I was going through old photographs when I suddenly realized that I have had my Guerrilla Painter pochade box for almost 20 years. Since then, I've been given the opportunity to try different pochade boxes but none of them have compared to this one. Judson's still creates a similar one but it is a little shallower which means that it isn't able to store as many supplies or as many painting panels, which could be a great thing, but I absolutely love how mine works for me. It has accommodated many paintings, including 8x10 gallery depth portraits, up to 4 painting panels when I worked on daily painting project a number of years ago, to plein air and cafe painting. It has been an invaluable asset in creating large paintings whenever I've been asked to paint live as I can attach it to a tripod, but it also works sitting on a tabletop because of the rubber feet, as well as being held by hand because it has a thumb hole so I can comfortably rest it on my forearm. 

Many years ago, I attended an exhibit which featured small watercolours, oils and wood carved prints of landscapes and, to my great delight, the original pochade box of the artist, Dorothy Shelton, was on display as part of the exhibit at the Collectors' Gallery. At the Leighton Art Centre, the pochade box of A.C. Leighton is continually on display and it happens to be my favourite part of the entire centre. At the Whyte Museum in Banff, Mary Schaeffer Warren's pochade, along with several of her botanical watercolours, is constantly part of the museum's exhibit. Viewing the tools and materials of artists are the things that bring me the most joy. My paint box has created works in oils, acrylics and watercolours on canvas or wood and, though my pochade box is a bit battered and bruised, it is still the thing that makes me happiest as an artist.

While I was working on one of my 'Women of the West' portraits, I thought I would share my process for painting portraits using watercolours. The colours I use aren't as important to me as the fact that I have a combination of warm and cool colours (ie. pinks, yellows, blues). I also share how I enlarge images using the grid method.

Colours Used:

• New Gamboge
  
• Potter's Pink
  
• Rose Madder
  
• Rhodonite
  
• Rose of Ultramarine
  
• Burnt Sienna
  
• Turquoise
  
• Indanthrone
  
• Blue
  
• Indigo
  
• Payne's Grey

Now on youtube: https://www.youtube.com/watch?v=VOFzR60OVQw​​www.youtube.com/watch?v=VOFzR60OVQw

by Emily Dickinson
​​
It sifts from leaden sieves,
It powders all the wood,
It fills with alabaster wool
The wrinkles of the road.

It makes an even face
Of mountain and of plain, --
Unbroken forehead from the east
Unto the east again.

It reaches to the fence,
It wraps it, rail by rail,
Till it is lost in fleeces;
It flings a crystal veil

On stump and stack and stem, --
The summer’s empty room,
Acres of seams where harvests were,
Recordless, but for them.

It ruffles wrists of posts,
As ankles of a queen, --
Then stills its artisans like ghosts,
Denying they have been.

I've completed the final piece of the 'Women of the West' project after almost 2 years of work. Now I just need to put all of my notes into some semblance of order before arranging an exhibit at some point. It was such a privilege to create this body of work and, especially, this opportunity to include a friend's grandmother in order to complete the project.

"Snow was falling,
so much like stars
filling the dark trees
that one could easily imagine
its reason for being was nothing more
than prettiness."

​~ Mary Oliver

Recently, I stumbled upon an old review of my work and it made me so glad. It's nice to read this now as I've been transitioning in my work, once again, as the reminder is very important:

Veronica Funk's painting style is characterized by a vibrant, expressive use of color and a sense of spontaneity. Her work often blends abstract and semi-figurative elements, with a focus on the emotional and psychological aspects of her subjects. Funk's art frequently explores themes of nature, the human experience, and personal reflection.

In many of her pieces, she uses bold, sweeping brushstrokes and layered textures, which give her work a sense of movement and depth. The color palette is often rich, with contrasting tones that evoke mood and energy. Funk is known for creating dynamic compositions that draw the viewer's eye through layers of paint and imagery, sometimes using collage elements or mixed media to add complexity.

There's also a sense of freedom and playfulness in her style, which allows her to experiment with form and color without being confined by strict representation. Her work can feel both contemporary and timeless, inviting viewers to connect with their own emotions and interpretations.

Veronica Funk’s painting style is known for being bold, playful, and highly graphic, with a strong sense of joy and immediacy.

Here are the main characteristics people associate with her work:

• Vibrant, saturated color palettes
  She uses bright, confident colors—often high-contrast combinations—that make the paintings feel energetic and uplifting.
• Flat, simplified shapes
  Instead of realistic shading or depth, forms are usually flat and clearly defined, giving the work a clean, modern look.
• Strong outlines and graphic clarity
  Shapes are often bordered or clearly separated, which makes the imagery feel bold and easy to read from a distance.
• Playful, folk-inspired imagery
  Common elements include stylized people, animals, plants, suns, moons, and everyday objects, all reduced to simple, symbolic forms.
• Whimsical and joyful mood
  The overall feeling is lighthearted and optimistic, with a sense of fun rather than seriousness or realism.
• Balance of structure and spontaneity
  While compositions are carefully arranged, they still feel loose, expressive, and intuitive rather than rigid.
• Modern meets folk art
  Her work often feels like a mix of contemporary graphic design and traditional folk or naïve art influences.

In short, her paintings stand out for their cheerful energy, clarity, and fearless use of color, creating images that feel both modern and warmly human.

Veronica Funk’s artistic process involves creating vibrant, textured paintings that explore themes of nature, women’s rights, and environmental awareness. She favours watercolours and often incorporates mixed media elements into her work.

Her process begins with preparing her materials, such as coating wood panels with watercolour medium and using natural earth paint with a honey-based binder. Funk’s artistic projects often revolve around series, including “Sacred Vessel,” “The Grandmothers,” and “Simple Pleasures,” which showcase her ability to experiment with different techniques.

Her website and blog offer insights into her creative journey. Funk’s artistic style is characterized by bright colours and textured layers, often inspired by her love for nature and her experiences as a woman and mother.

Funk’s artistic endeavours are influenced by notable female artists and her surroundings, like the northern boreal forest where she grew up. Her project on woman artists of Alberta highlights her dedication to showcasing women’s contribution to the arts.

Her project, “Women of the West,” focuses on art history research to uncover the stories of these women artists and highlights the contributions of female artists to the growth of the arts in Alberta through a portrait series. Funk’s research involves archival work to shed light on these women’s stories, which were often overlooked in historical accounts.

Funk’s artistic work has shifted towards storytelling, celebrating women’s lives and stories through portraiture. Her recent portrait projects include “Mastrius Women” and “Woman’s Work,” featuring portraits of women who work in various fields, along with their stories of how their lives changed during the COVID-19 pandemic.

Some of her notable exhibitions include:

• “Women of the West” archival research project at Alberta Society of Artists Gallery
• “Mastrius Women” during her residency
• “Woman’s Work” exhibition at Sparrow ArtSpace

Funk’s work has also been featured in various art books and publications.

Some tools don’t just work — they grow a personality. My Guerrilla Painter 6×8 Thumbox pochade is one of those rare pieces of gear that has quietly followed me through seasons, moves, styles, and entire chapters of life. I’ve had it for about 20 years, and it’s still very much in active duty.

It’s paint-splattered, dented, softened by time, and honestly? I wouldn’t trade it for anything shinier.
Built like it expects to be dropped (because it will be), the first thing you notice about the Thumbox is how unapologetically solid it is. This thing was made to be tossed into my car, pulled out on a curb, balanced on my knees, or wedged against a rock while the light is disappearing fast.

Over the years, mine has:

• Been painted in snow, heat, wind, and fading dusk
• Lived on sidewalks, trails, bridges, and living room floors
• Been opened and closed thousands of times without complaint

The hinges are still tight. The closures still snap. Nothing rattles. That alone says a lot.
The 6×8 sweet spotThere’s something magical about the 6×8 format. It’s big enough to say something real, but small enough to keep you honest. The Thumbox keeps me focused, no sprawling, no overworking, no endless fiddling.

When I paint with it, I paint decisively. That limitation has shaped how I see and how I work far more than any class or workshop ever did.

A palette that tells a story. If you’ve ever seen an old Thumbox in person, you know what I mean when I say the palette becomes a diary. Layers of color build up over time, recording past paintings in ghost form. Scraped edges, stained corners, accidental mixtures, it’s all there.

Mine carries evidence of:

• Color experiments that worked
• Color experiments that absolutely did not
• Paintings done in a hurry because the light was perfect and fleeting

I could clean it but I probably won’t.

Quiet design, zero fuss. What I’ve always loved about Guerrilla Painter boxes is how unshowy they are. No gimmicks. No unnecessary complexity. Everything is where you expect it to be. It opens. It holds my panels or canvas. It holds my paint. After 20 years, I don’t think about the box at all when I’m painting and that’s the highest compliment I can give a tool.

Still relevant, still travelling. Despite newer pochade designs, fancy add-ons, and evolving materials, the ThumBox hasn’t become obsolete. If anything, it feels more relevant now. Lightweight, portable, reliable, and simple, exactly what I want when the goal is to paint, not manage gear. It’s been with me long enough that picking it up feels like muscle memory. Familiar. Comforting. Ready.

Final thoughts: Some art tools are stepping stones. Others become companions.
This Guerrilla Painter 6×8 ThumBox pochade has earned its place in my practice, not because it’s perfect, but because it’s dependable, honest, and built to last. Twenty years in, it still shows up ready to work, paint stains and all. And honestly? I hope I’m still painting with it twenty years from now.