#30×30 2026 : Crossing the Finish Line!

So I mentioned before, how this year I started my personal #30×30 unusually early? At the time of tonight’s life drawing session it’s been fifteen days for you, but thirty days for me.
I’m way out of synch with the official dates I know. But I like to be ahead of the pack, so I have time to be online making comments, but also – there is the anxiety of *What if I don’t have anything good to show!*
It’s a real problem when you’re the instigator of an event!
I feel an undue amount of pressure to put in a good performance :P
I do feel my marathon was a bit wandering this year. I didn’t have a well-defined project. I didn’t have any ambitions for an entry to a show. It’s just been a lot of fun days sitting in the sun sketching, or relaxing nights going to life drawing.
Don’t get me wrong – that sounds amazing when you put it like that :)
So in fact, I don’t really have anything good to show. Not really. I don’t have any one piece that is ‘a new bar for me’. I don’t have a set of things I would put in a show, or material for a new book.
I just have these drawing’s that I’ve been making.
Daily exercises.
The most basic goal of the marathon.

It’s truly surprising to me how drawing skill can wax and wane.
It’s not like – just because you can do something once, that you automatically keep that skill for the rest of time. It’s not like a learned fact, where once you learn it, you know it forever.
The truth is – if you don’t use your drawing, it just fades away.
I think musician’s have had it right for hundreds of years – daily practice is the only way to stay at a high level of performance.
Every year it’s the same with #30×30. After a long winter when I tend to stop drawing for months at a time – the first few drawings of spring feel so tentative, so pale and weak.
But the marathon works!
Painting every day, day in and day out, simply continuing – even if you’re not happy with your own work – the confidence arrives though simple repetition.

I’ve come to believe (and I wouldn’t necessarily have said this even five years ago) that drawing is a physical ability – it’s not intellectual.
It should be a reflex. Like doing a backflip. It’s a muscle memory that was built by repeated training, but in the moment it’s performed, it should be done without thinking.
If you stop to think in the middle of a back flip, you’re falling on your face.
You have to let your body do the flip, and then just stand there and take the applause :)
I hope you can see it in these drawings. It’s the confidence – and the simplicity of the execution that makes these work for me. Even if they’re just studies, not finished work. Not a real project that I plan to publish, or paintings I think I could exhibit.
Right now, this is what I think is the true value of art-making for an individual person. A hobbyist, or let’s say an enthusiast. Not someone who’s earning a wage with art, (or studying to do so) but someone who is making art for themselves.
Achieving that state where drawing is as personally rewarding as playing music, or taking a great walk though the woods. Experiencing your own drawing like one of the great moments of life.

I have in the past been known for teaching art, and for making tutorials and videos. (People keep asking me for more!) But I’ve arrived at a point where, I don’t know what I’m going to do next.
I mean – during the actual drawing – I couldn’t honestly tell you what the next move is. I don’t have a plan, or a process anymore. I can’t make videos right now, because I can’t just draw normally. I’m picking up the drawing, turning it sideways to make a mark. Working on three drawings at the same time. I think I’m done and I pick up the drawing again and change something. I really don’t know what or why I’m doing stuff. Which is not normal for me!
I’m trying to make drawing an automatic reflex. It’s kind of funny to hear myself saying the old art-school stuff; ‘Be in the moment’. ‘Let the drawing dictate what it needs’. ‘Don’t try to control the outcome’.
I used to just tune out my teachers. Saying to myself – “Just teach me to draw buddy! I don’t need the Yoda stuff :) ”
Hah!

So. Is that a good sign? A kind of artistic maturity? If I can say that with a straight face about my own drawings.
Well; I can’t say for sure.
All I can do is keep drawing!
I’ve hit my 30 days, and a fair few more than 30 sketches – without anything earth shaking to show for it – but on the other hand I’m feeling great about what I’ve been making the last few days.
(I’m still showing you work from the past, while I talk to you from the future :)
So I’m going to keep painting without any aspirations to make a masterpiece – doing life drawing, and painting random things from social media that call out to me – because I feel like I’m getting somewhere with my mindset about painting, even while the work itself is going though an awkward phase. (I feel).
And I guess I have to once again say thank you! Because it’s the fact I have readers out there that keeps me working. It’s the years of doing the Marathon that keeps me growing.
So – thanks you guys!
Keep drawing, keep sharing, and keep encouraging each other to make more art!
And let me know when you hit your 30 paintings. I love seeing what everyone has made together.
Ok – good night!
See you tomorrow!
~Marc


#30×30 2026 : Sunday Shibari Drawing

I’ve been going to this Japanese rope bondage life drawing group for a few months now. If you’re an artist in Montreal, they do the life drawing every second Sunday. It always attracts an interesting group of sketchers with a relatively high skill level.
The model can’t always hold still, and the rigging (as they call it) is a dynamic process always in motion until the final pose. And even then they check in to make sure blood is circulating and discomfort is manageable. They are definitely not comfortable even if she looks sleepy in this child’s pose :) But they say they do it for the endorphins, so :) It’s all part of the artform.

These little excerpts are from an 11×16″ pad of sketchbook paper I use when I’m not quite brave enough for my usual Fabriano cotton rag. It’s a house brand from a local art supply store, but it’s pretty similar to Clairfontaine or Canson’s cellulose papers.
Usually I regret cheaping out on paper. Cellulose (vs. a superior cotton paper) can give you some some grainy or, sharp edged washes – as all you sketchbook artist’s know.
But I’m used to it – it’s kind of my go-to for rapid sketching or warm-ups, and I think this ‘direct drawing’ (no layering, no glazing, one-touch shapes) plays to the paper’s sweet spot.

So today’s about the mid-point in the marathon, but for me since I start early, I’m very close if not already at thirty! The thing with these sessions – I guess every page should count – and I have six pages tonight (some poses are a bit too wild to post :)
But I do tend to think of the whole session as one thing.
Otherwise it’s just to easy to hit thirty :)
Each night of figure drawing has it’s own color-mood. I can put a stack of sessions side by side you can see which were done in one go. Sometimes the colors are softer, sometimes paler, especially if I’m really rushing. It depends a lot on the model, and how many poses they can hit before they need a break.
But anyway! I think of this as my ‘daily painting’ for today!
Hope you guys are having fun with the marathon. I’ll see you over on Uma’s website, VIVIFY!






Model @ti_grou, Rigger @pup_yofas.
#30×30 2026 : Late Night Social Media

A late night sketch, done from r/doppleganger. (on Reddit) Which is not a forum for artists like r/drawme, but hey, it’s just a sketch.
I liked the lighting when she popped up in my random scrolling, though I added the black background.

Just a little sad-girl sketch, which there are too many of them on the internet, and here I am adding my own :) But I do like the simplification / stylization of the planes of the head.
Anyway; I’m calling it my Painting-a-Day for today because that’s what I have! Finished at 1 AM so it’s actually from the day before.
~m
#30×30 2026 : A Weird One
#30×30 2026 : Le Champ-de-Mars

This is the backside of our city hall, (spire) and the old courthouse (dome), which I’ve squished together and cartooned, for the sake of my own amusement.
I have always managed to get by without learning perspective. Which is very strange for someone who does so much Urban Sketching.
It’s definitely a character flaw that I don’t buckle down and solve this.
On the other hand, there are plenty of great artists in human history who didn’t give a tilted-table for perspective. So I feel I’m in good company.
From wikipedia: “This was noted by Braque in 1957, who stated, “The hard-and-fast rules of perspective … were a ghastly mistake which it has taken four centuries to redress; Paul Cézanne and after him Picasso and myself can take a lot of credit for this.”

#30×30 2026: Getting into the Groove!

This one is from 20 May, still in my pre-marathon, about two weeks into Daily Painting. I have to say, at this point I was feeling my instincts for watercolor coming back! This was the first one that honestly came easily, and I’m quite happy about it, with no reservations.
This old hotel (?) is on Rue St Jacques, in the old port neighborhood, very near the Notre Dame Basilica. A beautiful old building, which I haven’t really drawn all that accurately – but – hey. It feels like a real memory of the place, so I’m not going to put a photo side by side and criticize myself :)

I drew it on the street, sitting on a little stool – so that’s why you get the up-shot perspective. And then I realized I had forgotten my brush case! So the drawing is on location, and the color work is back at home.
This is pretty much the worst case for a painting. But somehow this is my favorite so far! And will still be a highlight at the end I’m sure.
I feel like; this one will also be be my final word about TINTED DRAWINGS. The idea that painting over a sketch should sill count as Direct Watercolor. I mean; if this isn’t direct enough I don’t know what to say :)
But I don’t know who I’m trying to convince :) I’m sitting here on these pages arguing with myself :) It’s not like anyone has ever told me I can’t do it this way, and it’s not like I would listen at this point :)
Of course you can draw any way you choose!
So, whenever I doubt myself, I can look back at this one and remember that.
I am really getting weird in my old age :)


Here’s a second one from this same session – another lovely Beaux Arts stone monolith :)


I quite like how this bottom corner turned out.
One day, before I die, I’m going to make a graphic novel using watercolor. I’ve been wanting to do it for years, and my stuff is gradually creeping in that direction :)
Someday!
~m
#30×30 2026 : Is this a good painting or not :)

Sometimes I can’t tell if something is a good painting or not :) You ever have that feeling? This is definitely a bit ‘bold’ – but I think I like it :)
It’s about 9″ high, and done in blue, orange, black and white gouache over a sepia ink wash sketch. Probably a five minute drawing. The saturation looks a bit pushed after the scan, but it’s a pure cad-orange gouache mixed from raw pigment, so it’s quite intense even in real life.
I don’t know what to say – it’s not a good drawing by any measure – but I think I like it!

#30×30 2026 : Life Drawing Class

I’ve been doing a lot of life drawing classes lately. (Just attending not organizing), which I haven’t been posting here as it doesn’t really apply to the Urban Sketching theme – but I do have an IG just for figure drawing; @m.taro_sketch.
But! It’s perfect for #30×30 :) A fine way to get your ‘Painting a Day’ in :)
This is a 3 hour pose, but I take the opportunity to move around and do the same pose from various views.

My favorite thing about life poses is the time limit. It feels so productive when you get a nice set of sketches out of a session :)
Six, twenty minute sessions, for a three hour pose is just right – one set to do the drawing, one set to paint it, then move to a new angle for the next round.
I love the fact I can’t get into the weeds, and I just have to focus-down and draw. There isn’t enough time to ruin a drawing by overworking it :)
It’s both a relief from the anxiety of messing up, and a helpful guideline that prevents you from ruining your work.

#30×30 2026 : Some Urban Sketching Sillyness

I went out for one of my warmup-runs, and it was completely overcast and muggy. I waited around all day on Sherbrooke street for the sun to come out, but no luck. In the meantime I did these little cartoon houses to pass the time. They’re about 3 inches tall.
Sillyness!






Just one example of ‘real life’.

Tried to do one good one but was a flop. Some nice color but I really messed up the building itself – so I’ll only show you the roof ;) This tower is of course the cool part.
The moral of the story is – I can’t draw architecture if there’s no shadows out.
If you’re going to set yourself a task like daily painting, you cant just bull ahead and do what you planned, even if the situation (in this case the weather) isn’t right.
Ok! Another day down tho.
But I’m only counting this as ‘one’ panting today :)
~m






