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the various and sundry creations of sylvus tarn
Lighthouse Point
Subtle whites make the piece

I am quite fond of the (roughly) 6x9 lime green 40 page Fabriano sketchbook F2tE purchased for me as a 2021 birthday gift; besides liking the cover colour & appreciating the acid free paper, it's slim & the soft cover makes jamming it into assorted bags easier.

However.

Lighthouse Point, Killbear Provincial park, ONT Canada, Watercolours on Fabriano acid free 60lb/85g paper,5.8 x 8.25"/14.8 x 20.0cm, 09sep2025; sony A7c, 90mm macro 1/160s, 800 ISO, WB: cloudy; shot with available light, squared up, cropped, lightened & scaled in gimp

While it's a very nice sketchbook it's not and was never designed to handle watercolour,[1] or at least, the watery (wet-on-wet type) methods I generally prefer, which traditionally are painted on more absorbent, and, in my case, usually rougher (cold press) paper; but on this day, it's the paper I had, and the subtle effects of mostly white bits pleased me.

As I often do, I took reference photos while working, and one of the reasons I'm fond of this quick sketch, despite both the paper (& my own) deficiencies, it that it's one of those rare cases in which I felt the painting more effectively conveys what I saw in the mind's eye:

Pixel pro, slightly scaled in gimp, 19:33

The above was before I started the sketch...below, after:

pixel pro, 19:58

So the painting took place between 7:30 and 8pm, with a fair amount of futzing around to make certain I didn't send the paints flying, which has indeed happened on several occasions. Really, I should come up with a better system. I expect I was using my usual pentel water brush, though I have a water bottle both to augment its output and clean the brush between changing colours.

Paints and water bottle, perched rather precariously:

I took some photos of this lighthouse the same previous day, and was happy with those too, but feel this sketch captures more accurately my perception of the subtle whites on the main part of the structure, which happens almost never.[2]

So I s'pose that's another reason to like the sketch.

[1]Actually it does pretty well with low moisture techniques—I have some decently saturated sketches of thistles

[2]To be fair, I find painting light near sunset and sunrise to be extraordinarily difficult—I simply can't get those subtle yellows and pinks—and photographing things much harder during the middle of the day, because the average camera can't deal with the wide dynamic range (e.v.) of daytime sunlight; one of the things I like about the sony full-frame it extends the time I can take pix without them getting hopelessly contrasty.