An Artist Afloat
Sailing and sketching
It was wonderful to be back on the water again. Farewell beverages had been supped with cruising friends, Jim's family had joined us for happy hour at the Delta hotel, my exhibition had been packed away and we were ready to cast off the mooring lines.
Our first day of sailing had blue skies and the current was in our favour. Brightly coloured whale watching boats zoomed past us as we left Victoria's inner harbour and made a port turn into the Juan de Fuca Straight. We didn't see any whales, though the watchers remained a featured for most of our journey. The tourist boats are supposed to keep away from the stressed and struggling resident pods, instead concentrating their tours on the plentiful population transient orcas which regularly pass through. Lucky boats have also started seeing humpback whales, returning from their winter holidays to Hawaii. Hopefully they'll be up in the Broughton Archipelago by the time we get there at the end of the month!
Wind and tide carried us past Trial Island at over 8 knots; it felt like Prism was as excited to be sailing as we were. Other sailboats were making the most of the Saturday sunshine as we turned North through the Discovery Islands. As the wind died off, we gave the motor some exercise on the last part of our journey to Tsehum Harbour. We tied to a mooring buoy and settled in to the laid-back ambience. Eagles flew above us, calling in their tittering voices, and seals lounged on the rocks near the boat. We did our best to enjoy the golden evenings out in the cockpit, until the chill of the Canadian evenings drove us inside.
Tsehum Harbour was well-served by buses, so Jim popped back to Victoria to get some last things done whilst I spent a day volunteering at Coast Collective. Then the toilet needed some work, so whilst I got things done on my computer, Jim made the necessary repairs. You can imagine the four letter words he chose to describe the job...
Our journey north then took us to Cowichan Bay. We moored at the Fisherman's Wharf then set off to explore. The little village was easy to fall in love with. It's worth a visit for the bakery alone, which bakes fresh bread and pastries from organic ancient grains, locally grown where possible. Their cinnamon rolls were amazing, and became part of our daily routine along with a cup of the excellent coffee. I sent Jim on a bike ride to give myself some time to investigate the pottery, boutique and perfumery, and drew some of the numerous wharves which stretched out into the bay. At low tide, the head of the bay would fill with dozens of herons, stalking the mud flats and snagging passing fish.
There were plenty of things to sketch, and I was glad I'd made a new sketchbook out of Bee cotton rag paper and some leather I'd picked up at Thrift Craft Victoria. My 'perfect sketchbook' requirements change quite often, and I think I'll always end up back with my travellers' sketchbook and homemade inserts, but after months of wrestling with a too-large Stilman and Birn Beta, I was ready for something new to kick start my summer sketching. My little hand-bound book has 48 pages, each 6” x 4.5”. Right now, these feel like a great size for sketching on the go. The Bee paper is 100% cotton and is a pretty smooth cold press, so my Pilot Metropolitan fountain pen works perfectly. Noodlers Lexington Grey ink dries quickly enough on it that it doesn't transfer between pages (the major down side of some other cotton papers I've tried to use in sketchbooks), and it handles washes beautifully. Some of my granulating mineral colours look a little strange on the smooth surface, so Serpentine and Green Apatite might be taking a holiday from my paint box for a little while in favour of the less romantic but more biddable Sap Green.
The area around Cowhichan Bay cried out to be explored, so we pedalled out to Maple Grove. I was surprised to learn that the eponymous trees are tapped for their sap, which is then boiled down to create syrup. I'd always assumed that sugar maples were confined to the east coast of North America but I'm sure the sugary stuff of the west is just as good.
The trail took us through the grove of mature maples, festooned with trailing mosses, and along a river to a lookout with wonderful views of the bay. I soon wished I'd taken my bird book to identify the various species of swallows, blackbirds and colourful small darty things that we came across. Back on Prism, I looked up iridescent tree swallows, American blackbirds with their gaudy red flashes and little tufted titmice, whose blue-grey, buff and russet colour scheme feels very on-trend. The vegetation took me back to England, with briar roses, blackberry bushes and ox eye daisies (or their Canadian cousins) growing amongst tall grasses and thimbleberries.
The village made a great base whilst I worked on a commission for a local couple. I'd been asked to paint their house, which is up on a hillside and commands stunning views over the bay and surrounding mountains. They wanted something big, so I splashed out on a full sheet of 600 gsm watercolour paper. Sometimes it surprises me how much of a difference paper can make. I love my usual 300 gsm Fabriano Artistico, but doubling the weight of the paper makes a world of difference. It can handle heavy washes without a ripple, giving even more control over how the paper behaves, and was stiff enough that I could still rotate it when painting. This was handy because the sheet was the same size as Prism's table! If I couldn't turn the sheet to reach different areas, I would need to paint standing up, which would get pretty uncomfortable as the table is quite low.
With the art finished to everyone's satisfaction, we had time to grab one last loaf of bread before turning towards Vancouver. The sun decided to shine upon us, though the north wind brought chilly air and the faint scent of narwhal. We'd timed the tides right through Samsun Straight and were swept through Portlier Pass. We pitied the other poor sailboat going nowhere fast as it tried to fight against the current. Whirl pools, tide rips, currents and upwellings kept me busy on the helm until I pleaded beautiful scenery and put Jim on the wheel so I could sketch. Afternoon light gave a golden glow to the rocks and illuminated the greens and reddish bark on the arbutus trees, whilst the mainland and the Olympic peninsula were shifting shades of snow-capped blue. My hand-sized sketchbook let me get multiple sketches finished throughout the afternoon, exploring the colours and how to capture the swirling currents and billowing clouds.
It was midnight by the time we picked our way amongst the anchored freighters of Englishman Bay and found a spot to drop the anchor in False Creek. Being early in the season, finding an anchorage was straightforward. We set the hook, turned on the anchor light and put the engine to sleep. It didn't take long for us to follow it, and I fell asleep dreaming of how to mix mountain blues.
May passed by in a blur of watercolour. Plein air events and an Etsy market kept me busy at weekends, and my artist residency at the Delta Ocean Pointe gave me more motivation to keep creating. I had a wonderful spot in the hotel's well-lit, airy lobby where I could display a selection of my paintings and demonstrate the art of watercolours.
Painting in front of people can be a little intimidating, though the people I met were incredibly positive. I knew I needed to try to engage people, as many guests assumed that they'd be disturbing me if they talked to me whilst I was painting. However, hotel guests have many other things on their minds apart from looking at art, and not everyone passing by was going to be interested in or even like what I was creating. The purposeful walk of busy people was easy to recognise, but it was a little harder to get used to the up-turned noses of people who slowed to look at my art and were clearly unimpressed. I tried to smile anyway, and my artist's skin grew a little tougher.
After a couple of days I had more of a feel for how long to let people look before I started to talk to them, and had to try hard not to get so lost in the flow that I forgot to register the people around me! I met some wonderful people during my month at the hotel. The staff were all very welcoming, and some were artists themselves. Plenty of locals stopped to say hello on their way to get coffee in the restaurant. I met business people from across Canada, spoke to students and educators visiting for conferences and chatted to travellers from all over the world. It was always lovely when other artists stopped by, whether they were looking for advice, had their own wealth of knowledge to share or just wanted to discuss the joys of Daniel Smith paints and Opus Allegro brushes. I was particularly amazed by the skills of Pat, a paper maker/ book binder who could name the paper I was using by looking at its colour and texture. I was also lucky enough to meet Roy Henry Vickers, whose art I really admire. He complimented me on my technique for painting currents pouring through a pass, and kindly overlooked the fact I was a bit star-struck.
The trickiest part of the residency was keeping a stream of inspiration, especially when I finished a piece part way through a session. Sometimes the subject of my next painting would be ready in my mind, just needing my brush and some paint to carry it onto the paper. Other times, a quick flick through a sketchbook would present an idea begging to grow on watercolour paper. The hardest times were when the flicker of inspiration didn't come, and when I was aware of people flowing by wondering why I was doing nothing. I needed an 'I Am Thinking' badge, or maybe a flashing neon sign proclaiming 'Awaiting Inspiration'. I learnt to allow myself a little time out between paintings if I needed it. A fifteen minute walk along the inner harbour would often be enough to get my mind focused and back in gear, or relocated to the coffee shop to scroll through photos over a cuppa until I found something that clicked. Changing up my palette choices also helped to add some zap to my creativity, and a series in blue and yellow was a great refresher.
Mental stutters aside, I was very happy with most of the paintings I'd created by the end of the month. The intense practise helped me hone my skill levels and made me more aware of why most of the paintings worked whilst a few didn't. Some of the art made it into frames as part of my display at the hotel, but I'd have liked to share them all. If I'm invited back next year, I want to figure out a way to display more of the paintings created during the residency, even if I can't frame them all, and I'll definitely rotate the art on display more to keep it fresh.
Now we're in to June, I've had time to get decent photographs of most of the art I created (apart from a couple of pieces which sold too fast to make it near my big camera)! Most of the paintings are listed on Etsy- the links are connected to each photo- and four of my West Coast paintings will be featured in Coast Collective's upcoming show, 'Oceans'. Scroll on to see the rest of the paintings- and I'd love to know which is your favourite!
It's been a busy few months for Island Prism's crew. We've been tied up at Causeway Marina, opposite the historic Empress Hotel. Prism's engine has been being difficult and cantankerous, requiring hoisting out and extensive repairs. Jim's replaced the leaky seals that were causing all the problems, and given an extensive overhaul that will hopefully (maybe? perhaps?) give us a summer of smooth operation.
My painting has been far steadier than my blogging over the last few months. The static boat, frigid weather and state of busyness led to a bit of a wordifying block. I have been creating regularly, especially with my watercolours, but my sketching has been pretty sketchy. Thank goodness for the local Urban Sketchers group, whose regular meetings stopped me from getting too rusty! The details of my creative flow over the last few months could (and probably should) be a blog post of its own, but my recent paintings have been a huge reminder of how important sketching is to my creativity. I've been pulling out my sketch books and revisiting my favourite West Coast spots by turning them into full sized watercolours. Some of them are on display at the Delta Ocean Pointe hotel in downtown Victoria, where I'm the resident artist for the month of May. I'm demonstrating watercolour painting every Wednesday, Thursday and Friday this month, so please pop in and say hi if you're in the area! I'll be joining in the Hatley Castle Paint-In on Mother's Day too.
We'll be in Victoria until the end of the month, when we'll untie the dock lines and embark on a summer of sailing! The sail plan is to make our way up to Telegraph Cove for adventures with friends and family, and then to explore the secluded nooks of the Broughton Archipelago. I'm sure there will be plenty to paint!
Whether it's spring or autumn where you are, I hope you're enjoying balmy days that are just the right temperature. I'll be back very soon with more details of boat repairs and arty life, and I'll leave you with a few more paintings to enjoy!
Our sail from Broughton Archipelago to Desolation Sound was beautiful- and required some very careful timing. The current carried the boat through a succession of narrows as our speed topped ten knots (unheard of for sturdy but heavy Island Prism)! The passes we went through were only to be attempted round slack tide- whirlpools and rapids made them treacherous at other times, and the currents were too strong for Island Prism to ever stand a chance of going against them. We took turns on the helm so that I had the opportunity to sketch as we cruised, though I had to move my brush fast as the landscape passed us by.
Desolation Sound was the kind of cruising ground which could provide years of sailing all by itself. A maze of passes and islands stretch between Vancouver Island and the mainland, with the Coastal Range as a dramatic backdrop. We regularly saw humpbacks and bald eagles, and plenty of seals and sea lions cruised the waters or sprawled on the rocks along the shore.
Shoal Bay was a special little anchorage. The community there is tiny, but there is a wharf, and in the summer resident Mark opens his deck and living room as a pub. We dropped the anchor in 13 metres of water and rowed ashore for a glass of wine. The pub was full of yachties, and the communal tables create an easy way to meet people. We soon got trading stories. Tales of cruising Alaska caught my imagination, whilst bluewater-sailors-to-be Jake and Patricia listened to our stories of Polynesia and gave us some great information about local anchoring spots. We wound up on Prism with dinner and a night cap or two, and arranged to meet up again the next day in Phillips Arm.
Phillips Arm was part of the mainland, and was known to be a good spot to see grizzly bears- so much so that the local residents didn't recommend walking long distances ashore without bear bells and a rifle. We were keen to see a grizzly but preferred to do our searching from the water. We piled into Patricia and Jake's spacious tender and made our way up the Phillips River. A herd of elk were grazing in the grass just above the high tide line as we approached the river, and there was a healthy population of Canada geese. A shallow section by the river mouth, full of fallen trees, was a favoured haul out spot with seals, who 'mermaided' with nose and flippers in the air in what I always assume is an attempt to keep out of the water. Their poise and ability to maintain the pose for ages reminds me of yoga.
Salmon jumped as we continued down the river, and we saw a couple of herons keeping vigil on the riverbanks. The bears were sadly absent, but we took a stroll along the shore to talk to some researchers and volunteers who has spent the day counting the annual salmon return. The day was rounded off very nicely with an excellent dinner cooked by Patricia, and they were kind enough to gift us with a cruising guide to the area.
We next made our way to Cortes Island. Getting there was a little bit magical. Our day was carefully timed to get through the Yaculta Rapids at slack tide- the rapids would be so powerful that we wouldn't stand a chance of going against them, and we'd heard that they weren't a picnic even if we rode the tide through. Our timing meant that the experience was uneventful, and we were soon at a white sandy spit. It looked almost tropical, and was covered in sailing dinghys as there was a race meet on. The little anchorage was crowded with the sail boats and power boats that were accommodation for the competitors. We kept going as this wasn't our destination, instead approaching the steep cliff face of Cortes. Like something from Indiana Jones, as we got close the rock wall revealed a narrow opening. We squeezed through, painted rock towering above us on both sides, until the gorge opened out into a lagoon fringed with a few houses and a marina.
We anchored in front of the marina and campground, and rowed ashore. Here we found hot showers and a swimming pool. A few dollars bought us a day pass. It was late in the day, but we still had a few hours to soak- and the final hour was adults only. We had the hot tub to ourselves then, with a great view over the anchorage. When a live music performance began, we had the best seats in the house- and when the pool shut we moved to a bench to carry on listening and enjoy a dinner of local tomatoes, bread and goats cheese bought from the little store.
We enjoyed it so much that we extended our stay by another day. There was lots to do- the island has a busy art community and I enjoyed poking round the galleries and excellent farmers market at Mansun's Landing. At Jimmie's suggestion, we went oyster gathering- carefully checking that the fishery was open and safe. Jim's fishing license let us collect twelve oysters a day- and these were beauties. Between the number of oysters and the huge population of sand dollars, it was hard to find space to put our feet as we selected our shellfish. They grow them big here- and with a bucketful of a dozen oysters bigger than my hands, we returned to Prism. I helmed as Jimmie shucked them, and I was treated to a late lunch of Jim's oyster burgers (especially excellent with bacon- but then, isn't everything)?
The wildfires burning around BC were still having an effect on the air quality. There was usually a slight haze around, and the sunsets were particularly pink. Combined with the wildlife we saw, the colour combination inspired a series of paintings. The first was of one of the loons from Village Island. I selected quin rose to achieve the bright pop of pink I wanted for the sun. I found quin magenta makes beautiful greys and blacks with jadeite and perylene green, so chose these to round out my palette. I'm not normally a particularly pink person, but the effect was very harmonious and I was able to create rich, deep blacks for the loon and a huge range of soft greys and greens for the vegetation and reflections. Part of my fascination with loons comes from a version of a West Coast Native myth called How the Loon Lost her Voice. It explains how gentle loon lost her beautiful song when trying to help Raven regain the stolen sun. Raven was ultimately successful, but Loon cries plaintively every day at sunset, saying goodbye to the sun and remembering what she lost.
After my tribute to Loon, I got thinking about the elk and geese I'd seen. I wondered if they ever paid each other any attention when they share the same grassy swathes as they did in Phillips Arm. Adding a brown to my palette, I painted a meeting of species- 'Connecting'. In 'Together' I got thinking again about the close family bonds of flocks of Canada geese and pods of orca, and wanted to represent these. I snuck in Moonglow- a wonderful granulating watercolour paint which is perfect for orcas. It toned in beautifully, and I used it again for 'Exuberance'- a breaching orca of Telegraph Cove- and 'Seal Yoga'. 'Guardian' was a tribute to the bear we met in Mamalilikulla (see my previous blog post if you haven't read about that close encounter), and 'In Flight' was based on a photo I took of a great Gray Heron at Phillips Arm. 'Elementals' celebrates the Pacific white-sided dolphins and bald eagles of the Broughton Archipelago.
I found there were advantages to using a limited palette. Because the colour choices were already made, I could focus more on tone and composition. Bright colour couldn't save the day, and if I hadn't planned the picture well, nothing was going to provide a distraction. I worked on my colour mixing and my use of value (light and dark). I think the series has helped me become a better painter- and I've extended it beyond the initial series of five images I set out to create.
The original paintings from the series are currently being exhibited at Coast Collective's Gifts and Wishes show and Port Moody Art Centre's Winter Treasures exhibition.
If you're looking for an extra special Christmas gift for a loved one (or a winter treat for yourself), limited edition signed giclee prints of 'Guardian', 'Elementals' and 'In Flight' are available from my Etsy shop. I've also had a range of blank greeting cards printed, with a range of designs suitable for winter birthdays, festive messages, or just to drop a note. There are also some new original paintings and limited edition giclees in the shop! Gift wrapping and world-wide shipping are available if you want to take the stress out of Christmas shopping and give a unique gift- or give the gift of a commission for an affordable yet truly personal gift. Finally, whilst I don't run sales often, as a thank you to my readers I'm giving 10% off all original paintings between 19 and 25 November. I hope you see something special!
When I was asked if I'd like to test and review the full range of Van Gogh watercolour paints on behalf of Royal Talens North America and Doodlewash, it was a bit like Christmas had come early. Van Gogh are made in the Netherlands by Royal Talens. They are intended for 'the serious artist', filling a niche for affordable quality paints that are less expensive than their Rembrandt Professional range but of a higher quality than student paints. I received an empty 24 pan plastic palette and 40 pans of colour. The brown box of delights caught up with me on Island Prism during our family invasion of Telegraph Cove, and the family were happy to help me unpack.
First out of the box was the plastic travel palette. This is sturdy (an essential feature as it will be spending its life on a boat), and I found the curved design very appealing. The mixing area is large, and easy to clean with a cloth or by gently detaching it at the hinges to rinse. Like most plastic palettes, it gets stained by a couple of the pigments, but the marks are easy to remove with a tiny bit of cream cleaner. The sponge is a nice feature- perfect for removing excess moisture from a brush.
I'm inclined to keep this as a studio palette rather than using it out in the field. There's no thumb hole or ring, suggesting that it's intended for table-top use rather than to hold. The palette is a bit on the large side, although that is one of the things I really like about it. The size allows the colours to be nicely separated, reducing the chance of the pans contaminating each other. The pans are a little loose, and fall out if the palette is carried on its side, though this is easily solved by popping a bit of blu-tack on the bottom (I'd imagine double sided tape would work too). If I was looking for something to carry in my bag all the time, I'd pick the metal palette or pocket palette also available from Royal Talens.
Fifteen of the colours are single pigments. This means that the colour is pure- ideal for mixing. The remaining shades are created from two pigments. Potentially this increases the chances of creating muddy colours when mixing, as it's best to have no more than two or three pigments in a mix. However, Royal Talens have thought carefully about their pigment selection- for example, the blended yellows and greens mostly use PY154, giving a good success rate when it comes to mixing these together. I was also happy to find that the viridian and phthalo greens are both single pigment, meaning I could use these as a base to mix more realistic shades from.
I was very happy with the overall results. Most of the colours were bright, intense and translucent. After moistening them, it was easy to lift pigment from the pans and quickly get a rich colour. The yellow ochre and red iron oxide were opaque, as was the cerulean blue. This last pigment was made from phthalo blue blended with white. Although the pan had a slight white bloom when wet, the paint didn't appear chalky on paper. The colour is very intense and needs to be well-watered down for skies. The one disappointment was the phthalo blue pan, which produced a faint and insipid colour, although the Prussian blue made up for it with its warm intensity.
Once I'd tried out the shades individually, the mixing fun could begin. As I often paint the ocean, landscapes and wildlife, I wanted to make sure that I could mix a good range of greens and obtain mud-free neutrals. I started off by choosing some of the primary shades to make triads and see what happened as I mixed them together. Then I moved on to some less orthodox groups of three. I was delighted to find that the Prussian blue and burnt sienna created a wonderful sea foam green, and raw sienna made great greens when mixed with viridian or cobalt.
I was extremely happy with the results- these paints let me create bright secondary colours, and I was also able to make gorgeous grays, rich browns and beautiful deep blacks. It's great to know that I'd still be able to mix a huge range of colours even if I was using a more limited selection of pans.
Then it was decision time. I loaded the palette up with the two single pigment yellows, and azo deep was a must-have as it's the same colour as the boat! Permanent red light created some beautiful warm and cool greys when mixed with different blues, and I'd fallen in love with the gorgeous quin rose and permanent red violet. Of course, I needed a good selection of blues and a few convenience greens, then raw sienna and a range of browns.
Finally the really fun bit- painting! First I tried the paints out on a pair of hummingbirds and a duo of seals. The paints flowed well, kept giving me the clear bright colours I expected from my trials and were fun to use. The browns gave me a little granulation in the kelp, and the colours of the hummingbirds glowed.
I then put them to the test in my Fabriano watercolour sketch books, colouring some whales I'd drawn. Viridian and madder lake deep created great blacks for the orca, whilst Prussian blue, phthalo green and indigo gave me the perfect shades for the ocean. The following day I took the set outside to paint as we cruised through Green Point Rapids. I mixed up a wide range of greens from viridian. The paints layered well without creating mud. I did fall into the trap of over-saturating the sky when I failed to water the cerulean down enough, but that was user error!
In conclusion, I was very happy with the results I obtained from the Van Gogh paints. Their quality pigments, uniform price and high lightfastness make them a fantastic starting point for students, beginning artists or for artists on a budget. They are far superior to any student line I have tried, which are often weak, chalky or impure. The use of standard artist quality pigments also means they will behave well with other artists' watercolour ranges.
I really enjoyed the range of colours I could fit in the 24 pan, but the ease of mixing means that even the smaller travel set is very flexible. I'm not about to cast aside my Daniel Smiths (their vast range of pigments and beautiful granulating paints mean they're still my favourite), but Van Gogh does represent a vastly different price point and makes quality watercolour very affordable. I'm certainly going to enjoy playing with this set more in the future (and have in fact reached for it quite a few times whilst preparing this review)!
Whilst I was given the paints to review by Van Gogh, I have not received any payment in return for testing them. The opinions contained within this article are wholly my own!
You can find out more about Van Gogh paints here on the Royal Talens North America website.
They are available from art stores including Opus, Amazon and Dick Blick.
Depending on your hemisphere, your kids are either enjoying long summer holidays or a chilly, soggy winter... what better way to keep them entertained than by playing with watercolors?
I've put together a tutorial for a fun color mixing activity that will help your kids learn basic watercolor techniques as they explore a magical underwater world- and there are ideas for expanding the activity too. You can check it out on the Doodlewash website
If you want to help disadvantaged kids to access their own creativity, as an Artist Ambassador for World Watercolor Month I'm giving 10% of all sales in July to the Dreaming Zebra Foundation. Treat yourself or a friend at my Etsy shop- and help change a child's life!
Our sail from Ucluelet to Tofino was more of a motor trip. We peered through the thin shroud of fog as Prism rolled over the Pacific swell. Amphitrite Lighthouse was glowing away, a reassuring supplement to the clanking navigation aid and our trusty GPS. As visibility improved, we could see the stretches of golden sand that form a series of surf beaches, separated by rocky headlands. Mist hung about them even as the sky cleared- the spray tossed up by the rolling breakers obscures these beaches slightly no matter how bright the day is.
I was hoping to see a sea otter, but Jim told me this was very unlikely, These shy creatures were slowly building up their population on the west coast, but didn't venture as far south as Tofino. We turned away from the Pacific to begin our approach, past the lovely Chesterman Beach, where houses cling to rocky peninsulas, perfectly placed for storm watching in the winter season. I saw something in the water. A seal? Or a sea lion? It looked pretty big. Jim passed me the binoculars- the long whiskers, golden sideburns and characteristic incredibly cute floating-on-its-back pose were unmistakable. It was a sea otter! It watched us as we motored into the island-filled inlet leading us to the town.
We'd been assured that there would be space on the public dock, but this turned out to be rather optimistic. Once again we needed to raft up to another boat. The visitor's pier, E dock, housed two other sail boats and a flotilla of small craft. Slowly cruising past, we confirmed that there were indeed no spaces, but some of the small boats didn't appear to move much- we could raft up to the cruising yacht at the end of the dock, move a small barge and create enough space for Prism to fit in, out of the currents in the channel. I checked the depth sounder and started to turn. Nothing happened.
Jim told me I was stuck- but the depth sounder showed 2.5 meters of water beneath us. We draw less than two meters so there shouldn't have been a problem- but Jim was right. Whatever the depth sounder was telling me, I wasn't going anywhere.
Jim tied a line from Prism to the dinghy, hoping that we could pull Prism off the sand bank. Rowing gave him a great workout, but Prism couldn't be persuaded to leave her nice comfy sandbank. There was nothing to do but wait a few hours for the tide to finishing ebbing. Slowly and gently, Prism laid down, much to the entertainment of everyone on the dock. Cooking became interesting as we heeled over. The rice worked fine, but as the gradient of the stove grew steeper, I found myself having to hold the frying pan to stop it slipping off- and even then it was impossible to get an even heat. It was not my most successful curry ever, but thankfully it was vegetarian, and eventually I decreed it to be warm enough to eat.
Time passed, the tide changed, and we slowly worked our way back to an upright position until we were finally afloat. I was glad it was dark, though I'm sure my cheeks were glowing as we took Prism in to the dock. The other liveaboard residents were waiting to help us with our lines, and to share stories of their encounters with my little sandy hillock. Thank you Bob, if you read this, for helping my poor bruised ego!
Safely moored on the public wharf, we were able to set about exciting things like taking warm showers (at $1 for 2 minutes, I may have achieved a new personal best for speed showering). The weather was wet, but this isn't unusual on the West Coast, and the town and its surroundings were still beautiful. I was excited to find that Tofino now has an art supply store, and once I'd purchased some much-needed paper I wandered around the downtown galleries to absorb some creative inspiration.
Built out of cedar, the Roy Henry Vickers Gallery is an olfactory experience as well as a visual one. The rich, warm scent of the wood greets you as soon as you open the doors. Inside, benches and sunken seating throughout the long house invite visitors to linger amongst the artwork, and massive wooden carvings enhance the indigenous setting. My favourite paintings are Vicker's sunsets, often complete with his magical 'shadow images'- shimmering designs which appear as the viewer walks past. These shadows often depict native imagery, and add a spiritual side and a sense of history and culture to the wonderful land and seascapes. Just down the street, the Mark Hobson Gallery delights in realism, full of hunting eagles, luminous waves and twisting seaweed. Photographing the work is encouraged, and Mark was there, apron on and paints set up, hobnobbing genially with visitors.
Tofino is relatively bike friendly, and when the sun came out we decided to make use of the multi-purpose path that heads out of town to the Botanical Gardens. Around the cafe are pretty cottage-style flower beds and a community garden, along with a beautiful lily pond. The garden path soon enters woodland, full of native trees and plants. As the forest grows denser, the trail becomes a boardwalk, full of little side paths with views over the Clayoquat Sound. The tide was out, but the sun had transformed the mudflats into an expanse of sparkling silver, with stripes of vibrant green seaweed and blue water. We found a pebbly beach to enjoy the vista whilst hummingbirds and dragonflies buzzed round us. Finally hunger set in, so we returned to the cafe and munched croissants whilst listening to a talented jazz pianist.
Jim's brother Bill drove out to join us on Prism. His car gave us all the chance to explore further, so we made expeditions to Chesterman Beach, Wickanninish, Combers Beach and the suitably named Long Beach. Bill and I walked along the sand whilst Jim rode around on his little fold up bike, which worked really well on the hard sand close to the water. The ocean spray cast its usual magic, reflecting the sunshine and creating a light mist across the golden sand. We strolled the length of the beach and crossed the headland to poke around the bustling tide pools of Combers Beach, which were full of darting scalpins, lumbering crabs and a host of colourful starfish and anemones. We could have stayed there all afternoon, but hunger set in so we drove to Ucluelet for a late lunch.
After five blustery days, the weather calmed. We provisioned up and took Prism out to spend a few days on Flores island. We motored through swirling mists and thick fog, thankful for our GPS which let us know exactly where we were. Strong currents ran through the maze of channels. They played havoc with our speed, accelerating us to six knots before slowing us down to four. It didn't matter- the sun was slowly increasing the visibility and we were too busy watching the jaunty flocks of rhinoceros auks and looking out for sea otters to mind a little bit of a slog.
Five otters later, we turned into the long inlet which cuts into Flores Island. A few small fishing boats whizzed past us and a sea plane buzzed overhead. We passed the little village of Ahausat, with its century-old general store, and poked about the various arms of the inlet until we found a place to anchor. It was a secluded spot- away from any signs of habitation. The ravens greeted us with a chorus of 'ki tok's, and the bald eagles seemed to be giggling about something, as bald eagles often do. Our hopes of seeing bears at low tide were not rewarded, but a seal came to visit and one of the eagles gave us a display of how to fish bird style.
Bill and I tried to follow a walking track through the woods. We were well-armed with bear bells, a bear horn and bear spray (which apparently ISN'T for helping to style their fur). Sounding a bit like Santa's reindeer, we jingled our way along a twisting trail which was a clamber rather than a walk. Over and under fallen trees, through swathes of sticky mud which tried to steal my boots- it felt a bit like we'd fallen into 'We're Going on a Bear Hunt'. Eventually we decided we'd had enough of scrabbling through the mossy forest and bushwhacked through to the beach. This was slightly easier going, though the muddy patches shared the kleptomaniac tendencies of their forest cousins and insisted on trying to relieve me of my footwear. We crossed the foreshore and wandered through crab-infested grass to a shallow lagoon where three herons were keeping their eyes open for afternoon tea. We called for our taxi (also known as Jim in the dinghy), and tried to wash off the worst of the mud before we returned to Prism.
The calm waters created a great place to row. Our inflatable dinghy is a little cumbersome as a row boat, but we were still able to poke around in hidden corners and paddle up to the mouth of the tumbling stream which entered the inlet. The clear water gave us a great view of the fishy denizens of the inlet- presumably it helped the eagles too. We all enjoyed the slow pace of life for a few days before returning to busy little Tofino. Once again, the sea otters were out in force. Most of them stayed away from Prism and her rumbling motor, but a few came close. One was busy tucking in to a tasty breakfast of red rock crab, and another was having his morning wash, bobbing along on his back as he scrubbed his whiskery face with webbed paws. A third surfaced a few meters in front of Prism. She was just drifting along in neutral, but the otter quickly turned tail and dove. 14 tons of sail boat was not what the little creature had been expecting.
Our return to Tofino was much less eventful than our first arrival. We tied up to the dock, offloaded crew and took on ice and vegetables. Soon Bill and his little blue electric car were speeding off towards Victoria. Jim, Prism and I were heading that way too- at a more leisurely pace and via the islands of the Broken Group and the inlet of Bamfield.
Don't forget- July is World Watercolor Month and as an Artist Ambassador I'll be giving 10% of all sales to the Dreaming Zebra Foundation! You can view prints, bags, notebooks and original artwork at Andrea England Art on Etsy. Sign up for my newsletter to stay informed of blog updates and arty happenings!
Occasionally, you get to a place and feel like it resonates with something in your soul. Cornwall, Winchester, the Tutukaka Coast and Tofino have that effect on me. I soon felt the same way about Ucluelet. Friendly folk at the Small Boat Harbour, an artsy vibe round town and an abundance of great walks and beautiful views- it's not hard to see why the place caught my imagination.
The West Coast of Vancouver Island is known for its wet weather. It's still beautiful in the rain, with its misty greens and subtle greys, and the rain tends towards a steady drizzle. Very English, really. Mostly, though, the sun came out for me, and I made the most of it, leaving Prism at the marina whilst I hit the Wild Pacific Trail
The trail is in two sections: a loop at the very end of the peninsula and a return track further on. The loop takes in the aptly-named Inspiration Point, Amphitrite lighthouse and a fascinating section of bog, full of twisted trees, thick pillows of moss and sinister sundews just waiting for bugs to fly into their sticky clutches. I love carnivorous plants! The trail was easy, with plenty of viewpoints and lots of information about the flora and fauna. Most of the signs were close to the correct plants, so I soon learned to tell the difference between deer ferns and sword ferns, and could pick out the skunk cabbages- which thankfully had not yet reached pungent maturity.
Plenty of sketch breaks and a few side trails meant it took me a while to complete that section of the trail. The next day I got up early to complete the second section, starting with a peaceful stroll along Big Beach, where I was soon distracted by the lush seaweeds and a crow trying to smash open a tasty bivalve. Having the beach to myself, I tried painting the hazy light and vibrant golds and browns, until I'd filled a spread of my sketchbook and realised that I'd been there over an hour. Time often stands still when I'm making art.
The trail led me through a resort, to beaches strewn with enormous logs carried in by the waves and bleached to bone white- skeletons of the giants of the forest. I followed a series of Artists' Loops, with plenty of benches and viewing platforms over the pebbly beaches and pounding waves. Even on a calm day their power sent spray flying. I could see why storm watching is a popular winter pastime here- though not one I'd like to try from Island Prism!
Of course, it would have been rude not to make the most of the sketching opportunities so kindly provided, and I was keen to try and paint the wonderful light and the many shades of green. My palette holds some lovely mineral greens- green apatite, serpentine, amazonite and jadeite, but I found I was reaching for my blues and quin gold to mix my own. It seemed the best way to capture the distance, depth, light and shade; after years of being a lazy colour mixer I felt redeemed.
Time check- almost three. I completed the Ancient Cedars loop and was determined to make the Rocky Bluffs which mark the end of the trail. This was well worth it. The waves grew wilder and the vistas back down the coast were expansive and impressive. My pen was running out of ink, my water brush was down to its last dribble having already been refilled, and my water bottle was also down to its last few sips. The trail halted and I turned around, pausing only briefly to enjoy my favourite scenic spots and photograph a few banana slugs- which are indeed banana yellow and seem to get browner as they get older. Unlikely as it sounds, the native slugs are rather interesting- including the implausibly athletic-sounding jumping dromedary slug, which presumably are the ninjas of the slug world. They certainly had stealth mode enabled, as I didn't see any.
Ucluelet held indoor attractions too. The Mark Penney Gallery held some beautiful work, and Mark was happy to talk me through his latest work in progress and give me tips on how to paint realistic reflections (in the reflection, the lights are darker than object they're reflecting, whilst the darks are lighter than on the original). Wonderful First Nations creations filled the Cedar House Gallery, and next door the Den housed a studio and a small shop filled with prints, jewelry and weaving. I fell in love with a tactile weaving which was taking form in the studio, and with difficulty tore myself away from the squishy balls of locally spun wool available in the shop. Crossing the street, we moved from art to natural history and entered the aquarium. The fish are all local and everything gets released at the end of the season; fish, octopus, scallops and sea urchins all return home and the aquarium is scrubbed, cleaned and closed until the spring. The staff were all young and very knowledgeable and enthusiastic, answering my questions about sea pens and jellyfish. I watched the wolf eel devouring crabs, tickled a sea anemone (which grabbed my finger with its sticky tentacles) and stroked a starfish- it always amazes me how hard their pillow-like bodies actually are.
We spent the whole afternoon there, with Jim making the most of the well-stocked reading corner whilst I sketched and sketched and sketched. My pen ran out of ink- then committed hara kiri by throwing itself nib-down onto the floor. I managed to straighten it but it wasn't quite the same. Closing time was near, so we thanked the staff and wandered back to Prism.
The weather forecast ahead was poor, and if we wanted to make it north to Tofino we needed to leave before we faced thirty knot headwinds (no thanks). Classic Ucluelet fog and drizzle had moved in, which made the place soggier but gave it a mysterious beauty. I finished a couple of loads of laundry, splurged on a pair of slippers for my poor chilly toes and completed a watercolour sketch of a fishing boat in the mist. Then we cast off from the boat we were rafted to and motored through the thick, still, chilly air to the open ocean, once again watching the bald eagles who soared above the boat.
July is World Watercolor Month and I'm an Artist Ambassador for the event!
*Paint a watercolor a day, using the prompts below or your own ideas
*Draw in ink first, use pure watercolor or experiment with mixed media techniques
*Try a limited color palette to develop your mixing skills as you work through the month
There are no rules- paintings can be as big or small as you like. 31 paintings seems too much? Make each picture just a couple of inches tall, perhaps cover a larger sheet of watercolour paper with 31 rectangles or put 6 squares on each page of your sketchbook. Too busy? Why not try a painting every other day or just pick your favourite prompts! Share your work on social media with the hashtag #WorldWatercolorMonth.
As well as encouraging you to get your paints out, World Watercolor Month aims to bring creativity to everybody by supporting the Dreaming Zebra Foundation. For the whole of July I'll be donating 10% from all sales from my Etsy shop to Dreaming Zebra, providing art supplies and classes to children who would otherwise be unable to access them. Choose from original artwork, prints, cushions and bags- and support a great cause!
You can also support Dreaming Zebra with a limited time purchase from the Doodlewash store, including a range of studio pouches from the seven Artist Ambassadors.
On our final day in Oahu,we refueled Island Prism and sailed westwards along the south coast. Away from Honolulu, the steep hillsides became less sparsely populated and the strips of golden sand had not yet gained fringes of houses and towers. A small pod of dolphins cruised past us a little before dark, when we passed the most westerly point of the island and pointed the boat north.
Our first few days were rather rocky as we beat our way into the wind- the penalty for trying to cross the Pacific the wrong way! We were well-stocked with ice and I'd precooked our meals for the first few days, which made life in the galley much easier. Jim and I quickly fell into our usual pattern of taking turns with six-hour watches. There wasn't too much to see once we lost sight of land- in the beginning both days and nights were cloudy, the full moon occasionally visible through the haze. I didn't feel up to painting to start with, so decided to try a small watercolour sketch each day. Painting the sea and sky would let me play around with techniques and colour, and I'd build up a record of our passage.
I pulled out an old sketchbook which I started a couple of years ago and barely used. It's a Strathmore 400 series field notes book, with a sheet of thin cartridge paper between each watercolour leaf. Originally I felt like the cartridge paper got in the way, and the spiral binding got in the way of double page spreads. However, on passage the binding made the book more compact and easy to handle. I could use the cartridge paper to keep a log of each day and to make little sketches in biro. I also stopped being precious, and if a cartridge sheet seemed superfluous I just tore it out. As I regained my sea legs I was more inclined to paint, and began creating some full page paintings. There were also days when the light was constantly changing and one quick sketch didn't seem enough. I decided that my 'small painting a day' would be a minimum, and told the story of the weather using multiple boxes if I felt like it.
We motored for a day as we passed through the doldrums. The seas calmed down as we moved farther north, though we still had a good stiff breeze. Although we were still traveling upwind we were no longer beating into the waves, the gentle swells made life pretty comfortable and we cruised along at a respectable 6 knots. Prism seemed eager to get back to Vancouver Island!
We crossed a few shipping lanes, populated by ships journeying between Asia and the US or Mexico. The sea feels enormous and empty when you're floating alone, so we enjoyed our brief radio chats. The captain of Morning Margarita even found Prism's Facebook page and sent us a lovely message for when we reached port.
The only other signs of life were the sea birds who skimmed the waves in an endless, effortless glide. One night a small petrel decided that the cockpit would be a safe roost. It was rather disgruntled when Jim had to adjust the wind vane, and flapped off into the darkness. The waning moon faded to nothing, and rose later and later, so the nights were truly dark, especially when cloud obscured the stars- we could have been sailing through a pot of India ink. Cold and cloudy days made us really appreciate the GPS- with no sun to take sightings, we'd have been totally lost without modern technology.
16 days in, the wind vane broke. It's a wonderful, simple and effective piece of equipment with a sail and a water rudder which steers Prism using the power of the wind. Without it, we have to hand steer- which quickly becomes tedious in the open ocean. Initially Jim thought that one of the lines had broken, but longer inspection revealed that a bolt had rusted through. Thankfully Jim's Big Bag o'Bolts contained a perfectly-sized replacement (this almost never happens, even though he has enough hardware to supply a DIY store)! We sailed onward, snug inside as the temperature decreased daily and we piled on increasing layers of clothes.
Three days from Canada, the wind vane broke again. This time the welding on the quadrant broke. Jim lashed the offending join with twine, but the opposite side soon followed. As the seas grew rough, we were faced with days of hand steering and pounding into the chilly waves. A heavy stream of freighters poured out of Seattle and Vancouver, waves breaking over them and throwing up towers of spray higher than the ships. Prism seemed more sedate- whilst our ride was far from comfy, we rose up and down with the swell rather than cutting through it.
Then land came into sight and the wind and waves died down. We motored for the final day, as Vancouver Island drew closer. Some of the mountains were topped with blobs of snow, and I donned hat and gloves. Two Pacific white-sided dolphins cruised past, and I was excited to see a large white sunfish basking on its side, trying to absorb what little warmth was on offer. It gaped at me as I steered past it, close enough to see its beady eye and waving pectoral fin.
By evening, we were approaching Trevor Channel. Twilights here were long and lazy, and the russet sky let us see our way into Bamfield where we tied up to the Coastguard dock, ready for Customs in the morning. The stillness was delightful but disconcerting, and my body felt as if it was still rocking.
The sun was well and truly up in the morning when we had a knock on the hull. The coastguard had arrived for work- and informed us that Bamfield was not, after all, a port of entry. It seems things have changed since the publication of our cruising guide. We were politely but firmly invited to depart, so made our way through the Broken Group- scattered shards of rocky islets and small tree-covered islands. They were lovely and almost deserted, except for the odd fisherman and a colony of somnolent harbour seals. Turning towards Ucluelet, bald eagles soared above us and as we moored a river otter hopped out from the water onto a nearby dock. Whilst we waited for the RCMP to come and inspect the boat, kingfishers swooped by and a Stellar sea lion swam past. It wasn't warm or sunny, but it was a kind of paradise, as was my long hot shower when we reached Ucluelet Small Boat Harbour. Our Pacific crossing was finished, and a summer of cruising Vancouver Island stretched ahead of us.
An Artist Afloat- Painting the world one anchorage at a time.