This last week I took part in the oneweek100people challenge, promoted through the Urban sketchers social media sites. The idea is that you post your people sketches on line each day and try to hit 100 in the week. This is the first year I actually completed the task and it got me thinking about the importance of continued practice, continually learning and honing skills. This is important both to improve my own art but also to be a good teacher. In two weeks time I will be starting my own series of sketchbook sketching day workshops in my studio.Continue reading
It’s been a while since I blogged on here. No excuses so I’ve decided to get back to it with a post about Persevering with People drawing. In fact capturing people (in my drawings) is something that is often on my mind (perhaps more so than any other element of drawing). This is because capturing busy places and people is a focus of some of my commissioned reportage work, including weddings and other events. My view is that like most aspects of drawing, constant practice is required and maybe this is even more so with people! When I don’t draw people for a while I definitely notice and find it more difficult. The way I capture people, the materials, the type of drawing, the level of detail etc, is also a source of internal debate! Continue reading
I can’t believe that its been so long since I posted on here, the topic of this blog will give you a better understanding of why!
I have never been a very fast sketcher so snappy sketching has not been a particular focus. This is despite the fact that I do a lot of capturing things as they are happening in my drawings!- my subjects are very varied from weddings to events and special occasions to the development of places and capturing aspects of scientific research. You can check out some of my #reportage projects here.
In order to manage my time better and achieve a finished sketch more quickly I have historically turned to colour first. I love this approach but with an A4 size or more it still takes hours rather than minutes. Then a few months ago lots of things started to change. Well they say that a change is as good as a rest! I got a small studio; an additional job; I was travelling more.. You get the picture! Sketching every day was not going to be easy and pretty much impossible in the way I had been sketching. I started to take my trusted Duke Fude and notebook in the car and spend 15 – 20 min maximum ( often no more than 10) sketching before work. Under these circumstances, colour wasn’t an option and I wanted to create illustrations that had at least some identity with the place/people!
A preferred approach to snappy sketching :
- My sketchbook is anything that has good quality cartridge paper (that doesn’t have to take watercolour) and is no bigger than A5 size. My current sketchbook for this type of drawing is an A6-size handbook with a hard cover.
- I use only one drawing implement. My current preference, virtually exclusively is the Confucius Duke 55 fude with black ink. This wonderful pen enables me to vary my line width and add darks easily.
- My preferred drawing approach is single line contour (at least in principle!). That way, even though I don’t have time for endless measuring, I can use the contour approach to get a reasonably proportional sketch. Sometimes, when I am in a hurry, I try to cut corners and it really doesn’t work very well!
- Most of these sketches are done from the warmth and comfort of the car. Although people sketches tend to be on a bus or cafe. Busy street scenes have also been captured standing in the street.
- I try to use simple texture and darks to add depth and interest to the sketch. This is even more essential in a black and white drawing.
- I’m still keen to have a layering of foreground, middle ground and background to create depth in the sketch, using weight of line and detail to try to convey this.
- Simplification is critical at this scale and I try to fade the detail out towards the edges of the sketch.
Recent Snappy Sketching examples
On the way to work
Top and Middle Mossley
Bottom Mossley (Manchester Road)
Around Woodend Mill, Mossley
Sketching from the street :
As you can see, there is nothing particularly new about the approaches I am using. But I haven’t done this type of sketching routinely before. It’s useful to have a range of approaches for different situations and this simple quick technique means that however time-poor I am, there is always a sketch to be done!.
Over the last couple of Wednesday evenings (2 x 2 hours) I ran a demonstration and workshop on Urban Sketching at Salford Art Club, held in Salford Museum and Art Gallery. I am also a member of this art club so for some reason (I think it always is when you know people!) it was a little bit more nerve wracking than usual. However, members made me feel very at ease and we had a couple of great sessions. Fortunately, on the first session earlier in July, the weather was great, enabling me to demonstrate my colour-first technique outside and also set the group off with some thumbnail sketching practice around the outside of the gallery as a way of capturing snapshot views of the place before settling on an overall view. Unfortunately we had to run the second session inside the gallery but with plenty to sketch (and an example to hand of how this compares with the outside situation), this wasn’t too much of an imposition! The main focus of both sessions was capturing the essence of the place using relatively quick techniques and creating depth in the drawing (without necessarily focusing on perspective only). Members seemed to really enjoy the sessions and engage with the approach of drawing from life. For me, with an interest in reportage illustration as well as urban sketching, this is the focus of all of my work. Continue reading
When I first started drawing very regularly in 2013/14 I set myself a task to be drawing every day within 6 months. I managed that and at the time, well, until recently, I had done that. I was often doing several drawing courses, e.g. Craftsy, on-line sessions like Sketchbook Skool etc. It didn’t seem so hard. There was a variety to draw and there was direction. But as time went on, I got my own direction, my own commissions and yep, my own pressures! Bigger (I started with A5 sketchbooks but now I usually use A4 or bigger, paper or sketchbooks (a topic for another blog!), more detailed, more text, …more time…It was a treadmill and I got the impression that If I stopped, I might never start again! Continue reading