Urban Sketching at "The Bean"

URBAN SKETCHING AT "THE BEAN"
By: Andrew Banks

Urban Sketchers Chicago is excited to be hosting the 2017 Urban Sketchers 8th Annual Symposium. We'll be welcoming over 450 urban sketchers from around the world to meet, sketch, and share our city! As a teaser of all the sights in store for you next year, over the next few weeks, we'll be sharing some of our sketches (both new and old) of our beautiful, diverse, and exciting Chicago.

The Bean.  Fountain pen and Faber Castell PITT pens in a 5.5"x8.5" Stillman and Birn Epsilon soft cover sketchbook. © Andrew Banks

The Bean.  Millienium Park.  Sears Tower....  If you are visiting Chicago these are probably just a few of your must do's and must see's.  If you are a local, however, you've probably been there and done that.  You commute past these architectural landmarks on a daily basis and after a while they may start to blend in with the rest of the buildings and sights in the city.  Not for me...

Even after having lived in Chicago for 6 years now, urban sketching has kept all of the "touristy" places in Chicago intriguing and enjoyable for me to visit.  I've sketched here before, but there is always new inspiration for capturing it differently than before.  I've found that as my skill sets develop, and as I continue to explore different media, there is always some new or improved way of seeing and representing a scene.  These iconic spaces, structures and views aren't recognized around the world for no reason.  If you have even have the smallest interest in design, art, or architecture, it will be hard not to have a great time in Chicago.

This sketch took about 45 minutes, and as I sat on the ground, on a particularly busy day at The Bean, I had the chance to chat with several people who were interested in what I was working on.  I always enjoy sharing my work, and popular public places like this are great for introducing people to your work and to the Urban Sketchers community.

The Bean.  Fountain pen and Faber Castell PITT pens in a 5.5"x8.5" Stillman and Birn Epsilon soft cover sketchbook. © Andrew Banks

See more of my work:

• www.andrewbanksillustration.com
• www.instagram.com/abillustrator
• www.twitter.com/abillustrator
• www.andrewbanksillustration.tumblr.com/

Spotlight Sunday - Claudia Renzi

SPOTLIGHT SUNDAY - CLAUDIA RENZI

Spotlight Sunday is a series of interviews designed to introduce and highlight Chicago Urban Sketchers to one of its own. Now that our chapter has eclipsed the 500 member mark, it became more of a challenge to meet every member in person and have a conversation. The hope is that, through these interviews, you will get to know a little more about one artist and read their story in their own words and sketches.

Interview by: Andrew Banks (AB)

AB: Hi Claudia, thank-you for taking the time to talk and to tell our group a little bit about yourself!

How did you first hear about the Urban Sketchers community and what made you decide to join Urban Sketching Chicago?

© Claudia Renzi

I heard about Urban Sketching Chicago from Don Yang and Alex Zonis. We both take Don's Portrait class. They told me great things about this group and I needed a way to deal with life stresses at that moment. I find drawing very relaxing.

AB: That's awesome.  I also find urban sketching very relaxing.  There is something very meditative about focusing on capturing a scene on paper and blocking everything else out for a while.


AB: Did you sketch before finding USk Chicago?  If so, when did you start sketching?

CR: Yes I have been drawing off and on since college, but never professionally. It has always been a hobby of mine. For the past couple of year I have tried to take it a bit more seriously.

AB:  I believe that you recently held a booth for the first time at the Wells Street Art Fair, and it looks like many of the pieces you were selling were urban sketches?  How did you like the experience, and how did people respond to your work?  Would you recommend other urban sketchers to pursue their own booth at an art fair?

CR: Yes, most of my drawings where urban sketches. Some where done in the spot and some where done at home from a picture (the theaters). Having a booth at the Wells Street Art Fest was a great and exiting experience, but since work a full time job as an Art Director for Crate and Barrel, preparing the artwork was very stressful and expensive in comparison to the profit. People responded favorably, I got lots of great complements and positive feedback. Specially Architects!!! It's good for getting your name out there. (I ran out off business cards) I also confirmed that people who attend festivals are not there to spend money in original art. I was able to sell lots a prints and stationary. Everyone should try it at least once.

AB:  What is your favorite medium to sketch with?

Moleskine Watercolor Sketch book, Japanese Platinum Carbon Ink for a Super Fine Fountain Pen.

AB: Interesting!  This is my "go to" sketch kit too.  I do a lot of ink drawing also, so I really identify with and enjoy your work.  It is always fun to see similarities and differences in other sketcher's work, especially when the sketcher has an overall similar style to your own.  Your work has definitely caught my eye and inspired my own work

AB:  Has urban sketching ever had an impact on your day job as a Graphic Designer?  If so how?

© Claudia Renzi

CR: Yes, it has. It has helped me mostly with conceptual design. I can more easily illustrate/explain logo and layout ideas. I am the kind of graphic designer that likest to sketch before working directly on the computer. My sensitivity to details has improved, specially when it comes to typographical solutions.

AB: Are there any Urban Sketchers who inspire your own work?

CR: Yes of course. Many inspire me.  You, Alex Zonis, Don Yang, Fred Polito, Chris Buczinsky and  Adriana Gasparich. Just to name a few.AB: If you could chose the next location for the our group's monthly meet up, where would it be?  In other words, where is your favorite place in Chicago to sketch?

CR: Montrose Harbor in the summer. Any Chicago Theater in the winter.

AB:  Montrose Harbor would be a great summer location.  I actually spend a lot of time there myself, walking my dog and sketching too.

AB:  Do you have any websites, blogs or social media accounts where people can see more of your work?
CL:
Design website: claudiarenzi.com
Fine art website: http://www.claudiarenzi.com/studiorenzi/index.html
Facebook page: http://www.claudiarenzi.com/studiorenzi/index.html
Studio Renzi (Etsy): https://www.etsy.com/shop/StudioRenzi?ref=search_shop_redirect

AB: Thanks Claudia! Your websites are really well done!  It has been a pleasure, and I look forward to seeing more of your work!

© Claudia Renzi

Spotlight Sunday - Dave Wittekind

Spotlight Sunday is series of interviews designed to introduce and highlight Chicago Urban Sketchers individually.  Now that our chapter has reached nearly 500 members it has become more of a challenge to meet every single member in person and have a meaningful conversation.  These posts concentrate on individuals and speak in their own words.

Dave Wittekind

Interviewed by Andrew Banks

For this week's Spotlight Sunday, I had the opportunity of interviewing Chicago based illustrator Dave Wittekind.  I have always been big fan of Dave's work and have a special appreciation for his really great line work and really smart use of toned papers.  Thanks again for answering my questions, Dave! It's my pleasure to help share a little more about you and your work with our group:

Hi Dave, thanks so much for taking the time to chat.  I always enjoy seeing your sketches posted to our Facebook group.

ANDREW:  How did you first hear about the Urban Sketchers community and what made you decide to join Urban Sketching Chicago?

DAVE: Thanks very much for asking me to be a part of this series, Andrew.  I first heard of Urban Sketchers, I believe, through Twitter, though it may have been another city’s chapter. I was so happy to discover that Chicago had a chapter that met monthly.  My first meetup was the water taxi outing two years ago, and from there I was hooked.  I look forward to every outing.

ANDREW:  The water taxi event was a lot of fun.  One of the reasons I like our group is that you end up visiting places (and in this case, taking a different modes of transportation) you may not have normally gone to had it not been for the group.  I believe that is the first time we met as well.Did you sketch before finding USk Chicago?  If so, when did you start sketching?

DAVE: Previous to the USk Chicago meetups, I did very little sketching on my own, which I’m not proud of.  I still need to get into the regular habit of sketching in between meetups, though I am getting better at it.  I’ve always done preliminary sketches for my illustration work and would occasionally sketch people on the L or in airports, but very little outdoor or architectural sketching.  During the Occupy movement, I would sometimes go downtown and sketch the people there.

ANDREW: As a professional illustrator, does urban sketching play a role in your day to day job?  If so, how does it help you?

DAVE: Urban sketching has definitely helped my sense of observation and sharpens my fundamental skills.  Sketching also gives me a sense of connecting to a tradition that goes back centuries.  Also as a freelance illustrator, it’s nice to get out of the studio and interact with other artists.  I’ve met such great friends at USk outings!   

ANDREW: I have the same experience, working from home myself.  It's always inspiring to get together with our group, with so many people who have the same passion for art and sketching as I do.  I've also met some great friends along the way too!

I really appreciate the line work in this sketch.  The lines are very deliberate, yet loose and highly descriptive all at the same time.  I see this technique in much of your work.  Can you talk about this style and how you developed it?  Does it tie into a particular background or training you have had?

DAVE: Thanks, Andrew!  My dad was always into drawing, especially political cartooning, and he encouraged my early interest in drawing. Then there was Mad Magazine, which I devoured and introduced me to the work of caricaturists like Mort Drucker and Jack Davis.

Later, at the American Academy of  Art in Chicago, I had the late Eugene Hall as a life drawing instructor.  His enthusiasm and energetic drawing style was a big influence.

After graduation, I worked as a storyboard artist at Foote, Cone, & Belding ad agency, where we needed to further develop a quick, expressive style to convey action & emotion with just a few lines.

ANDREW:  Is there a specific subject matter you are particularly drawn to or inspired to sketch?

­

DAVE: My two dogs are always a great source of inspiration (and they never complain if I make their noses too big).  I’ve always been more comfortable drawing organic things like people, animals, and foliage as opposed to man made structures.  That’s why I’m so impressed with the work that you and others post of buildings and architectural details.  I’m hoping to get more comfortable in that area.

ANDREW:  What is your favorite medium to sketch with?

DAVE: Though my illustration work for the most part is created digitally, it always starts with a series of preliminary sketches, usually with pencil or Sharpie.  My USk sketches to this point have been done using Sharpie or Tombow brush markers on toned paper with white conté highlights.  I’ve added occasional watercolor washes too.
  

ANDREW: Are there any Urban Sketchers who inspire your own work?

DAVE: I can honestly say that everyone at USk inspires me.  It’s such a pleasure to see such a great variety of styles and medium.  I also occasionally go online and do Twitter searches for #sketchbook and #urbanSketch.  It’s astounding to me how much incredible work is being done on a daily basis.  I also recently read New York artist Molly Crabapple’s memoir “Drawing Blood”.  I like the way she uses her sketches to inspire activism.

ANDREW: If you had to narrow your sketch kit down to your three favorite sketching tools, which would you choose?

DAVE: In the previous interview, Fred Polito said that he’d like to expand his tool set, though his watercolors are so masterful, I can see why he’s tempted to stick with them.  I feel the same way about exploring additional tools, rather than getting too comfortable with a routine.  Still, if I HAD to limit it to three, I guess I’d have to go with toned paper, Tombows and white conté.

ANDREW:  Fair enough!  I threw you a curve ball there, but I can't help but agree that it's also tempting to try different media on occasion.  I think it comes naturally to creative types.

ANDREW:  Do you have any websites, blogs or social media accounts where people can see more of your work?

DAVE:  I have two sites. One, at http://davesink.com is my personal Illustration website and blog, and another website run by myself and a partner, at http://dipstickstudio.com, features graphic recording and whiteboard videos.

Thanks again Andrew. I really appreciate  all the work you and the rest of the USk Chicago organizers do for the group!

ANDREW: Thanks for your time Dave!

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!



 

One Spot - Two Different Subjects

A couple weeks ago I had the opportunity to spend an afternoon in the loop, riding my bike, sketching and taking photos.  One of the reasons I love living in the city is the ability to hop on Lake Shore Drive bike path and just ride and see where the day takes me.  After a recent guided kayaking tour I took with my wife on the Chicago River, I was inspired to return to one of the major stops, near Merchandise Mart and the recently finished river walkway.  I found a nice spot on the Franklin Street Bridge.  With a great view east, down the river towards Michigan Avenue, I started off with this loose ink sketch of the skyline.  I normally like to lay out my sketches in pencil, but just decided to go for it in ink with this one.  I tend to be a perfectionist.  I like to spend my time making a sketch work well, often times, too much time.  However, diving right into this ink drawing was a real nice change of pace and really freeing, creative experience.  Instead of making sure each line was completely straight, I allowed the pace of my drawing to dictate the characteristics of the sketch.  All in all, I was really pleased with how it turned out and was able to capture the essence of the skyline with gestural lines, stippling and some hatching.

The beautiful thing about being in the Loop is that there is nearly an endless supply of things to sketch.  Having finished the skyline sketch, I stayed in the same spot and sketched the Franklin Street Bridge House, which was a lot closer to me and allowed for some greater attention to material, proportion and detail.  The lighting and shadows were changing very fast so I penciled in a rough outline and indicated where the shadows were at the time.  By the time I finished the pencil sketch, the shadows had already changed and disappeared.  I then inked the drawing with a fountain pen and Faber Castell Cold Grey IV 233 PITT artist pen.



These two sketches were both done in a Stillman and Birn Epsilon sketchbook, which has become my go to sketchbook for pen and ink sketching.  For a long time, I have had a tendency to go back and forth between one sketchbook and another.  I would bounce between a sketchbook geared toward watercolor, to one with ivory colored paper to another with grey toned paper.  But, I've enjoyed this Epsilon paper so much, I've been diligent in filling it up.  This sketchbook is shaping up to be one of my favorite collections of sketches yet.   I look forward to filling it up and seeing where the rest of the pages take me.

You can see more of my work and sketches on Instagram: @abillustrator and my professional website www.AndrewBanksIllustration.com.

I am trying to savor the last precious days of nice outdoor sketching weather before Chicago winter returns.

Until next time!

Andrew

How to Become a Member

TUESDAY TIPS AND TRICKS

WHO WE ARE
Urban Sketchers Chicago (USk Chicago) is a not for profit group of sketchers who live in and near Chicago, IL.  USk Chicago meets on the third weekend of every month to sketch different parts of the city.  Our mission is to “show the world one drawing at a time.”  Here is our Manifesto.  We are one of many Urban Sketchers chapters from all around the world that identifies themselves as a part of the Urban Sketchers movement.  Our group is comprised of a wide range of people from all different backgrounds and skill levels, including architects, artists, designers, engineers, lawyers, and teachers just to name a few.  Members of USk Chicago share their sketches to Facebook, where sketchers find inspiration from other sketchers, learn about different sketching techniques, sketching tools and materials, and find group announcements regarding monthly sketching events.  Members post sketches from their daily lives in Chicago or from their travels outside of Chicago. 

We are a local group, most of us live in Chicago or Chicago geography.  But we have a few people from further environs. We have members from Central, Western and Northern Illinois who make it to our sketch meets. We have a few members from South Wisconsin and NW Indiana, USk groups do not exist there for now, so we add these sketchers.

And there is another category: sketchers who travel to Chicago to draw here.  These people are special, we love them, add them to the group, and meet and sketch with them. When we travel, we are treated the same in far parts of the world.

USk Chicago sketching downtown with Miriam Ben (second from the left) from Munich Germany

COMMUNITY

We are Urban Sketchers, sketching is very important to us. But there is another equally important purpose to our group - it is creating a community of people who share a vocation and who support each other in our particular brand of craziness. 

Unlike many online groups, we meet in real life. We do things together. We have regular sketching events, we eat and drink together, we had a party in one of our homes. What is less known is that we look within our group to hire employees for our businesses, we take each other’s art classes, we find people in the group with whom to start new initiatives, we invite each other for Seder. We are a very special group.

To safeguard this unique spirit of friendship and contentedness, to make sure that there is a good fit between a new sketcher and the group we screen new requests when people want to join USk Chicago.  We want to know if a new sketcher lives close enough to join us, if he or she shares our love for sketching on location, wants to participate and communicate.  This is why, to become a member, a new sketcher has a short Facebook chat with one of our admins.

After Architectural Artifacts sketch meet - a get together in O'Shaughnessy's

OTHER GROUPS

Now, what if a new sketcher does not live in Chicago geography? What if they like to sketch imaginary subjects or want to share a self-portrait?  What if they do not like to meet other people? What then?

We still want to be friends with you, but perhaps a different group would be a better fit.  Here are some ideas:

• Consider Urban Sketchers Global, if you are not local to Chicago https://www.facebook.com/groups/urbansketchers/
•  Find other local groups close to you on the Global Urban Sketchers site -http://www.urbansketchers.org/p/chapters.html
• Join Artists Journal Workshop if you just like sketchbooking without many rules https://www.facebook.com/groups/artists.journal.workshop/
•  If you would like to attend a workshop, but the Chicago Sketch Seminar or Global Symposium are too far, look into Sketchbook Skool - sketching instructions online http://sketchbookskool.com

HOW TO BECOME A MEMBER
Becoming a member of USk Chicago is simple.  Here are the steps:

1)  Visit our Facebook Page: https://www.facebook.com/groups/UrbanSketchersChicago
2)  Click on the “Join Group” button, located at the top of the page, in the bottom right corner of the group’s cover photo.
3)  Once you request to join, one of our group administrators will send you a brief introductory Facebook Message to make sure you live in the Chicago area or close enough attend a group sketch event.  If you are an Urban Sketcher, but do not live in or near Chicago, we will direct you to a USk Chapter that will work better for you.  If you are looking to share your studio still life oil paintings, we will let you know that this group only shares urban sketches that are done on location, from direct observation.  (Make sure to check your Facebook’s “Other Messages” folder.  Often times, messages get lost here and never seen.
4)  For those who agree to follow our group’s Manifesto, we welcome you and add you to the group and look forward to seeing your sketches and meeting you at the next sketch event.

If you are considering joining USk Chicago, we look forward to meeting you

Art Institute of Chicago by Andrew Banks

This post is written for you by Andrew Banks and Alex Zonis

Choosing the Right Paper

TUESDAY TIPS AND TRICKS

One of the fun parts about urban sketching is experimenting with different sketching materials, finding which you enjoy using the most, testing how each react with one another and even which compliment your personal sketching style.  While many sketching kit reviews tend to focus on pens, paints, inks, markers, brushes or other materials we use to draw or paint with, not nearly as many reviews (at least from what I have seen) talk about different types of paper.

Here are some things to consider when deciding on the next, all important sketchbook or paper purchase:

FORMAT & SIZE

• Do you want a sketchbook that fits in your back pocket or a larger one to carry in a backpack or purse?  
• Do you prefer loose leaf paper or a sketchbook?
• Do you want to use a square or rectangular paper/sketchbook?  Scrap paper?  Paper cups?
• If a sketchbook, spiral bound or hardbound?

COLOR

• What color paper do you use?
• Is your paper bright white or toned grey?  Off white? Tan?  Black?
• How does the color of your favorite ink, marker colored pencil or watercolor paint appear differently on two different colored papers?
• How does the color of the paper help tell a story about the scene you are sketching?

TYPE

• Is your paper smooth or textured?  
• How much texture is there?
• Hot pressed or cold pressed?
• Thick or thin?
• What is the weight of the paper?
• Can it be painted on?
• Which papers are best for ink?  For pencil?
• Is your paper water resistant??  Yes, there is water resistant paper...

CHARACTERISTICS & EFFECTS

• How strong is the paper?
• How many times can you shade that one specific spot before you rip a hole in the paper?
• Does watercolor buckle the paper?  How many washes can it take?  How fast does it dry?
• How fast does your ink dry on the paper?  Does it smudge?
• Does the paper enhance or dull out your drawing?
• Does your sketch bleed through to the other side or even on to the next page?
• Does your pen or marker glide across the paper or feather and skip?  Which do you like and why?
• Do you feel feedback on the nib of your pen, tip of your pencil or hairs of your brush?

Perhaps you are new to urban sketching and you have never considered any of these questions.  Or you are a long time sketcher but have never considered why you use the paper you have been using all these years.

I have been an active sketcher since 2008. One of the biggest observations I have made over the years is in which types of papers I like to sketch with.  There are so many different factors that come into play when selecting the right type of paper.  I hope that these questions give you a preview of the next installment of Choosing the Right Paper, where I will give some more specific tips that will help you think about the paper you have been using, why and how you have been using it, and how to develop and expand your sketching skills in light of all of the different types of sketching papers and options available to us.

Until next time, do any of the questions above resonate with you?  How has your experimentation with different paper types evolved since you started sketching?  Which brands do you prefer and why?

Andrew Banks

Sketching Architectural Details

TUESDAY TIPS AND TRICKS

If you have ever finished a sketch, held it up and compared it to the actual subject only to realize that something about your sketch was just not right, this post is for you.

Between Barbara Week's recent post entitled "Off The Grid - Designing a Page" which talked about guidelines as compositional tools, and a recent architectural sketch I made, I wanted to "piggy-back" off of the topic of guidelines in urban sketching and talk specifically about how guidelines can help you simplify and map out the different parts of architectural details.

Buildings and architectural details can seem like daunting subjects to draw.  Thankfully, there are several observational cues to pick up on that will help you map out your drawing and establish an educated guess about the sizes, proportions, patterns and elements that make up your specific detail.  You don't even need to know the technical names of the architectural elements, or how they go together.  You just have to have the ability to make observations.  After all, that's half the battle of urban sketching is, isn't it?

(A couple quick side notes: 1.Check out a couple of my previous and related posts for a more full set of tips on architectural sketching.  "Perspective for the Urban Sketcher" and "Drawing Architecture: Sighting Size and Proportion" AND 2) these ideas can be applied to other subjects including figure drawing, landscapes, and most other types of subjects as well.)

Here is the scan of my sketch.  As you can see more clearly here than in the picture above, I used several guidelines in my initial pencil sketch before adding value in ink.  I left the pencil guidelines in for aesthetics.  Personally, I like how guidelines can add to the story of a sketch.  Guidelines show your process.  They add a level of technicality to the drawing. Many of the greatest artists left pencil underlays partially visible in their masterpieces. I think guidelines give an added personal touch, but this is just my opinion.

The image to the right is fairly self explanatory, however, I will share a little bit about how I approached this drawing.

I began by drawing the center line (dashed) guideline.  Since this detail is symmetrical, the center line is the most important guide to get you started.  Recognizing that the left and right sides of the detail have the same width, I added two more vertical guides, spaced equally as far away from the center line as I could have approximated while standing up, holding the sketchbook.

After I had determined the overall width of the detail, I used the sighting technique (explained in more detail here) to approximate how many widths (D) tall the detail was.  I found that the details was about 1.75 widths (D) tall.  Basing all of the approximate sizes off of one or two of the dimensions in your detail will help you keep all of the different parts of the drawing proportional to the detail as a whole and in relationship to one another.

I then drew a few horizontal lines.  I found larger shapes that I could use as benchmarks for the detail, so to speak.  So as you can see, (bottom to top) my horizontal guidelines fell on the base of the column, the center line of the window, the top of the middle column, the top of the two side columns, the bottom of the entablature, as well as the top of the arched pediment at the top.  Like in all other forms of design, there is a method to the madness in this detail's composition, which is why the sizes of A, .5A and 1.5 A all work well together, and were easy to approximate.

I drew the guidelines at the center line of the window, the top of the middle column, and the tops of the two side columns first.  A quick approximation told me that the bottom and top portions were half the height of A, and that the curved pediment on top was about 1.5A.

Now that the major heights and widths were mapped out, I filled in all of the rest of the details. (Column capitals, window mullions, arched openings above windows, additional lines on the entablature, as well as the dentils in the molding).  I did not draw guidelines for every single detail (although if you want to you can.)  Instead, since the major sizes and proportions were laid out, I could then "eyeball" the sizes and proportions of the smaller details since enough information was already mapped out for me.

This is something that may take a while to get the hang of, but once you do it a few times it will begin to make more sense.  At first, sketching like this may take a little longer than just "winging it".  However, the more you do it, the more it will make sense and will end up increasing your sketching speed in the end.  Learning how to sight size, proportion and perspectives were the most valuable urban sketching skills I learned when I was first introduced to urban sketching.  They are skills I use in almost every sketch I do to this day.

I hope this post, along with the previous posts on sighting and perspective are helpful.  Feel free to ask any questions.

Lastly, don't forget to follow us on Twitter, Instagram, and Pinterest.  If you live in the Chicago area, connect with us through Facebook.  We sketch as a group every third weekend of each month at different locations throughout Chicago.

Andrew

Lessons From Your Own Sketchbooks

Tuesday Tips & Tricks


With only 17 days until spring, there is light at the end of this wintry tunnel, and before you know it you will be able to sketch this incredible city outdoors again.  Every year around this time, I start getting antsy for the upcoming spring and summer months. After being cooped up and restricted by the subzero temperatures, short days and lake effect snow I am ready to get back outside and fill up new sketchbooks.  I am sure all of the Chicago sketchers can relate.  For those of you who have the privilege of sketching in a warm climate all year round, this may enlighten you to the struggles of a Chicago sketcher in the winter:

You might be a Chicago sketcher if....

• You have sketched the view from your living room window this winter more times than you can remember.
• You look out this same window hoping something new to sketch magically appears so you can satisfy your sketching needs.
• you have had to out-sketch mother nature freezing the ink in your pens or watercolor pallets
• you have put on more than three layers of clothing just to stay warm on a sketch outing
• you have spent hours flipping through sketching blogs, galleries, books and old sketchbooks in anticipation for warmer weather and more sketching opportunities....

If you have been thinking about urban sketching  more than actually sketching lately, you have also likely thought about your personal sketching style and at some point wondered how you could develop it, improve it or take it in a different direction.  I know I have, and as I recently flipped through my collection of sketchbooks I was reminded of how incredibly valuable our own sketchbooks are as teaching tools.  So much of urban sketching is about experimentation, trial and error, process and spontaneity.  Whether you realize it or not, each sketch you create is a compilation of countless artistic decisions.  These decisions shape your sketching style and express the way you see the world around you on paper.

Every once in a while it is well worth our time to look back at old sketchbooks to see where our sketching journey began, what artistic thoughts were running through our mind, what types of media we were experimenting with, and which techniques worked and which didn't.  Did you take notes about some valuable insight you discovered in the process of creating a particular sketch?  The nature of urban sketching is so spontaneous that we often move onto the next sketch, forgetting all about the sparks of genius that happened in our past sketches.  There are so many opportunities for us to learn from and build upon our own work.  Taking a look at our past sketches is a great way to see how much we have grown, to be reminded of where our creative process was at different stages of our lives and how it has evolved.  

So, while we wait through the rest of what Chicago winter has to throw as us, my challenge for you is to dig up the very first sketchbook you ever kept and flip through it.  



Go through the rest of your sketchbooks until you get to your current sketchbook (or most recent sketches).  What are your gut reactions?  You will be reminded of all of the great work you have already done, all of of the places you have seen, and all of the techniques you have tested.  Here are some more questions to ask yourself while doing this.  I hope these will start turning some wheels about how much you can learn from your own sketchbooks:

• What kind of things did I sketch?  Do I need to add variety to my choice of subject matter?
• Have I challenged myself by choosing subject matter that is out of my comfort zone?
• What different types of media have I tried?  
• What have I learned about my favorite pens, paints, markers etc...and how they react to different types of paper?
• What kinds of improvements do I see in my technique and how can I continue to build upon this?
• Which artists or sketchers influenced my work early on, and who influences my work now?
• What are 2-3 techniques I have always wanted to learn more about, but still have never gotten around to trying?

I hope that those questions begin to allow your sketchbooks to teach you.  Remember not to be too hard on yourself.  We can often be our own worst critics.  If you are looking to pick up some new sketching skills, USk Chicago will be hosting it's second annual Sketching Seminar in July.  More details about this will be on their way in the near future...

Best,
Andrew Banks

Urban Sketching Inspiration and Social Media

Tuesday Tips and Tricks 

Where do you find artistic inspiration?  How do you pick the perfect sketchbook, pen, watercolor palette, or travel sketch kit?   Looking for books on Urban Sketching?  (Yes, there are books on urban sketching.  In fact, many of them, filled with incredible sketches from all around the world).  How do you connect with the global sketching community?  Whether you are a veteran sketcher or completely new to urban sketching, this post will introduce you to all of the different ways that USk Chicago uses social media, outside of the Facebook group.  USk Chicago has a blog, Twitter, Instagram and Pinterest account.  Each account is used in a slightly different way to help you develop your skills, provide you with resources, and connect you to our local and global sketching communities.

As an artist and urban sketcher myself, I have found social media extremely beneficial to my artistic growth.  I use social media on a daily basis.  I encourage you to read below for a brief introduction to the accounts, a brief summary about what each account is used for, how to use each account, and how your participation with them can help create “buzz” for our Chicago community and for this summer’s Sketch Seminar.

BLOG (http://urbansketchers-chicago.blogspot.com/)
If you are reading this, you've found our blog.  This blog is managed and regularly updated by several contributors from our group.  If you are new to the group, this is the perfect place to learn about Urban Sketchers, find contact information, learn how to participate with our Chicago chapter and read several of our ongoing series of posts.

Here are several of the ongoing post series:

-TTT (Tuesday Tips and Tricks) – This is the newest addition to our blog.  Each Tuesday we post a new tip related to sketching.
-Sketchcrawls – After each sketch meet, we post pictures and a short re-cap from the event.

-Miscellaneous announcements/ updates / information

TWITTER (https://twitter.com/usk_chicago)
Follow @USk_Chicago

Twitter is a short form blog where users make posts called "tweets".  Tweets are 140 characters or less.  Users can be followed by other users, and can follow other user's tweets.  When someone you follow posts a tweet, it will show up in your news feed and vice versa.

What it's used for:

• announcements (new blog posts, sketch events, sketch seminar updates etc...)
• following other people, groups or organizations (individual urban sketchers, other urban sketchers groups, artists communities)
• post text or photos ("tweet")
• sharing other's posts ("re-tweet")

How it's used:

• tweet from mobile device 
• tweet from computer

Examples of Tweets

• "Heading out to sketch with @USk_Chicago today"
• "A sketch from today's @USk_Chicago sketch meet"
• "Found this @USk_Chicago blog post helpful"

Re-Tweet
A re-tweet shares another user's tweet with your followers.  For example, USk Chicago could re-tweet one of your tweets like the ones above.  If you have a personal sketch blog and we follow you on twitter, once you announce a new blog post, USk Chicago can re-tweet your tweet announcement.

Hash tag (#)
Hash tags make your post searchable and will create buzz and increase readership for you and USk Chicago.

• When a hash tag is placed in front of a word, that word is sent to a virtual pool of search terms that can be viewed by anyone searching for that word.
• For example, #urbansketchers.  Other urban sketchers around the world use this hash tag when they tweet.
• When you search #urbansketchers you will find thousands of other tweets related to urban sketching.

INSTAGRAM (https://instagram.com/uskchicago)
Follow @USKCHICAGO

Instagram is another type of short form blog dedicated to posting and viewing photographs and short video clips.  Unlike Facebook where you can make folders to organize images, an instagram account hold all of your photos in one location.  You can be followed by other uses, and you can search for people to follow.  Several USk Chicago members have already started using Instagram and share their sketches here.  

How it's used

• Download Instagram App on your smart phone
• Instagram your urban sketches or pictures from sketch meets 
• Hash tag your posts with #USKCHICAGO (and other sketching related tags) in the caption.
• Mention USk Chicago in your post with @USKCHICAGO.  This notifies USk Chicago that you made a post related to USk Chicago.

PINTEREST (http://www.pinterest.com/USkChicago/)
Follow "USkChicago"Pinterest is essentially an electronic bulletin board.  USk Chicago's Pinterest account is filled with different sections (called "boards") where several of our administrators regularly pin and re-pin everything urban sketching related.  For example, USk Chicago has a board called "Books We Like." Here we pin books related to urban sketching and art techniques.  Another popular board is the "Sketching Tools" board.  Here we post all sorts of ideas of different pens, paints, paper.  The highlight of this board is all of the creative sketch travel kits that people create.  There are tons and tons of ideas to help you research and investigate all of the different "sketching tools" there are to chose from.  Some of the other boards we pin to are "Urban Sketchers Global," "Urban Sketchers Chicago," "Tuesday Tips and Tricks," "Hints and How to's, and "On the Road Sketching."  

How it's used

• download the Pinterest App on your smart phone or use on the computer.
• Follow Urban Sketchers Chicago's boards.  Every time USk Chicago adds a new pin to one of their boards, it will also show up in your news feed.  
• If you like the pin, you can re-pin it to one or your own boards.  
• Create a board with you own urban sketchers.  Let us know that you have an account so we can begin to follow you and re-pin your sketches.
• Pinterest rewards activity.  Images, repins, likes and comments affect where images appear and the amount of exposure they get.  Images with a title are more likely to be repinned.  More followers=more power.

What to pin (just a few ideas to get you started)

• Your sketches
• Other's sketches
• Tutorials
• Books you like
• Your sketching kit

If you are completely new to our community and to these social media accounts, I hope you find this post helpful.  Please comment below or email us with any questions you have at urbansketcherschicago@gmail.com.  We will be more than happy to answer questions or help you get set up.

Andrew Banks

Graded Wash in Watercolor

Tuesday Tips and Tricks

Watercolor is a great tool for urban sketching.  In this post, I will show you a technique I use frequently in both urban sketching and my professional work.

Watercolor is a delicate media and can be frustrating to work with if you do not have some basic steps to work with.  Graded washes are a helpful skill to know when wanting to capture light, shade and shadow.  In nature, light rarely hits a surface as a flat tone.  Factors such as the orientation of the subject, the context of the subject and the direction from which the light is coming from all impact how light appears on the subject. 

Here is a step by step process for creating a smooth, graded wash with watercolor, followed by a few practical applications for graded washes:

Creating the Graded Wash:



1) Hold your sketchbook or paper at an angle to allow the watercolor to flow down the paper.  About a 35 degree angle works well for me.  If the angle is too high, the water will drip too fast for you to control.  If the angle is too low, the paint will not move fast enough, could cause unwanted buckling of the paper and will not allow for a smooth wash.

2) Load brush with completely clear water.  Apply clear wash to paper, creating a bead, allowing the water to gather slightly.  (If your angle is just right, the water will stay where you guide it.)  Make sure there is an even amount of water in all parts of the bead.



3)  Load your brush with a highly diluted watercolor wash and introduce it into the clear wash before it has time to soak into the paper and dry.  With downward brush strokes, pull the bead of paint down the page.  You will begin to see the pigment from your brush get pulled into the clear wash.

4) Load your brush with a slightly more pigmented wash and introduce it into your bead, continuing to pull it down the page.  (Work on doing this quickly.  If you allow the bead to dry, you will be left with a line of color that will interrupt the graded wash).



5) Load your brush with the highest pigmented wash and continue to pull the bead downward.



6) Bring your bead to your desired edge or location.  Shake the brush off of or touch the brush to a paper towel to absorb the excess water.  Gently touch your dry brush to the bead.  Your brush will absorb the excess water back into the brush, leaving an even surface of paint on the paper.  If we left the bead of water on the paper, the excess paint would diffuse back up into the earlier wash and would create an unwanted stain.





 

7) Repeat steps 2-6 until you get the values you want.

Graded Wash Applications:
Here are just a few examples of applications for graded washes

Shadows
Here, the graded wash works perfectly for a shadow cast on the underside of an awning.  On a sunny day, light will reflect off of the ground surface back on the building wall.  The graded wash allows you to show this reflected light gradually darkening as it gets farther from the ground and up under the awning.



Curved objects
Curved objects have a range of tones (highlight, mid tone, shadow, reflected light, cast shadow) that can be achieved with graded wash.

Skies
Depending on where the sun is in the sky, the sky will have a graded wash.  For example when the sun is low on the horizon, the graded wash will be light on the horizon line and darker the higher you go into the sky.  When the sun is higher in the sky it is generally the opposite.