I just wanted to share some of my quick sketches from observation. Mostly when I sketch like this, I know I don't have much time, so I focus less on complete accuracy (though the desire to be accurate is there and I still seek to achieve it) but on maintaining the essence of what I am looking at. I think alot about continuous line drawing when I do these. If I have time I will worry more about exact relationships and refine the drawing more as I go until I am finished. These, however, are mostly just quick sketches while out at restaurants or coffee houses.
I'm always sure to carry a pen with me, whether that's a Micron or a ballpoint or some other permanent ink tool. In these cases I like to make myself take my time. I sit there and closely observe everything I am looking at and do my best to make every line count. each one should say something the best way it can, since I can't erase it (but this is only the case when I want to achieve as much of an accurate result, when compared to nature, as I can). I closely observe the shadows and light areas, doing my best to think how to simplify some of them while choosing others to help me accentuate certain areas or help support the focal point. Since I haven't been to the meetings recently, this is some of what I've been up to...
Nice studies... My favorite is the bottom one with the guy reading at starbuck.
ReplyDeleteHas anyone seen the show on Ovation where two artists are going across the country trying to make their way with their art? Sometimes they sell sketches like these for meals and rides. It is interesting...
That's fascinating. That would be so cool. I've thought about doing that, being like Sal Paradise :P I haven't heard of that, though. I'll look it up. I was drawing a guy the other day and he was watching me the whole time. our eyes met a couple of times, and he seemed intrigued. He eventually wandered over to sneak a peek on his way out of the coffee shop :P The guy was huge, firmly planted in his armchair for a long time. He was really interesting to draw. I loved drawing the line of his stomach. It was so perfectly round and made an interesting shape. I used to be shy about drawing people, but realized that if I'm going to get better I should learn to get over that. Now I just don't care and I've found it's a great conversation starter. People wander over to check out what you're doing now and again, I just phase them out.
ReplyDeleteThanks for the post, Justin. I love looking at sketches.
ReplyDeleteI particularly like the simple ones. You got the child's body language just right. FWIW, my fave is the woman in the hat with her back to us (page 4) Wonderfully expressive lines!
Thanks, Chuck, that's one of my favourites, as well. When I was first starting art history, I remember being struck by the simple brush work of the Japanese artists. The whole idea of "less-is-more" is really a fascinating concept for me (which is interesting since I talk so much :P). When I make art I want to say as much as I can with as little as possible. Economy of line is very important to me. Each one should be as quickly committed to and purposeful as the first and next one. Thanks, again, Chuck. I appreciate it.
ReplyDeleteThat magic usually happens when you're good and warmed up and feeling confidant. I wish I could make that happen every time.
ReplyDeleteIn life-drawing sessions, I usually start with a serviceable sketch. When I go to watercolor, I'm good for the first wash, and then it starts to look labored. The marks don't have a masterly confidant quality to them. It's getting better, but there's no way to fake that level of experience. Painting only once a week is a slow road to excellence.
You're right, it is a difficult place to get to. I have been working on forcing myself to draw around others so I can shed my fear, which blocks that confidence. This is what I do, I shouldn't be ashamed to do it wherever I am at. It's a way of seeing, a way of being, it's not something that just exists whenever I have the time. Even when you're not painting, you're still seeing the world around you in the way you do, so painting that seldom does suck, but you can remedy a lot of that by turning the moments you can't paint into moments of seeing and observation. It will serve you just as well. Thanks, Chuck. I respect your comments a great deal.
ReplyDeleteExcellent pursuit. And it gets you out of your artistic comfort zone - the fountain is too damned easy for you. An unwitting model is always an education.
ReplyDeleteWhen I'd exhausted the patience of people in an area, I'd draw local animals. This worked a lot better in Morocco, where there were camels, mules, etc. In California, there were pigeons. (That got old quickly; as Thurber wrote, there is nothing less thought-provoking than a pigeon.)