On day 2, we spent the morning at the Radio Club, practising watercolour techniques. LTB = Load The Brush! After a local lunch, we headed to Crawford Market. Had a ball sketching the vendors and their produce. Tried Falooda (a refreshing rose-flavoured drink - not a big fan, despite the photo evidence). Then had dinner in Mondy's.
The day was intense, but well-balanced, between classroom and on-location sketching.
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Day 1 of the workshop. Cross Maidan - a peaceful space to introduce us gently to the city! Followed by a bit of shopping!
In January, we went to Mumbai. I participated in a workshop with Suhita Shirodkar and Zainab Tambawalla. And Brendan did lots of street photography. Head over to his Instagram @beebeepix1 to see his photos.
We arrived in Mumbai on the Sunday afternoon, and went for a little exploration. I swear I was having a panic attack that evening, lying in bed and thinking about how hard it was for me to cross the street between the Gateway to India and our hotel. On the Monday, we went for a guided "Essential Mumbai" tour with the fantastic Faredoon from Khaki tours, and I felt a bit more confident about managing to survive in this buzzing city. And had vada pav for lunch!
On Day 0, the Tuesday, there was no workshop, but Suhita and Zainab invited anyone who wanted to to go sketch with them at Matunga market, which specialises in goods from South India. I took an Uber over with a few fellow workshop participants. We sketched on the footpath first, where I had my first taste of chai, then we moved inside the market. I instantly loved it, the interaction with the people, the buzz, the visual and aural vibrancy of the city. And I had a great time sketching.
That evening, we had a tour with Juzer, Zainab's husband, who also is part of the Khaki Tours heritage group, then we had our welcome dinner.
Hard to move forward with this idea. Lots of anticipation going on in my head today. I find transitions hard. How can I think of the cool Atlantic waters when the Arabian sea is calling out to me? Plus, it's a cold January day as I'm trying to paint this. But the memory is from a scorching May day. But, at the same time, it's good to have these A2 thumbnails to anchor this moment. When I'm ready to paint this memory, I will have a few options in front of me.
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Cropping the image I painted on cartridge paper the other day. In a way, it's easier to do it electronically, but on the other hand, too many choices does not lead to a decision. Is any one of them better than the other? Or are they all one and the same?
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What's on my wall at 15 January 2026. I really want to move on to stormy skies and crashing waves, but it appears I still have a lot of rocks and mountains to work through before I'm ready.
Exploring the water and rocks about 50 meters down the road from the previous paintings. The big slabs of rocks plunge into the water, and it feels like they're holding the water in an embrace. I haven't fully identified what my feelings are with this one, or what the energy is. This version is on cartridge paper, A2. The paper is a lot thinner than I expected. Not ideal with my vigorous way of painting and drawing. I did tear the paper. And I have painted something similar, but in a very different way, a few months ago. So this might take a while before I can figure this one out.
Everybody I know is using these acrylic markers, so I had to try them too. But I have no idea how to use them! Self-portrait at the hairdresser's was a good excuse to experiment.
There is more energy now. I used some soft pastels to repeat the shapes that I see pushing through this landscape. And a little bit of extra splashing. I have Suzanne Vega's song stuck in my head.
Sometimes, I think the notes in my studio book are more interesting than the paintings themselves.
For this one, I felt a square format would work better, to express the tectonic push that I see in the landscape. the making of the landscape by forces beyond my comprehension, and the idea of a creator, or mother, giving birth to the landscape.
But I think I'm still being too literal in my representation. I really need to push the abstraction much further. This is a big square (about 50cm) on Hahnemuhle Cornwall paper. Also a few thumbnails and notes in my studio book.
Had to try something different after the previous one didn't express what I had in mind. I reverted to quarter sheet and Fabriano Unica paper, for a gentler flow without jagged edges. I must try a few crops of this to see if there is anything interesting in it.
The Long Hall is a great pub. It's a bit too dark for sketching, but I wanted to at least try. Interesting to compare the original line drawing done on location and the final version with colour and text added at home. Colour definitely enhances the feeling of being in an old pub. The colours are used are from my unused art supplies, which I am dedicated to leaving on my desk until I empty them.
I went outside to sketch for a bit - January in Dublin isn't easy, one week it's really cold, the next one, it's mild but damp. I think I prefer cold. But I always manage to find a sheltered spot. Me and two dozen pigeons! I do not like pigeons. But I couldn't ignore them. Can't say I planned this page very well.
My mind was a little dispersed. No clear focus as to what I wanted to sketch. So I did a bit of this and a bit of that. Still, it's always enjoyable to sketch with Dublin Sketchers, despite the damp weather.
Someone ordering their food at the Silk Road Café
Here is the full spread, but I think the bit on the right works better.
The day is getting dark already. I need more light for watercolour. That's a good excuse to try out my new Arrtx markers. I tried them on brown paper. I think dark grey paper would be better. Need to ask a few people how they use these markers - maybe just for highlights? I don't seem to have enough darks?
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