This craze is sweeping the Urban Sketchers online, and I have completely fallen for it. I made my first tiny watercolor tin in a mini-sized Altoids tin, and I have used it incessantly ever since. When I was in Amsterdam this spring, I was delighted to find that one of the huge items for the Dutch tourism industry is tiny mint tins. I bought several at different museums. At 1.75 x 2.25" they are slightly larger than the Altoid tin, but about a quarter of an inch. Six empty half pans (which I ordered in bulk from Cheap Joe's) fit inside, as oppsoed to five in the Altoid tin, but I have the same number of colors. I just put the ultramarine blue in the bottom right directly into the corner of a tin instead of in its own half pan.

I can get almost my full regular palette into the tin, missing only yellow ochre and viridian green. I don't have as much mixing space as my full one, which I still get out to do finished, stand alone watercolors, but this is delightfully easy to use with a water brush (a pen-like contraption with water in the barrel that you squeeze gently as you use the brush) for quick sketches. It's perfect also when you're standing up or working in your lap at the theater and don't have space to set out cups of water for dipping.

Here are the colors I squeeze into my tiny kit. The first one I made didn't have the lemon yellow, and I missed it, so I've got three colors in that section. Everywhere else only has two. The purple fits along the side in the Altoid tin and at the bottom in these new ones. I usually use Windsor and Newton professional grade watercolors.

Dixon asked me to come up with some thoughts about my upcoming exhibition that they can use for the newsletter. Here is what I came up with. (Above are color proofs of the print I created for the exhibition poster. That was way fun to do.)

"My work and work habits both are highly influenced by John Constable, my favorite artist. I took the title of my show, "My Own Places," from his letter to a friend in which he writes, "I should paint my own places best; painting is with me but another word for feeling, and I associate 'my careless boyhood' with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful." Constable did not follow his generation on the grand tour to paint Italy. He painted the river he grew up next to, his village church, his home, his best friend's home at Salisbury, and later Hampstead Heath just outside his door.

Similarly I spent the first dozen years of my career painting the landscape in and around Memphis. I could easily say that my family's farm and Overton Park made me a painter. Constable was also one of the first painters to do finished paintings on site instead of just studies, and his practices influenced the Impressionists. He also did hundreds of small studies of clouds and plants on site to inform his studio work. All of my work starts with an onsite sketch or watercolor. Any print I create grows out of work I created sitting in that place, recording that moment in time and what drew me to the scene.

A summer in Greece in 2003 gave me the gift of painting beautiful and exotic places, and I have enjoyed painting on my travels in the years since. But I was delighted to be invited to create a show of current Southern landscapes to complement the exhibition of Southern Impressionists that Dixon will bring to town this fall. It's a beautiful opportunity to refocus on the scenes that made me a painter and which continue to delight and enrich my work. In the tradition of Constable, the places in the this show are my "heart places." Overton Park, where I walk daily; my family farm; a farm in North Carolina that have visited and painted through the years; and Dixon itself. Growing up in Memphis I have been amazed and schooled by the exhibitions here while I simultaneously kept painting the lovely gardens. Dixon has helped make me the artist I am, and I could not be more honored to create a show of my home landscapes to hang in the place that has inspired me over the course of my life."

I had a way fun week last week. A longtime friend and favorite swing partner came to town, and several of us friends went out three nights in a row to hear live music and do a little dancing. Not my normal life, but it was fun to take advantage of the opportunity.

We started Wednesday night with hearing the Side Street Steppers on the deck at Central BBQ.

Thursday night, without a favorite band playing anywhere, we played tourist and went to Beale Street, where there's always live music of some sort. It was fun to go down and walk the few blocks and check out the offerings. We found a fun rockabilly show at Jerry Lee Lewis's place. The Jason James band put on a polished and accomplished show of songs that came from Memphis's Sun Records heritage (Elvis, Jerry Lee, Johny Cash). We did a little dancing and sketching and enjoyed the lead singer's rapport with the audience.

Then we moved on down the street to a smaller blues club that was playing some authentic Memphis blues and did some more dancing. It was lovely. Then we found a patio with something more in the soul range. We hit the trifecta of Memphis music that night.

I went to see a play over the weekend. "Seminar" at Circuit Playhouse, which is part of Playhouse on the Square. I love that theater company. They do professional, moving, powerful plays, musicals with strong singing and dancing, and they support other arts around town. I came home from New York earlier this spring feeling very good about the quality of theater in Memphis.

Anyway, I did a little sketching out front before the theater and then inside drawing the set. Parking has gotten crazy enough at Overton Square that I decided just to get there early and take a little drawing time. It made for a nice evening out.

I had a sketching dinner with Elizabeth Alley last night. Every once in a while we go out to sketch together, talk about our travels, talk about materials, techniques, teaching, and whatever else. I usually sketch solo at places, so it's fun to have a meal with someone else who's doing the same thing.

I've been in and out of town and also working on some other projects, so this print has been limping along for a few weeks. I was really ready to get it all put together in a first color proof and see what it's looking like. With some prints I have a pretty good idea as I'm going along, but others are harder for me to visualize, and this is one of the latter.

I wish I'd been a little more conservative carving the "windows" in the green areas. I would have liked a little more shadow on the undersides of those areas. There's no going back in carving -- once it's gone, it's gone. But I can try some shading in the ink to see if that would help.

I'm continuing to do website work and add sketches to my site, since they are so much a part of what I do these days.

I drove up to Kentucky on Thursday and spent that night and most of Friday at Shakertown with my sketchbook (and banjo) for company on my way to meet friends and sisters at a dance weekend. Shaker Village at Pleasant Hill (to give it its full name, though the locals and highway signs all say Shakertown) is one of my favorite places in the world. The buildings are mostly early 1800's, and they have been beautifully restored. It sits on a ridge with a view out over the blue Kentucky hills, and it's one of those places where nature and craft have combined in complete and beautiful harmony.

I'm posting the rest of these on my sketching page, where you can also read more about the place and my time there.