Archive for the ‘Drawing’ Category

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Every three months my all-time favorite magazine, UPPERCASE, arrives in my mailbox, and productivity in the studio comes to a screeching halt while I drool over each gorgeous page. I’ve been a subscriber since almost the very beginning (if only I could get my paws on those first two sold-out issues!), and impossibly, every new issue is even lovelier than the one before.

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So you can imagine my giddy delight to be included in the latest installment. They had a submissions call for a feature on “labor-intensive illustration,” which was so squarely up my alley that I had to laugh at myself. But I never imagined my little birds would actually be accepted—let alone given a full page. A letterpress colleague received her copy a day or two ahead of me and tipped me off, and I swear I did a little dance around the room.

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UPPERCASE is the brainchild of a gallery by the same name in Calgary, Alberta. The magazine is tailor-made for anyone with a creative soul; every page is devoted to sharing visual inspiration, shedding light on obscure or vintage art and design work, and detailing the work lives and creative spaces of people who do what they love for a living.

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The whole thing is a perfect mix of vintage nostalgia and cutting-edge design, all wrapped up in a sumptuously printed package. If only everything in the world had this much thought and craft behind it.

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But my favorite—I mean, favourite—parts of the magazine are the recurring features. There’s an abecedary in every issue, each with a different theme (which does my bookish* heart good), as well as a series of collections of vintage objects: bottle caps, cereal boxes, even alarm clocks and—in this issue—fishing lures.

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This magazine is truly a thing of beauty, and I hope it’s around for me to keep my subscription going for many years—and issues—to come. You can buy single issues, or start your own subscription, right here.

(* Pssst! Try adding a coupon code to your order!)

Speaking of hodge-podge collections of odds and ends, you should see the piles of things, er, occupying (hint!) my drafting table this month. You see, Art at Work month is almost here, and I’m scrambling to get ready for all the events coming down the pike.

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Who is this, I wonder?

First up is Studio Tour, that crazy-amazing weekend where it seems like half of Tacoma (the entirely wonderful half, as it turns out) stops by for a visit. This is my third time on the circuit, but our fair city is celebrating its tenth fabulous year of shop crawls and arts extravaganzas. So stop on by next weekend—you can print your own letterpress keepsake (trust me, they’re über cool this year!), pick up free Tacoma swag (better get here early, because it’ll disappear fast), shop for a whole bunch of brand new art and handmade items, and be the first to catch our brand new Dead Feminist, a mystery maiden indeed.

10th Annual Tacoma Studio Tour
Saturday and Sunday, November 5 and 6
10 am to 4 pm, Free!
For more info, full artist list, maps and directions, see here

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Look! New stuff!

If you can’t make it to Studio Tour, you can catch a whole bunch of Tacoma artists at the annual Holiday Artist Craft Fair, put together by the lovely folks at Indie Tacoma and Tacoma is for Lovers. Jessica and I will be sharing a table both days, and it’ll stuffed to the brim with bunly goodness illustrated and letterpress goodies.

Holiday Artist Craft Fair
Saturday and Sunday, November 19 and 20
11 am to 4 pm, Free!
King’s Books
218 St. Helens Ave., Tacoma

Last but not least, a gigantic virtual heart-shaped thank you to everyone who made a pledge to fund the Apocalypse Calendar! The project is officially a “go,” and we’ll be on press in November. We’re expecting to ship calendars and Kickstarter rewards in early December, and you’ll find calendars in various retail shops this holiday season. If you missed the Kickstarter project, you’ll be able to place online orders here, starting later this week.

Happy Halloween, and see you in November!

I probably should just stop telling people I’m a blogger, for crying out loud. Between being buried under deadlines since I came back from Asheville, and trying to dodge the media blitz lately, I’ve been avoiding the internet altogether for awhile. Sorry about that.

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All this week the radio, the blogs, the instant media, and I’m sure the television, too, have been blaring with recaps and riffs and reflections and rage, on repeat, about that day when we all learned a little more about the nature of fear. And it’s not that I’m avoiding thinking about it—it’s that I don’t need any help from the talking heads to process my thoughts. So while I’m mindful of that anniversary, there’s another, tangential one that’s closer to my heart. You see, it was ten years ago today that I moved to Rome.

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It was my third year of college, but it wasn’t your average study-abroad program. Because my school owned a (haunted!*) house in the middle of the city, I was able to experience true immersion in the culture and language.

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*Built around 1590, the place was home to Beatrice Cenci, who was infamously executed for the murder of her abusive father. I’m not the superstitious type, but all I’m sayin’ is … well, weird stuff happened in there.

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Even at the time, I was aware of just how dumb-lucky I was, not only to have arrived there safely from New York the day before the world turned upside-down—but to have nearly an entire year in which my only responsibility was to experience and absorb the world around me.

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That, and to get it down on paper—which proved to be the hard part.

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With flawless weather almost year-round, it was easy to spend every waking minute outside. And with cheap, frequent trains bound for nearly every town in the country, I had no shortage of freedom to roam (sorry). But I’m the obsessive type. I needed to see everything, and though I knew how impossible that was, it didn’t stop me from trying.

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It was maddening, in the best possible way.

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So I did my level best to commit as much of the place to memory as I could. For once, the camera went into storage (I think I shot a grand total of about three rolls of film in ten months), and the maps went in the trash. I stuck to paint-and-paper, and my own two feet—and as a result, my memories and mental map of the place are still the clearest, the most vivid of any other place or time in my life.

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Needless to say, it was awfully hard to leave. Instead of going home, it felt like I was leaving it. And when I arrived back in the States, thanks to the previous year’s tragedy, everything had changed.

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But then again, so had I. And that made all the difference.

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Heceda Head Light, OR

As you may have noticed, I kind of have a thing for lighthouses.

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Point Wilson Light, Port Townsend, WA

It’s no surprise they’ve cropped up in my work lately, since my corner of the world is fair teeming with them.

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Tatoosh Island, Cape Flattery, WA

But I find myself sneaking them in every now and again, even when it’s not strictly necessary.

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Cape Disappointment, Ilwaco, WA

So you can imagine my excitement on my Pacific coast trip,

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Point Reyes, CA

upon finding a beacon practically around every corner.

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Battery Point, Crescent City, CA

So you can bet that on my trip back east,

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Umpqua River Light, Winchester Bay, OR

I’ll be keeping a sharp eye out.

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Point Robinson Light, Maury Island, WA

And I’m betting that if my drawing hand has anything to do with it, something new will come out of it before long.

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My next stop on the trip was one I would have made anyway, just for the sheer natural beauty. But what really happened is that I let my inner movie geek take over. Recognize that location?

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Ah, Cannon Beach. Home of the iconic Haystack Rock and filming location for a whole host of movies. I would have loved to stay longer, but the only thing likely to roll in that morning wasn’t a pirate ship—

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—it was another storm.

I finally managed to tear my eyes from the ominous horizon—less gaping, more fleeing!—but as I turned to walk back to the car, I happened to glance northward:

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The moment was more like an instant; there was just enough time to let the shutter fly before the light disappeared.

As the first sheet of rain reached me, I jumped in the car and got the heck out of there.

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At last I was finally back on my mental map, with just a sliver of Oregon remaining. Within minutes I was perched at the summit of my favorite place to watch the clouds, where the weather is always changing: Astoria.

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I stopped to fill in a few of the last remaining nooks and crannies in my sketchbook,

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and then set about finishing what I started the last time I was in town. Without a detailed map or internet access to tell me where to go, all I could do was wander around. But that’s the best way to explore a place like Astoria—and I found what I was searching for anyway.

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Look familiar?

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Or how about this?

Even if I hadn’t been location scouting, I had my hands full with a beautiful panorama around every corner. I love the view of the bridge from here.

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That bridge. Oh, my.

But staring into the mouth of the mighty Columbia, just as the rain turned into a heavy snow squall, reminded me that home was still many miles away—and that I was hoping to get there before dark.

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There was just enough time for one final rainbow,

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and then I embarked on the last lonely stretch of empty road.

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As I pulled over for my last glimpse of the Pacific, I realized that I’d come almost exactly 1000 miles along the coast. Even with six days spent on the road, those miles flashed by entirely too quickly. But then I remembered that I still had the southern half of Highway One left to explore—and the promise of a whole lot of meandering, some day, to get there.

Sounds like a plan.

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Eureka!

(Sorry. I just felt a great need to say that. Ahem.)

Located on a flat coastal plain, exactly halfway between two redwood forests, is the city of Eureka, CA. I stopped there for a cuppa after my sojourn in the trees, and was charmed in a heartbeat.

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Thanks to its obvious proximity to timber, Eureka is chock-a-block with fancy Victorian and Art Deco architecture. And it’s not the only town on the Redwood coast that can make that claim. I wandered into a bookstore downtown, and found a volume on the subject—it mentioned a whole host of nearby towns teeming with Victorian buildings.

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Since one of them was only a few miles away, in the direction I’d already come, I turned around and headed back up the valley to Ferndale.

ferndale_4_4544This “Cream City” had its heyday in the 1880s, when the area’s prosperous dairy farms provided much of the wealth that built the town. These affluent farmers built ornate and sumptuous homes there—which the locals nicknamed “Butterfat Palaces.”

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When I got there, the light was fading fast; looks like the cream would have to wait.

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So I spent the night here,

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and after an early breakfast, I took a stroll around town.

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As seemed to be a running theme for the trip, I had the place to myself. The only sounds I heard were mourning doves and lowing cattle—and the early morning glow bathed the buildings in sunlight.

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Ferndale is a tiny town; if you add up all its historic buildings you might get three or four city blocks. But the place is worth its weight in butter when it comes to the details.

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Those details actually played a large part in saving the place from destruction and “urban renewal.” In the 1940s the buildings on main street were slated for demolition, until a local resident bought up every threatened building, and then painted them in outrageous Victorian colors—essentially creating the tourist draw the place enjoys today.

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Now, I probably could have stared at this stuff all day, but then I turned a corner, and stopped dead in my tracks. But before I go on, I have to provide a little back story.

The Tailor and I have a tradition of putting together a jigsaw puzzle on New Year’s Day (a riveting pastime, I know, but we love it)—we’re always raiding thrift stores in search of the next puzzle. This year’s was an image of an ornate victorian house, in some town I’d never heard of.

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Well, when I turned that corner, I was absolutely gobsmacked to discover it was the jigsaw puzzle house!

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Let me introduce you to the Gingerbread Mansion. It’s a place I know well, having reconstructed its facade from 1000 pieces of cardboard.

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I meant to stay longer and do a more complex drawing, but it was cold that morning, and it felt like I was going to freeze my fingers off. It looked like quick sketches were going to be another theme for the trip.

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So I completed the loop of my walk instead, and discovered my favorite Butterfat Palace of them all. I mean, come on! Who doesn’t love gumdrop topiary trees?

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And that pink door! Just enchanting.

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So … when can I move in?

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The tree is more than first a seed, then a stem, then a living trunk,
and then dead timber.  The tree is a slow, enduring force straining
to win the sky.

—Antoine de Saint-Exupéry

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I’ve had four months now to mull over the experience of driving through a redwood forest in the early morning, in complete solitude and silence. And even now, there really are no words to describe it.

Now, I seem to have plenty of words to describe the phenomenon of drive-through trees, which, in my humble opinion, are a perfectly concise illustration of exactly everything that is wrong with America.

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Thankfully, though, a redwood forest by its very nature makes it easy to ignore such things. Because my brain certainly wasn’t going to get a handle on what my eyes were seeing—nor was my camera.

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And neither, it turns out, was my paintbrush. I needed a sketchbook that was six inches wide by about twenty feet tall.

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And then I realized that I needed a sense of scale, a point of reference. Enter the only other car I saw that morning, and my wide-angle lens.

Eh. That’s still not it. The only thing to do is to go there in person, crane your neck, and gaze upward in wonder.

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Even though my trip south originally brought me across the Bay, it seemed like San Francisco was the logical starting point for my long trek home along the coast. So before I crossed the bridge,

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I decided to inaugurate the journey with a quick sketch. Of course, then I had to resist the urge to get sucked in and just stay there all day (all week, all year…), just soaking in the place. But then I realized that San Francisco is quickly becoming what New York always was to me in the past: my go-to destination, my sister city. That thought—and the knowledge that I’d most definitely be back (and back, and back…)—gave me the wherewithal to stick to the plan.

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So I waved a quick goodbye on the other side of the Gate (and that Journey song popped into my head for the umpteenth time that trip), and headed north.

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It wasn’t long before I’d left civilization almost completely behind. My chosen route was the (in)famous Highway One, which winds a precarious path along the shore, with breathtaking views and treacherous challenges at every hairpin turn. In other words, it was perfect in nearly every way. Despite the environmental guilt of it all, I confess that I love driving—and hugging the curves of 300 miles of switchbacks in a stick-shift Subaru? Pure, unadulterated bliss. And while I missed the company of the Tailor, or any of my other traditional travel buddies, it was nice to be able to stop and take a picture every thirty seconds, without the risk of annoying anyone!

Anyway, I knew that by traveling the Coast Highway on a weekday in February, I’d have the place pretty much to myself. But I was completely unprepared for the solitude that awaited me at my first stop along the way: Point Reyes National Seashore.

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Point Reyes is a long, jagged cape with an equally long history. Sir Francis Drake reportedly landed there in 1579, and people have inhabited it, farmed it, settled it, and even wrecked their ships upon it for many, many generations. Since the 1850s much of the land has been parceled out into dairy farms, which are still in operation today, thanks to the protection of the National Park Service.

What first struck me about the place is the near total absence of trees. The place reminded me more of the Scottish highlands than anything I’d seen in California—and in fact, one of the few small towns located on the peninsula is called Inverness.

And I’m sure that at the height of summer, the place is crawling with tourists—but that day I was completely alone. For miles and miles and miles, it was just me and the cows.

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Oh, yeah, and these gals.

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I hadn’t intended to travel the whole length of the cape; I wasn’t on a fixed timetable or anything, but by that point it was already late morning. But I saw a sign indicating a lighthouse ahead, so I kept going. There was no mile count on the sign, and I didn’t bother to fish out the map. It couldn’t be far, right? Well, the road wound on and on and on, with no sign of a lighthouse, and no indication of where this would end. But then, a full twenty miles on, the track came to an abrupt end. I got out of the car, faced back north, and nearly had to pick my jaw up off the ground.

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The lighthouse was just a short hike from there:

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I could see why people were forever dashing their boats upon the rocks.

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And that wasn’t the only thing I could see. I was staring into the bright teal surf when something surfaced and caught my eye:

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A gray whale! It’s funny—I’ve lived on one coast or another for over eleven years of my life, and I’d never seen a whale in person before. If that wasn’t worth the forty-mile detour, I don’t know what is.

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By then the morning was gone, and I was beginning to crisp in the sun. So I did one quick, 2-minute watercolor, and made the long trek back to the highway.

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The remaining stretch of Highway One was almost equally deserted. It made the miles melt away quickly, and gave me the feeling that I had the whole Pacific to myself.

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Before long, the rolling hills and eucalyptus trees tapered off,

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and the landscape gave way to cypress stands and evergreen forests.

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The road ended just as the day did. As the sun went down the path turned eastward, away from the shore, and plunged into the thick darkness of coastal forest. By the time I pulled into a hotel for the night, it was pitch black, and Highway One had been replaced by the other Pacific Highway: US 101. I was in completely unfamiliar territory, and would be until I came all the way north to Astoria several days later, but despite the darkness and lack of bearings, I knew what lay ahead. And I was almost too excited to sleep, because I knew that in the morning, the sun would reveal exactly where I was: in the heart of redwood country.

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My usually insatiable wanderlust has been at an absolute fever pitch lately—and a recent, intense case of studio burnout has only intensified the feeling. So in order to recharge the old battery a bit, and maybe stir up some brand new inspiration, I’m closing up shop and hitting the road. The Tailor and I are embarking on an epic five-week cross-country adventure, starting tomorrow morning. Along the way, if all goes according to plan, we’ll visit eighteen states and six Canadian provinces—and probably a host of camera stores on either side of the border, since I don’t think I’ll ever have enough memory cards to keep up with my trigger finger.

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We’ll be back in the third week of July, which will give Jessica and me just enough time to design and print a new Dead Feminist broadside, and then hop a plane with the stack of prints. Jessica and I will be among the presenters at the first annual Ladies of Letterpress Conference in Asheville, North Carolina. If you happen to be local (and since a curiously huge percentage of our customers and followers live in NC, you might be!), swing on by and say hello! The conference will be held on August 5-7—as far as we know, we’ll be up to bat on the first evening.

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So as you can see, I’m going to have some blogging to do in the near future. Which reminds me that I never had the chance to report back about my last road trip. Either time flies, or I’m spinning too many plates. Since I won’t be set up to live-blog from the road this summer, I’ve queued up a series of posts about the Pacific Coast Highway to run while I’m away. It’s almost like being in two places at once!

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But before we traipse from coast to coast,

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there are still a whole lot of ducks (plovers?) to line up.

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There are keys to turn over to the house-sitters, packages to load into the car … and so help me, I’ve got to remember to water the plants!

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So anyway, you take the high road, and I’ll take the low road,

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and we’ll meet up again, at the other end.

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This might seem a little strange, coming from me, but the New Year’s resolution at the top of my “art” category is to draw more.

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I mean that I’d like to spend more time with my sketchbooks—with everything else that happened last year, there just didn’t seem to be a spare second for observing the moment and jotting it down.

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The daily book was about the only thing that received any attention, and even it spent the entire year on the back-back-back burner.

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I still have quite a bit of catching up to do there, though—

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so that’s where I’m going to start.

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It’s a daunting prospect; even just filling in half-finished sketches (maybe I should have shown you those instead!) amounts to a huge time investment, and a mountain of work.

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But I’ll get there. And besides, it’s those last two blank slots on every page that interest me the most.

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They stand for the future that’s unwritten, and I find I can’t imagine what could possibly complete the picture—nor could I ever have predicted what has ended up here thus far.

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When I first started this project, it seemed like a painfully slow undertaking.

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But now I’m surprised at how quickly the book is filling up,

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and I’m anxious to find out what will fill out this page—and the next, and the next.

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Well, today I flip the book back to the beginning, pencil in hand—and so I’ll find out soon enough.

Happy New Year!

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I was afraid I wasn’t going to have any holiday photos to show you—when I was in Portland the other week, my camera took a nosedive after being bumped off my shoulder in a crowded room.

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Snippets from my daily journal

So I shipped the lens off to the good folks at Canon for repair, and switched to paper for awhile.

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One of Maurice Sendak’s eye-candy stage sets for the Pacific NW Ballet’s Nutcracker

My favorite thing about sketchbooks is that I can take them anywhere—including places where cameras, functioning or not, are strictly verboten.

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More Nutcracker scenery, plus Christmas on Pine Street in Seattle

The downside, though, is that it takes me a lot longer to draw a picture than to shoot one—so my output is always smaller than I’d like.

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But then the Fedex guy showed up with my lens, good as new and just in time for Christmas.

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I managed to refrain from hugging him, and then hopped around the house in manic glee, documenting the holiday the Tailor and I have spent all week creating.

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(We finally broke down and bought twinkle lights for the tree; which provided the perfect inspiration for this year’s card!)

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Wherever today finds you, have a warm, cozy, abundant, and very merry Christmas.

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