Zurich – 7 November 2026, 9:35. A bench at the lakeside, running shoes still wet, steam coming off my tea, and a small sketchbook on my knees that is already a bit cold to touch.
The long run
I slept properly for once (someone's horoscope told me to, apparently), so I was out at seven. Eighteen kilometres along the lake, out towards the edge of the city and back. At that hour the water is the colour of a nickel coin and the swans look like they are on a night shift too. My breath, the gulls, the click of my watch every kilometre. Nothing else. That's the best part of a long run: your head goes quiet, and then the colours come in.
Winter light is shy
Summer light is loud. It hits everything at once. Winter light comes in from the side, low and careful, and it touches only the top of things: the roofs, the edge of a boat, the white of the far mountains when the mist lets them through. This morning there was a band of pale yellow over the hills, then grey-blue, then almost nothing. That's the sky I want for Marta's wall.
Monet's mist, Turner's glow
I have been studying both again. Monet for the soft edges, for how fog can be a colour and not just an absence. Turner for the moment the sun pushes through and everything turns gold for ten seconds. My first sketch tries to do both: a misty blue at the bottom, where SinDee's frost leaves will sit, and a warm gold slowly opening near the top, like the bakery oven door at six in the morning.
Planning, of course
I also made a little list in the margin, because I cannot help it. Ladder needs two people. Paint only when it's above five degrees. Thermos on site. Gloves without fingertips for the detail work. DeeNice will get the list this afternoon, together with the sketch, and she will look at it for a long time and say something about the left.
Back home
Now: shower, stretch, a warm breakfast, and then three more sketches before the light changes.
The sky is never finished. That's why I keep painting it.
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