Tuesday, September 15, 2015

Hatching Trouble-Shooting Guide

USk Chicago: Tuesday Tips & Tricks by Wes Douglas

I learned a long time ago that I like hatching as a sketching technique. It’s efficient, effective and it is almost effortless. "Efficient" because you can literally use just one pen and a pad of paper to hatch your sketch. "Effective" because you will not have to convert your sketch to a halftone conversion in order for your sketch to be reproduced in the newspaper or magazine article. I say almost effortless because sometimes it does not work out the way I had planned. 


There are several forms of hatching: Linear, quick tonal, radiating, contoured, precision hatching and the popular cross-hatching. But sometimes hatching just doesn’t turn out the way you had planned. Some days require a LOT of effort. So I thought I’d submit my trouble-shooting guide for hatching:

ISSUE: The resulting sketch did not match what you envisioned in your head. Believe it or not, this sketch of the woman on the train (at left) is messed up--the hatching was too light and I stopped short of completing the texture in the lower half of the sketch. Perhaps I was in a rush to finish this before I had to depart the train or I got tired of making little hash marks? Who knows? Regardless, it is fixable.

TRY THIS: Keep this sketch and move to the next page and create a new sketch. The beauty of sketching is that you can always try, fail and learn. In the case of this sketch, I could go back and add in more cross-hatching and a frame to finish off this sketch.


ISSUE: Maybe it came out too dark and it looks like the subjects changed ethnicity or the female grew a 5 o’clock shadow.

TRY THIS: You can use a blank page and just practice different styles of hatching with different pens. When you find the pen that makes the marks you like, make note of it for the next sketch. In the case of this couple at the Jamba Juice, I went back over the problem areas with white paint and lightened the heaviness of the hatching, particularly on the man's face. One other thing this sketch could use is a frame to give the lines a place to end. As it shows right now, the lines fade off arbitrarily and pull the eye away from the main subjects.


ISSUE: The direction of your lines did not enhance the shape or sense of volume for the subject. The lines should indicate the way a surface reflects light, folds or wraps around an object.

TRY THIS: Pay attention to the surfaces as if they have a grain to them and make your lines follow that “virtual grain direction.” Take a close look at the motorcyclist above and notice how I changed the direction of the hatching to convey the wrinkled pant material, the shape of the tires and gas tank and even the boots.

ISSUE: What if the style of hatching I chose does not go well with the subject matter?

TRY THIS: If you haven’t gone too far, paint white over your curly-cues and try again with linear or cross-hatching. If you have covered the building, like I have in this sketch at left, you might be best to start over and try a new hatching style.


Another trick I like to do: when you are finished with your line drawing, stop and scan or make black & white copies of your sketch. Take one of those copies and try out a hatching technique to see if you like the line quality and linear direction. If all goes well, you can now create your hatching tones on your original sketch. This coffee house was one where I did not like the original attempt because my light source was off. But I came back a few months later, redrew it, and applied a different hatching technique to where I like this much better now.





Please tell me that you have had hatching issues as well and how did you fix them. I can't possibly be the only one with these issues, right? Help!

Tuesday, September 8, 2015

September Morn – Nudging the Muse

Sea Grass, Long Boat Key

Tuesday Tips & Tricks:

It’s been a long time since I’ve gone to school or even had children in school, but to me September is still the beginning of the New Year. It signals not only the end of summer but a fresh start filled with growth and possibilities.

Here on the USk-Chicago blog September is the beginning of a new round of Tuesday Tips & Tricks, aka #TTT. We’ve added two new contributors to our Tuesday ranks. Welcome, Angie Hauch and Ted Gordon! If you were a participant in their workshops at our summer seminar you know why we’re excited to add them to our roster!

A September Ritual

For me, September is the time I examine my creative rituals and make sure they haven’t become just unproductive habits. Dancers have warm-up routines before taking the stage. A singer vocalizes before a performance. Athletes have rituals, too. Think of a golfer, getting ready, stepping up to the tee or batter to the plate. Each goes through a ritual and the swing follows. Why do I have rituals? (I mean besides keeping me from falling down the social media rabbit hole of FB, Instagram, Twitter, and email.) They act as warm-ups for the day or project and flip the creative switch to ON. Do they always work? No, just ask the golfer in the sand trap, but it’s good to have a familiar process to help face the blank page.

Nudging the Muse

Here's a ritual I've followed for a long time when sketching and painting on location. It’s a four-step process.
  1. Take a few minutes to look around the area, to walk around if possible.
  2. Focus and ask, “What jumps out at me?” “What’s the story of this place?”
  3. Scribble two or three quick thumbnails of step 2.
  4. Choose one of the thumbnails to be the basis of a larger sketch and begin.
Long Boat Key, thumbnails

Sometimes I don’t get to step 4. I don’t even think about it. The switch has
been flipped. The ritual has done its job. I’m lost in the process and enjoying the ride.

Long Boat Key, thumbnails

#TTT

Research shows that performance and creative rituals have real benefits for those who practice them. They give us focus, create a positive mindset, and help win the procrastination war. If you don't have one give it a try. Do you remember something you did before a particularly fruitful creative session? That's a good place to start. It can be as simple as lighting a candle or listening to a particular piece of music.

In planning a creative ritual:
  1. Keep it simple and easy
  2. Make it unique to the action you want to trigger
  3. Use it. Repeated use reinforces the connection with your desired endeavor
  4. Enjoy the process

If you do have a creative habit that works for you, share it here! love reading about the creative habits of others. 

 Recommended Reads:

Anything by Danny Gregory           

Monday, August 31, 2015

Some Tips on Avoiding Ink Smears

By Wes Douglas

One of the most frustrating aspects of drawing with pen and ink is the accidental smear that results from not allowing ample time for the ink to dry. A smear can result from an object coming into contact or sliding across a wet part of a freshly drawn line.

I like to pencil in my sketch lightly and then trace over it with pen and ink. Of course, I am a little bit of a neat-freak and cannot wait to erase the grey lines of the pencil--sometimes a little too soon after inking the line--and create a smeared line. Other times I have inadvertently rubbed the heel of my hand across a wet line when I am working swiftly back and forth across the drawing and created a mess.

Thankfully there is no need to slow down the speed at which the sketch is drawn because there are a few tricks to keeping this from happening.

One good trick I learned was from an old sign painter. He would use a twirling baton (a metal stick with a rubber cap on each end) as a brace for his hand. The baton is placed with
one end against an unused portion of the drawing surface and the other end is supported by the left hand at a slight angle away from the artwork that allows for the drawing hand to comfortably reach the drawing surface with a pen. The drawing hand is placed midway up the baton and moves freely about the length of the baton. Other similar sticks that create the same kind of brace for the drawing hand include a dowel rod with a tennis ball fitted over the ends; or a walking cane with a rubber footing at one end. All of these methods help keep the drawing hand safely away from the drawing surface and especially the wet inked lines.

A second method of adding space between the drawing hand and the artwork surface is
what is known as a "Drawing Bridge." A Drawing Bridge is a rigid flat stick, such as an old ruler or paint stirring stick, with a wooden block at each end so that it looks much like a bridge. These are easily crafted out of objects commonly found in the home or at the local hardware store at relatively low cost. The nice thing about this method is that there is already a straight edge built in which allows for easy drawing of precision lines. 


A third method I have often used involves laying down a larger circle template and then placing the desired size template or ruler over the drawing. This permits separation from the drawing tools and the drawing surface to avoid any possibility of contacting the ink.


Finally, there are a few other ideas to protect the drawing surface from the hand and tools used by animators, sign painters, and airbrush artists. They will often get a pair of cotton gloves from the science surplus store, cut off the thumb and first two fingers of the drawing hand glove. This gives a sense of touch to the fingers that hold the drawing tool and protects the heel of the hand from contacting the wet inked lines. If all else fails and cotton gloves are not readily available, then the use of a forearm or a balled up t-shirt also make great supports for the drawing hand when placed just under the right-handed forearm.

Friday, August 21, 2015

SAVE THE DATE: Saturday October 10, 2015 at 8:30 pm

Dear Artists, Urban Sketchers and Jazz Fans,
As part of the Chicago Artist Month in Chicago, Urban Sketchers Chicago has teamed up with Lewis Achenbach and the Vincent Davis Trio to participate in a first ever Live Music Sketch Crawl, an event called "Jazz Occurrence #6". 

What we are trying to do is to fill up the room with Urban Sketchers and artists to come and sketch, draw, or paint while live jazz musicians from the Vincent Davis Percussion Plus perform just for us. It will be unlike any sketch crawl we have ever had and we hope you can attend.




The tickets are super inexpensive (just $10) for such an event and it will help pay for the amazing musicians and the venue. Tickets are available now. Then be sure to bring your art supplies.

  • SATURDAY, OCTOBER 10, 2015 - 8:30PM
A Jazz Occurrence is defined as a union of the Sonic Arts and the Visual Arts. A JAZZO is a performance in a creative environment of something close to complete freedom, forming, essentially, a third hybrid exponential enlightening art-form. The idea is to capture the ‘frequency in the room’ on canvas. This project supports the notion that creative music is vital and progressively positive and therapeutic. The Jazz Occurrence is also a documentary in progress, combining concert footage, painting performance, audience reaction, musician interviews and animations. 
Lewis Achenbach is the founding artist and 'phantom keystone' of the project.
An elementary education CPS Jazz Occurrence is also in the works for CAM. Where kids for K-5 will 'paint to the music' both recorded and live. These artworks will be part of the JOAE.
The JOAE (Jazz Occurrence Art Exhibition) is a traveling show; a caravan of artistic experimentation. For CAM, the exhibiton JOAE3 is currently seeking a exhibition space for the increduble artworks yet to be produced, mid November (email me at lewisachenbach@yahoo.com).
On the books: 
Oct 10th JazzOccurrence Six at Constellation Chicago (3111 N Western Ave) with the Vincent Davis Percussion Plus, Lewis Achenbach and the Urban Sketchers. VDPP is Darius Savage, Preyas Roy, Scott Hesse, Andrew Lawrence and Vincent Davis, featuring Hanah Jon Taylor on sax.
Oct 24th Jazz Occurrence Seven with Volcano Radar hosted by High Concept Labs. Special guest artists, Daniel Zalkus. VR is Julia Miller, Elbio Barilari, Lou Ciccotelli, and Harrison Bankhead.
OPENING: Saturday, October 10, 2015 - 8:30pm
Constellation
3111 N Western Ave 
Chicago,  IL
Phone:3125555555
NEIGHBORHOOD: 
North Center
FEES: 
$10 or free with student ID.
CHICAGO-BASED ARTISTS INCLUDE: 
Urban Sketchers: https://www.facebook.com/groups/UrbanSketchersChicago/ Lewis Achenbach: http://lewisachenbach.com Julia Miller: http://juliamiller.org Preyas Roy: http://www.preyasroy.com David Weathersby: http://cityvanguard.com David Zuchowski: http://www.davernoise.com HCL: http://highconceptlaboratories.org Scott Hesse: http://scotthesse.com Daniel Zalkus: http://www.zalkus.com

VIDEO:

This is Jazz Occurrence 

Constellation Chicago's photo.


Saturday, October 10 at 8:30pm
Constellation - 3111 N. Western, Chicago, IL 60618

Thursday, August 20, 2015

Urban Sketching Tells The Story of Our Surroundings

USK Chicago SketchCrawl at Blick Art Materials, Evanston, IL: 
In case some of you missed the story behind this sketch, this great old 1958 Triumph TR3 was sitting across from Clark's on Clark Street in Evanston. Thank you Lee Solock for pointing it out to me smile emoticon




I met the owner of the car, a woman named Amanda, when I was about halfway done with the sketch and she and her friend came out of Clark's. As they loaded into the car, I thanked her for letting me sketch her car. Surprised, she asked to see the sketch (which was only halfway done at the time) and she told me that this car has always been in the family and it was most recently her late father Chuck's. In her words "I'd really rather have my dad, but at least I get to drive his car around." He also loved to eat so now she honors her dad by driving this car out to eat someplace. 

I told her that now I was honoring him by sketching his car. Actually leaving the scene required a can of starting ether from the glove box and undoing the hood latches. Isn't it nice when a lady knows her way around a vintage car like this?


After I had finished this sketch, I scanned it and sent a copy to Amanda and she told me the rest of the story. It turns out that this little car was recently shipped in a U-Haul from Wisconsin (because a normal car carrier is too wide) and that I happened to capture this car on its maiden voyage since that trip. She said that the trip to Clark's was intentional and she had no idea that I would be there to artistically record this special day. 



Urban Sketchers Manifesto (from UrbanSketchers.org)
  1. We draw on location, indoors or out, capturing what we see from direct observation.
  2. Our drawings tell the story of our surroundings, the places we live and where we travel.
  3. Our drawings are a record of time and place.
  4. We are truthful to the scenes we witness.
  5. We use any kind of media and cherish our individual styles.
  6. We support each other and draw together.
  7. We share our drawings online.
  8. We show the world, one drawing at a time.