don’t end up needing gouache for every sketch, just in instances where I have to bring back small brights I couldn’t reserve for whatever reason – so if it ends up happening, it’s only at the very end, in the “honey” stage. The most common instance is probably mixing a little white gouache with cerulean blue to poke in sky holes in trees or put sky reflection on windows.
Marc. Really helpful advice! And beautiful paintings to boot. Some publisher is missing a really great book here.
Thank you so much for the tutorials.
Lois