Neither Snow nor Rain nor Heat nor Gloom of Night …

Urban Sketchers Chicago and Plein Air Painters of Society work on exhibit at Blick Art Materials

Yes, I know that's the motto of the US Post Office, but it also could be the motto of Urban Sketchers and Plein Air Painters of Chicago. We draw and paint on location in all kinds of weather. As luck would have it, it was snowy and rainy for the opening of the Urban Sketchers Holiday Showcase at Blick Art Materials in Lincoln Park on November 21, but Urban Sketchers, Plein Air Painters, and Blicks delivered! 

Barbara Weeks, Susan Hanley, Ted Gordon, and Andrew Banks offered their prints and original work for sale at the show's opening reception.

Despite the snowy day, Blick's was a lively place as fellow artists and art-appreciators came in to shop and see the show. We introduced them to the difference between original work and giclee prints. We talked about the missions of Urban Sketchers and Plein Air Painters. We discussed the media we use. We enjoyed meeting them all! One of the best parts of the day was encouraging young artists, who were excited to meet us and see us in action.

Andrew Banks and Ted Gordon discuss techniques.

 One of the most enjoyable parts of the day was encouraging young artists.

Thank you to the great staff at Blicks. They were a big part of making it such an enjoyable day. We're looking forward to future collaborations between Blick Art Materials and Urban Sketchers Chicago. 

If you haven't seen the show yet you have four more days! The show closes Sunday, December 13. Stop by Blicks, 1574 N Kingsbury, see the show and, maybe, pick up a holiday gift for your favorite artist!

We even got a little location work done. A big thank-you to Andrew Banks for the photos!

An Urbansketching Field Guide

TIPS AND TRICKS TUESDAY - By Angie Hauch

I LOVE to draw in nature. When I'm outside, I never run out of inspiration.  The solitude and tranquility of the outdoors allow me the luxury of close observation.  And when I'm not satisfied with my reference or imagination, I turn to a nature field guide to fill in the gaps and give me some background behind the beauty of what I'm drawing. 

In the past couple of years, I've expanded my sketch-cersizing to urban settings.  Traffic, commotion, claustrophobia, and the anxiety of drawing in public can quickly cloud the beauty the city has to offer.  It's not always easy to experience the same natural peacefulness when drawing in an urban setting.  When I feel the frustrations of urbansketching setting in, I've found it helpful to mimic my outdoor art-making rituals.

Field Notes # 1  Getting Started

Often I start by... simply starting!  I walk around a bit, but I don't let myself get caught up seconding guessing the location, scenery, or problematic perspective... I just start. In this image, I drew the house "blindly" if you will, not thinking about what was important.  After looking at the sketch postmortem, I wanted to know more about the meter reader.   On the following page, I zeroed in on my subject of interest and tried out a few texture techniques.

Field Notes # 2  Challenge Yourself with a Close Up

When my sketch starts to develop, there's usually something; an object, or person, or area on the page that I keep coming back to.  Sometimes I overdevelop it, sometimes under... not knowing exactly how to translate the imagery into my book. Subconsciously in almost every sketch, there is something my brain is forcing my eyes to re-examine.  Instead of overworking an area, work out your curiosity on a new page, or utilize the blank space of your page to create a collage of close ups.  Field guides often revisit an idea multiple times on one page showing different sizes, angles, and levels of detail.

Field Notes # 3  It's art, not science.

If you haven't picked up a field guide in a while, go check one out at the library.  

  

The detailed line work and accuracy of field guide sketches are simply amazing, but don't let them intimidate you!  These books are meant to be factual and scientific.  As urbansketchers, we have the liberty of interpretation.  Don't miss out on the potential for growth because you want your page to look pretty or professional.  An artist's sketchbook/field guide might include things like color palettes, ink splats, texture try-outs, and value scales.  

In this image I needed to see the palette literally right on the page.  Even after drawing 8 tomatoes, I still wanted to show something even more bulbous. 

What would be in your field guide? Comment below and share your sketches!

Ditch Your Eraser

USk Chicago: Tuesday Tips & Tricks by Ted Gordon

What’s the fastest way to improve your drawing?

Ditch your eraser.

How can I get a decent image of my pencil sketch online?

While you are at it, ditch your pencil; draw in ink.

GOING ERASERLESS:
The more you do something, the better you get at it. When you are studying what something looks like and practicing rendering it, you are improving your drawing ability. When you are erasing those marks, you are practicing erasing, not drawing. Don’t worry about stray marks, just keep drawing.

Another way I like to put this:

Everyone has thousands of terrible drawings in them. The sooner you get them out, the better. Erasing will only slow you down.

INK:
Committing to eraser-free drawing is easier, if you draw with something difficult to erase.

A huge benefit of drawing in ink is that it photographs well! You don’t have to sharpen an ink drawing, adjust its contrast or do anything! If you do, it handles those adjustments much more simply and clearly than a graphite drawing.

Create cleaner drawings. Ink, compared to graphite, stays where it’s put and doesn't need fixative applied to make that happen. It’s less likely to smudge and, depending on which ink you use, can be more or less waterproof.

Draw with Confidence!

If you are nervous about abandoning your eraser, you may be surprised how drawing with ink can make your marks more bold - in more ways than one.

Using a pen encourages you to be more deliberate. That creates a cleaner, more elegant line, in my opinion.

Conversely, if that ‘tightens you up’, go nuts. Put all those lines down there. As long as you are looking and drawing, you are improving.

CONCLUSION

In conclusion, I highly recommend drawing without your eraser, if you haven’t. You’ll notice that many Urban Sketchers are drawing in ink already. My recommendation comes from the advice of greater artists that have preceded us as well as my own experience, seeing this improve my drawing and the drawings of my students.

You can see my Urban Sketches and Plein Air Paintings here: http://www.tedgordonart.com/ http://instagram.com/motionimpossible

What do you think? Have you experimented with leaving your eraser out of the picture? What other reasons do you like to draw without your eraser, or in ink?

Why and How of the Waterbrush

Tuesday Tips & Tricks:

Have Brush, Will Travel

There are countless little things to be thankful for every day. One of the little things for me is the waterbrush. I don’t know who invented the waterbrush or remember who introduce it to me, but I owe them a debt of gratitude! It is my go-to-brush whenever I’m traveling or sketching on location. In the studio, I use a variety of brushes, but out-and-about, it’s a waterbrush for me. There are quite a few brands out there. They all work in the much the same way, similar, though not exactly, to a fountain pen.

How to Use a Waterbrush 

The brush has three main parts:

1. The plastic barrel that contains the water reservoir.
2. The screw on ferrule connects the bristles to the water supply
3. The cap keeps the water from leaking.

Need more water to moisten the paint in the pans, to make the paint run, or to wet the paper to paint wet-on-wet? To increase the flow of water to the brush just squeeze the plastic barrel! It’s that simple. Want to change colors and clean your brush? Squeeze the barrel and wipe the brush on a tissue or paper towel. I use the cuff of an old white sock. I wear it on my wrist. With a little practice controlling the flow becomes second nature.

Filling the brush varies a little from brand to brand. Some you just unscrew the barrel and hold it under running water. Others use the suction principle. Squeeze the barrel, submerge the opening in a glass of water and release. Easier yet, hold the barrel under running water, squeeze and release. It’s surprising how much water the barrel holds and how long it lasts.

Benefits of the Waterbrush 

“Keep it simple” is one of my mantras and when you’re sketching on location you can’t beat the convenience of the waterbrush. I don't leave home without it. There's no need to carry around an extra water supply for clean water. The cap protects the bristles and fits on the end of the barrel to lessen the chance of losing it. Waterbrushes are available from art supply stores including Dick Blick, Cheap Joe’s, and Jerry’s Artarama.

Do you have an art supply that you’re really thankful for? Tell us about it!

Zen Doodling vs. Urban Sketching? Discuss.

Tuesday Tips & Tricks by Wes Douglas

Has this ever happened to you? Someone who knows you well or someone who hears that you like to draw suddenly makes the connection to another seemingly dissimilar art form. Recently I had an acquaintance compare my urban sketches to Zen Doodling. My blink reaction, with only a surface awareness of this art form, is that it did not even compare to what I do with urban sketching...or so I thought.

But before I dismissed Zen Doodling as such a different alien art form from urban sketching, I needed to do a little research.

(Zentangle by Janet McLeod)

According to Karla Archer, in her Live The Life Fantastic blog, the term ‘Zentangle’ was coined by Maria Thomas and Rick Roberts. Roberts had noticed that the focus that Thomas had, while drawing, was similar to the meditative state he had learned as a monk – what is often referred to as “flow“. They then set out to develop a system allowing almost anyone to follow and use as a way to relax and express themselves creatively. The system follows certain steps which are established to allow freedom to create within the boundaries.

(Zen Doodle by Ann Marie Cheung)

Zendoodling has none of the specifics, regarding paper, size of the shape, color etc. You can draw a shape (letter, animal etc) that fills a large sheet of paper and fill it in with patterns or create designs on clothing, pottery, etc, and it can be meant to look like something. 

http://www.livingthelifefantastic.com/2013/05/what-is-zentangle-zendoodle/

OK, now we're getting somewhere. So if I sketch out a building and spend the next 30 minutes adding tiny little bricks to its exterior or many many windows and, in the process I reach a relaxed state, could I be treading in the Zen waters of doodling?

Or let's consider that framing the building or house of my sketch is a number of trees and shrubs and I spend time meticulously drawing out tiny little leaves. Could this be bridging the perceived gap between zen doodling and urban sketching? I suppose it comes down to the desired outcome.

Does urban sketching help to relax you or do you feel pressure to do well?

Do you feel that having guidelines help you to produce better sketches or do you feel that they stifle your creativity?

Does drawing from observation excite you or would you rather sketch from your imagination and let the sketch appear organically?

I think there is a place for both since neither one needs to be the end all of anyone's art form. I think parts of the urban sketch can contain an element of Zen doodling but a purely Zen doodle posted on Urban Sketching may earn you some push back. Sketching can come from many influences and does not have to be exclusively defined by a label or requiring permission to apply its system. 

I'm not advocating that we all start posting Zen doodles on the Urban Sketching sites. Rather I am trying to understand that commonality that others see in different forms of sketching. If it makes you feel good, I say let it roll. If a debate must ensue, you may begin now.

Who Reflections Show

So you like sketching on public transportation?

As some of you know, Ted Gordon hosted a great class at the 2015 Summer Seminar on Urban Sketching Undercover. He had great tips on how to sneak a sketch in public.

Ballpoint pen sketch from Red Line train

But what happens when you end up with a window seat on the bus or train and a neighbor who is blocking your view of everyone else?


If it also happens to be night or just dark, look out your window because you are in luck!

Wait – what?

Because CTA buses and trains have lights on the inside, the windows reflect what is around you. It isn't a perfect mirror, but it's a great way to get in a bus sketch. If your neighbor is blocking the view, this distortion can be especially helpful as it will often stretch the view to include more of the bus than you could comfortably see without it!

In the photos above you can see a  sample reflection from the bus window one evening. Notice that in these two photos there are at least three subjects for sketching without having to sketch the back of a bunch of heads! 

 This technique is also helpful when someone is starting to suspect that you might be sketching them, just look out the window for a bit and sketch them from there!

Sketch from bus Jan. 2015

 In this sketch the fellow started suspect that I was sketching him. By the time I finished he was a lot more than suspecting and had actually taken photos of me sketching him!

He was a great sport about it and we discussed the importance of the arts over a cup of coffee the next day (Meeting great people is an amazing benefit of Urban Sketching). But for some people that sounds terrifying. Even if it doesn't sound terrifying, there are times when you'd just prefer not to be noticed, right?

Well as you might be able to tell, this gentleman was sitting in the same spot as the fellow in the driver's hat from the photos above. If I had realized it at the time, I could have sketched him from his reflection instead and avoided the encounter. Neat, huh?



So what about if it's bright out? Well, as far as I can tell you're just out of luck if it's a sunny day. Do you know otherwise? If you have any tricks for gaining a sketch-able view by day, I'd love to hear them!

Selling Your Sketches at an Art Show

SELLING YOUR SKETCHES AT AN ART SHOW - By Andrew Banks

URBAN SKETCHERS CHICAGO HOLIDAY SHOWCASE & ART FAIR

November 21st - 12pm-5pm.  Reception to follow - 5pm-7pm

With less than two weeks until submissions are due for the Urban Sketchers Chicago Holiday Showcase, you, like me, are probably getting ready to submit your art into the Showcase as well as for selling prints in the Plein Air Art Fair.

Here is a checklist of items to keep in mind when prepping to sell your prints at an art show. (Disclaimer - This is basic list of the most important things to consider.  There are likely other factors to consider, however, these suggestions should give you a great starting point.)  If you have experience holding a table at art fairs or shows, or arts and crafts fairs, share your experience in the comments.  What worked for you?  What didn't?

THE ART

Consider printing Giclee prints.  Giclee prints are high quality, archival, fade resistant art reproductions.  Keep in mind that the quality of your print (especially if enlarging) will largely depend on the quality of the scan.  Scan your original art at 300dpi. or higher.  Make any necessary adjustments to the scan file to ensure that your reproductions represent the original artwork as closely as possible.  Work with your printer to chose a paper that emulates the paper used in the original sketch, or that best compliments the sketch.  (Ex. If the original is a watercolor, consider printing on a textured paper that emulates the original watercolor paper.)

PACKAGING

Factors to consider: branding, preservation/protection of your art, cost

Backing Board - Backing boards keep your art from bending or getting damaged.  I like to use 1/8" acid free foam core.  I purchase large sheets (32"x40") and cut them down to size.  Acid free products are more expensive than non acid free products, however, will give you the confidence to stand behind your product.  Over extended time, contact with non acid free materials (corregated cardboard, chip board, non acid free foam core etc...) can cause damage (fading, discoloration etc...) to your art. We do not know how long a customer may keep the art in the packaging, so, using acid free materials gives both you and the customer freedom to preserve the art.

Art Bag/Document Bag - Slip you art print and backing board into a clear, acid free bag.  Many bags come with a self-sealing sticker to close up the bag once the art is inside.  Once again, consider going with an acid free option to preserve integrity of your art.

Branding -  Add some personal touch to the packaged print.  If you have a business logo, consider adding small stickers to the back side of the packaging, to help distinguish your print from others. You may also have business cards.  Consider including a business card with each print.  How can your packaging compliment your art while maintaining consistency in your brand as an artist or sketcher?

PAYMENT
How will you accept payment?

Credit/Debit - Consider getting a reader such as the Square reader.  Square readers (or similar systems) connect to your smartphone, and allow payments to be transferred directly to your bank account.  Keep in mind that fees will apply for each time a card is swiped, and consider factoring this into the price of your product.

Cash - If accepting cash payments, make sure to bring enough cash to give change to your customers. Consider setting the price of your prints at even dollar amounts, or in increments of $5 for ease of giving change.

Receipts - Don't forget to provide your customers with a receipt.  Payment readers like Square are able to email or text receipts.  However, for cash transactions, make sure to write up simple receipts, and keep a copy for you own records.

PRICING
Display your pricing so it is easy for customers to read.  Whether it is with a sticker on the back of each print, with a small sign next to each print, or all listed in one place on a sheet of paper, make it easy for your customer to shop, without having to ask for the pricing of each different item.

Don't forget to factor Sales Tax into the cost of your prints.

TABLE LAYOUT
How much "stuff" will you have, and will you have enough room for it all.  Consider doing a mock set up of all of the items you plan to bring with you.  Will you lay your prints flat?Displayed on an easel?  In a box/bin?

Aside from the art, what "extras" do you want to display?  This is a great opportunity to share an artist statement.  Print out half sheets with a paragraph or two, describing your art, your process and what inspires you and pass these out.

If you have business cards, this is perfect opportunity to pass them out.

SPECIALS?
Do you want to run any specials to encourage sales?  Buy two, get one free?  Buy one, get one half off?

INTERACT
Be ready to talk about your work.  Rather than sitting down or stepping away from your work, be ready to tell customers what it special about your work, and what excites you about it.  Is there a story behind a particular piece that brings some meaning to the piece?  Do you recommend a particular frame size or matting color to compliment the print?

HAVE FUN!
Don't forget to have fun!  Remember to be true to yourself, and your art.  Be proud of your work, and remember that your work is unique!  Ask yourself how the way you are presenting your work reflects your personality, your art, and sketching style.

REMINDERS
***-Art submissions due by Nov. 15th, 2015***
-Show hanging  - Nov. 19th - Dec. 12th, 2015
-Plein Air Art Fair - Nov. 21st, 12pm-5pm.  Reception to follow from 5pm-7pm.  Light refreshments will be served.

For more information about the event, see the full CALL FOR ART.

Questions?  Email andrew@andrewbanksillustration.com

Lastly, many many thanks to Blick Art Materials and Blick Art Materials of Lincoln Park for sponsoring this event and for their continued support of and generosity to Urban Sketchers Chicago!