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Marque Todd says:
"I bought your WC video and have been avidly following all of the posts this week - a couple of things I am still grappling with for my kit and I hope you can answer:

"1) How do you protect your brushes from damage with all the jostling they get in a to-go pack? If they are loose in a container the tips can get damaged and that seems a pity particularly for expensive sable brushes. I am also having a problem finding something big enough for short handle brushes that isn't so long that it is hard to pack - any suggestions?"

Thanks, Marque. I keep my brushes loose in a box. The tips are safe as long as the box stays parallel to the ground, but in my belt pouch the box never tips on end. Sometimes if I'm worried about a delicate brush I keep the plastic protector from when it was new and slip that on. I keep the brushes all facing one end of the box. If one needs a good washing out later, I face it the other way in the box so that I'll recognize it right away.

I'm always on the lookout for a box that's just long enough for most short handled brushes but not too big, and one that opens quietly. If a brush is too long to fit in the box, such as an oil brush, I chop it down.


Jeanette uses a brush holder made of stiffened fabric. The brushes tuck into elastic bands, and the whole thing folds open to display the brushes while you're working. When in transit it rolls up and is held with Velcro. I like it except that it's a little too long for my belt pouch.

"2) If you are holding your sketchbook on your lap (vs. using the stiff board behind) how do you manage that with the landscape format? It is pretty floppy and somewhat of a balancing act. The only thing I could think of was to put a binder clip across the gutter/hinge area to help stabilize it."


Sketching at Yellowstone with friends from the ASAI
I've used the binder-clip-across-the-spine idea, and that works fine. Otherwise I just try to rest the middle of the book's covers on the tops of my thighs to keep it from flopping. If I have to, I steady the book with my left hand.

Glenn wondered about the sketchbook pochade rig, asking if I countersunk the T- nuts (Those are the threaded nuts with a flange that fits through the plywood, holding it to your tripod.)

Glenn, Yes, I countersink the T-nut flange using a 3/4 inch spade bit, then glue the T-nut in with Gorilla Glue, so that it doesn't work its way loose. But since it's getting pulled tight from the back, it holds really well. If I was using 1/4 plywood for the backboard, I probably wouldn't countersink for fear of weakening the wood.


For you scratch builders, here's the pochade laid out flat. The red dots on the paint tray are magnet positions, which hold on the metal mixing trays or watercolor kits.


Here is the underside with two quick release plates attached. My new iteration of the rig has three T-nuts, one just right of center and one on each end. I use the central support point if I only have one tripod, and I use the two on the end if I need two tripods to keep the rig more stable when filming.

Here's how the rig looks set up. Every angle and slope is fully adjustable: diffuser, sketchbook, paint tray, and camera bar. The camera I'm using is a Canon VIXIA HF series. It shoots 1080p to flash memory and has the all the essential features: focus lock, custom white balance, and exposure controls, plus an external microphone jack that yields less noise than my DSLR. For a mike I use the inexpensive corded Audio-Technica lav microphone, sometimes clipping it to the sketchbook itself to pick up the scratchy pencil sound cues.

In this view you can see the two tripods. The diffuser panel, which is covered with white rip-stop Nylon, can slide right or left in its gripper to eliminate the direct sun. On the left is the Mighty Bright HammerHead Book Light, which clips on for night sketching.


And here's the the painting that's on the easel, the one that you can watch being painted in the "Watercolor in the Wild BONUS FEATURES" video, drawn with a brush and sepia watercolor in a museum.

Here are the links to that 28-minute video, available only as a download.
"Plein Air Revolution" by Brad Teare, Thick Paint Blog
"DVD Review: Watercolor in the Wild" by Dan Dos Santos, Muddy Colors
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