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Showing posts with label Spotlight Sunday. Show all posts
Showing posts with label Spotlight Sunday. Show all posts

Sunday, September 4, 2016

USk Chicago Spotlight Sunday - Aaron Elswick

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



Interviewed by Andrew Banks.

Hi Aaron, thanks again for taking the time to be this week's spotlight feature and for sharing a little bit about yourself with the group!

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


Aaron Elswick: A couple of years back I was sketching commuters on the Metra and I ran into Peggy Condon.  She noticed what I was doing and suggested I join Urban Sketching Chicago. Until then I thought I was the only weirdo that did this.

Andrew: That's awesome. I always enjoy hearing about how people find out about the group.  Sometimes it's through our social media accounts, or through a Google search, but these in-person introductions are always the most memorable.


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

Aaron Elswick: I have drawn and painted most of my life. My primary subject matter has always been sharks (most often drawn from reference photos).  I began sketching on location a little over 3 years ago to become a better urban designer. It was the summer before I started my Masters of Urban Design and I didn’t know much about architecture at the time. 

I decided going out and drawing architecture would be a great way to learn what I could before school started. During this same period of time I was interning as a landscape architect. I noticed that my boss – the lead designer –  was always the one drawing throughout the design process. I realized that summer that if I ever wanted to be the one drawing (and I did) I was going to have to draw as fast and legibly loose as my boss did when creating (her “cartoons,” as she calls them). 

Andrew: Can you tell us a little bit about your background? Does urban sketching ever have an impact on your day job? If so, how?

Aaron Elswick: I have a professional degree in Landscape Architecture from the University of Kentucky and a Masters of Urban Design from the Savannah College of Art and Design. I am presently employed as a Site Architect at Terry Guen Design Associates, a local landscape architecture and urban design firm. To explain what we do as simply as possible I like to say: "If you’re not standing inside of a building, then you are standing in exactly what we do." At TGDA we call this “Design for Life,” viewing our work as the backdrop, or stage, for the play of life to unfold. Our objective with every project is to design a sustainable environment that allows for the most acts of the play to occur, be it social, environmental, or economic. Urban sketching is the foundation of my design process and on a daily basis it helps me imagine, draw, and design for the future.

The Bean Context, my first attempt at using markers on location. This sketch was drawn during Wes Douglas’ 2016 UskChicago Sketch Seminar Workshop- Markers for Beginners. Mediums include: Stabilo fine 0.4 pen, ultra fine sharpie, and Chartpak Design Markers. (~40mins)

When I am sketching on location, I am analyzing the proportions, textures, scale, and context of the objects that define a place and simplifying it all to just a series of lines. As a Site Architect, I use my urban sketches as a mental reference bank to draw and design a city. Drawing is a tool and the language that I use in my career to communicate and explore ideas. Although drawing is only a tiny piece of my career, it is easily one of the most critical assets of my design process. Urban sketching is how I practice, learn and explore topics related to my profession.

The two most valuable lessons I have learned professionally, via sketching on location, is to be unafraid to fail and that the ugliest sketch is better than no sketch at all. A mentor of mine once broke it down to me like this:  the best designer is the one who is least afraid of failing. Before I started urban sketching I only wanted to show people perfect drawings, but I have learned that this hinders the design process and restricts the flow of ideas. Loosening up a bit and focusing on conveying an idea, as opposed to seeking perfection has been a real turning point in my career. Being unafraid to fail has gotten me to the “design table” at a very early in my career. I credit joining Urban Sketchers Chicago and its community for giving me a space to explore this practice and learn the truth in the advice I’ve been given.

Andrew:  Wow, that's so awesome.  Your response is not only inspiring and challenging, but also a great reminder to me (and I am sure others as well) about what urban sketching is all about.  It really sounds like urban sketching is intertwined with your day to day professional work, and is giving you some great opportunities for creative expression and experimentation all at the same time.  


I really like what you said here: "the best designer is the one who is least afraid of failing. Before I started urban sketching I only wanted to show people perfect drawings, but I have learned that this hinders the design process and restricts the flow of ideas. Loosening up a bit and focusing on conveying an idea, as opposed to seeking perfection has been a real turning point in my career."  

I really think that every single person in our group will benefit from that advice.  I know I already have.  It's so easy to get critical of our own work, wondering whether it's worth sharing or not.  But when we start holding ourselves back or aiming for some standard of perfection we lose out on a lot of creative opportunities.

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

Aaron Elswick: I am most attracted to iconic facets of Urban Design – buildings, public spaces, infrastructure, streetscapes, and everything else in a city. I like to capture the whole scene and believe in going big or going home. The public realm is my home and I firmly believe that people define great places and not buildings or landscape architecture. 

Therefore I am commonly sketching in a crowd or in places people choose to spend their leisure time. Doing this enlightened me to the extremely social aspects of urban sketching, which is now is my favorite part. I love the Q&A sessions, exchanging of stories, and impromptu workshops that sketching on location facilitates. Occasionally, I want to sketch from a distance and tend to choose public parks. However, I rarely ever sketch a singular object. For me and what I do, context is everything!
The Nature Board Walk at the Lincoln Park Zoo, Studio Gang Architects, sketched during the 2016 UskChicago outing with a Stabilo fine 0.4 pen and ultrafine sharpie. (~30mins)


Andrew: What is your favorite medium to sketch with?

Aaron Elswick: My favorite medium to sketch with is 100% pen and ink. A pen tells the truth and the whole story of the sketch. The authenticity of storytelling through my sketches is something I have recently have started to explore. I learned to draw with a pencil, but in my profession pen and ink is the standard for hand graphics. To learn how to draw with a pen, I just stopped taking a pencil and eraser with me. At first this was quite the challenge, but with a lot of practice it is now starting to come more naturally to me. 

This approach has saved me countless hours of erasing and inking over pencil. It has also changed the way that I view the world, instead of just seeing a brick building, I now see the lines and shapes that define the building. In return I have begun to develop my own style and form of artistic expression, which will always be a work in progress effort. Using only pen and paper forced me to embrace imperfections and lead me to take the Bob Ross approach: “I made some mistakes once, now they are trees.”

Andrew: The idea of truth and authenticity in storytelling through our sketches is a super interesting topic and I would love to hear more of your thoughts and approach to this sometime.  I agree though, there is something really freeing about jumping in to a sketch in ink without any pencil outlines.  It definitely forces you to be intentional with each line. I work a lot with ink myself and I like to tell people that while you can't erase ink, it's also a fairly forgiving medium to sketch with if you know how to work with your mistakes and build them into the sketch. 


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

Aaron Elswick: In all honesty, every member inspires me. Seeing how often people are posting, what they are sketching, and the techniques they are using motivates me to get out there and go do it more often.  I believe some members are in a completely different league and/or playing an entirely different game than I am. 

There are two members that really speak to me with their work and influence my sketching: Andrew Banks and Wes Douglas. Both of these guys are absolute masters of their craft. What I enjoy most about their work is the subject matter and their uniquely identifiable styles. Andrew’s hatching and spot on architectural rendering style is extremely impressive. Wes’ diversity of subject matter, techniques, and use of markers is out of this world.

Andrew Banks:  That is the beauty of the urban sketching community. There is such a wide range of styles, techniques, view points and skills levels to learn from. There is never a shortage of inspiration to be found, that is for sure.

Thank you for the compliments!


Andrew: If you could choose any location for the next group sketch event, where would it be?

Aaron Elswick: Without a doubt I would choose the Shedd Aquarium! Sharks are my weird obsession and I have been drawing them my whole life. The Shedd would offer a unique opportunity to take a crack at the plethora of subject matter the aquatic environment offers, after all it is pretty hard to draw underwater. It would be a real treat and I would absolutely LOVE to see how all of the different members of UskChicago depict life underwater.


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

Aaron Elswick: I am on Facebook and Instagram at the moment. I have a lot of projects in the works and a website/marketplace is in development. Once that all gets launched I’ll be sure to let the group know. 

Facebook: https://www.facebook.com/aaron.elswick
Instagram: @acelsw2  https://www.instagram.com/acelsw2/

For more information on Terry Guen Design Associates and “Design for Life” please see https://www.tgda.net/

Andrew Banks: Thanks again Aaron!  


Sunday, August 28, 2016

USk Chicago Spotlight Sunday: Meet Lewis Achenbach

Today, I have the pleasure of introducing you to a very talented artist and founder of a fresh new sketching experience. His name is Lewis Achenbach and he is an artist, painter and the man behind the “Jazz Occurrence” music experience. We’ll talk about “JazzO” a little bit later but I think you will find what he is doing to be quite inspirational and very much like urban sketching. I often see Lew with buckets of paints and brushes in his hand but other times he is sitting with a sketchpad and pastels or markers, capturing however the music moves him.

So without further ado, let's meet Lewis!

Wes Douglas (WD): Hello Lewis and thank you for taking the time to chat with me here today. I used to wonder, Lew, if what you are doing at the JazzO music events relates to “urban sketching” at all. I mean, you sketch on location, you draw/paint from observation, and you share your work online. Those are all Urban Sketching guiding principles and even one more “we welcome all styles and mediums.” That seems to fit within the urban sketching manifesto if you ask me. What do you think?

 Lewis Achenbach (LA): Wes, let me first define my versions of the terms ‘sketching’ and ‘painting’, or at least compartmentalize the two via process and media. I use those terms interchangeably. ‘Sketching’ always comes off as an informal enterprise compared to the high-art word weight of ‘painting’. It is creating that is getting done, and that is what should stand out. 

I don’t differentiate between black and white and color either. It’s either dry or wet. Dry is sketching. Painting is wet. That is how I categorize the process. And the gig usually dictates dry or wet. But I will use the term ‘sketch’ to make it simple. 

WD: Why do you sketch? How does it help you?
LA: I create to music, mostly, or at least it is what I’ve become known for, which is cool with me. So I sketch to hear the music, in the way my brain likes to hear it. 
In general, I sketch to get a grasp on what is going on in the world. It’s my vehicle to understand; my default tool in my toolbox. Sketching slows thing down for me, so I can hear, and even rewind what I’ve just heard. I can look at a drawing the next day and residual hear the gig from last night, in a sense.

WD: What is your favorite sketching tool?
LA: I like the caveman grit of charcoal, right now. Pastel, chalk too for the dry work. Acrylic is the functional wet on-sight media. AD markers for small moleskine sketches.
  
WD: Where is your favorite place to sketch?
LA: I love Constellation Chicago. It’s the vibe of the place. I feel welcomed there, to create. And I have a mental archives of great sound experiences from there. And they have me formally paint large scale on canvas. Which you cannot do without permission from the owner, and blessings from the musicians. So it’s a relationship thing too. 
Also, sketching on the beach is becoming a haven. 
And I like to combine the music and exterior spaces thing, which is why music festivals have become a favorite gig.


WD: What is the inspiration for the sketches you selected?
LA: Well, music is the simple answer. But it’s really knowledge that I seek through sketching, and wisdom through that. How else, as artists, are we to communicate to others, except through our gifts/talents/tendencies? I get to ‘tell’ the musicians how I have just felt about the live performance, by showing them a live document of my experience. I dialogue through visual means. So my inspiration is also the ability to ‘be heard’.

WD: Why are these scenes special to you?
LA: So the artworks are special because they represent a personal memory (a concert) but they also embody this impossible task and continuing adventure. The task of capturing fleeting live music while it’s lingering in the air. And the adventure of documenting this impossible gig: trying to sketch something that doesn’t really visually exists (except in my imagination). And I’m trying not to force the colors and forms onto the music. I let the music tell me what to do. What colors and line quality to use. The music tells me what personal references to touch on, and use as push off points, to create an authentic artwork, where I am just a vessel, present in front of the paper/canvas, getting the music ‘out’. If that makes any sense. 

WD: What do you do when you are not sketching? Does your day job incorporate your sketching skills?
LA: I do a decent amount of organizing, networking and self promotion. Which has all to do with the Jazz Occurrence project; where I produce events so that I can curate and paint larger scale next to the musicians, and really physically get ‘into’ the music. If I am part of the show, I can cut loose and even influence the music happening in appropriate ways. 

I also educate; teaching improvisation and ways/means of cross influence and collaboration with students. 

And I paint houses. And I have a small animation studio in my basement, where I do free-lance animations and videos for various corporate franchises. It’s all brush in hand, clay in hand, col-erase pencil in hand kind of work. Actually the live music (in the moment, broad brush stroke) sketching bore out of a necessity of contrast to the tight pencil on paper draftsman day job of animating at a studio in NYC. But that’s another story (and I wont get into getting arrest for graffiti on the lower east side during the Mayor "RudyGiuliani administration).

WD: If anyone wants to follow you or to find out more about Jazz Occurrence, do you have any links online?


LA: Yes, there are a number of links where I post information about Jazz Occurrence and when the next events will be:

Facebook:    
Lewis Achenbach 
Jazz Occurrence Art Exhibition 
@jazzoccurrence
Twitter: @lewisachenbach #jazzoccurrence
Instagram:     lewisachenbach #jazzoccurrence
Vimeo: https://vimeo.com/149828834  
(at TEDx Naperville 2015)


WD: Lewis, I greatly appreciate the time you’ve given us here today and I really enjoy how your Jazz Occurrence project has redefined common perceptions of what a “sketch” can be. I look forward to the next time you and I can hang out with one of your group of jazz musicians and sketch together. 

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





USk Chicago Spotlight Sunday: Meet Lewis Achenbach

Today, I have the pleasure of introducing you to a very talented artist and founder of a fresh new sketching experience. His name is Lewis Achenbach and he is an artist, painter and the man behind the “Jazz Occurrence” music experience. We’ll talk about “JazzO” a little bit later but I think you will find what he is doing to be quite inspirational and very much like urban sketching. I often see Lew with buckets of paints and brushes in his hand but other times he is sitting with a sketchpad and pastels or markers, capturing however the music moves him.

So without further ado, let's meet Lewis!

Wes Douglas (WD): Hello Lewis and thank you for taking the time to chat with me here today. I used to wonder, Lew, if what you are doing at the JazzO music events relates to “urban sketching” at all. I mean, you sketch on location, you draw/paint from observation, and you share your work online. Those are all Urban Sketching guiding principles and even one more “we welcome all styles and mediums.” That seems to fit withint the urban sketching manifesto if you ask me. What do you think?

 Lewis Achenbach (LA): Wes, let me first define my versions of the terms ‘sketching’ and ‘painting’, or at least compartmentalize the two via process and media. I use those terms interchangeably. ‘Sketching’ always comes off as an informal enterprise compared to the high-art word weight of ‘painting’. It is creating that is getting done, and that is what should stand out. 

I don’t differentiate between black and white and color either. It’s either dry or wet. Dry is sketching. Painting is wet. That is how I categorize the process. And the gig usually dictates dry or wet. But I will use the term ‘sketch’ to make it simple. 

WD: Why do you sketch? How does it help you?
LA: I create to music, mostly, or at least it is what I’ve become known for, which is cool with me. So I sketch to hear the music, in the way my brain likes to hear it. 
In general, I sketch to get a grasp on what is going on in the world. It’s my vehicle to understand; my default tool in my toolbox. Sketching slows thing down for me, so I can hear, and even rewind what I’ve just heard. I can look at a drawing the next day and residual hear the gig from last night, in a sense.

WD: What is your favorite sketching tool?
LA: I like the caveman grit of charcoal, right now. Pastel, chalk too for the dry work. Acrylic is the functional wet on-sight media. AD markers for small moleskine sketches.
  
WD: Where is your favorite place to sketch?
LA: I love Constellation Chicago. It’s the vibe of the place. I feel welcomed there, to create. And I have a mental archives of great sound experiences from there. And they have me formally paint large scale on canvas. Which you cannot do without permission from the owner, and blessings from the musicians. So it’s a relationship thing too. 
Also, sketching on the beach is becoming a haven. 
And I like to combine the music and exterior spaces thing, which is why music festivals have become a favorite gig.


WD: What is the inspiration for the sketches you selected?
LA: Well, music is the simple answer. But it’s really knowledge that I seek through sketching, and wisdom through that. How else, as artists, are we to communicate to others, except through our gifts/talents/tendencies? I get to ‘tell’ the musicians how I have just felt about the live performance, by showing them a live document of my experience. I dialogue through visual means. So my inspiration is also the ability to ‘be heard’.

WD: Why are these scenes special to you?
LA: So the artworks are special because they represent a personal memory (a concert) but they also embody this impossible task and continuing adventure. The task of capturing fleeting live music while it’s lingering in the air. And the adventure of documenting this impossible gig: trying to sketch something that doesn’t really visually exists (except in my imagination). And I’m trying not to force the colors and forms onto the music. I let the music tell me what to do. What colors and line quality to use. The music tells me what personal references to touch on, and use as push off points, to create an authentic artwork, where I am just a vessel, present in front of the paper/canvas, getting the music ‘out’. If that makes any sense. 

WD: What do you do when you are not sketching? Does your day job incorporate your sketching skills?
LA: I do a decent amount of organizing, networking and self promotion. Which has all to do with the Jazz Occurrence project; where I produce events so that I can curate and paint larger scale next to the musicians, and really physically get ‘into’ the music. If I am part of the show, I can cut loose and even influence the music happening in appropriate ways. 

I also educate; teaching improvisation and ways/means of cross influence and collaboration with students. 

And I paint houses. And I have a small animation studio in my basement, where I do free-lance animations and videos for various corporate franchises. It’s all brush in hand, clay in hand, col-erase pencil in hand kind of work. Actually the live music (in the moment, broad brush stroke) sketching bore out of a necessity of contrast to the tight pencil on paper draftsman day job of animating at a studio in NYC. But that’s another story (and I wont get into getting arrest for graffiti on the lower east side during the Mayor "RudyGiuliani administration).

WD: If anyone wants to follow you or to find out more about Jazz Occurrence, do you have any links online?


LA: Yes, there are a number of links where I post information about Jazz Occurrence and when the next events will be:

Facebook:    
Lewis Achenbach 
Jazz Occurrence Art Exhibition 
@jazzoccurrence
Twitter: @lewisachenbach #jazzoccurrence
Instagram:     lewisachenbach #jazzoccurrence
Vimeo: https://vimeo.com/149828834  
(at TEDx Naperville 2015)


WD: Lewis, I greatly appreciate the time you’ve given us here today and I really enjoy how your Jazz Occurrence project has redefined common perceptions of what a “sketch” can be. I look forward to the next time you and I can hang out with one of your group of jazz musicians and sketch together. 

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





Sunday, June 26, 2016

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



Sunday, May 8, 2016

Spotlight Sunday - Ted Gordon

Spotlight Sunday is a 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 member in person and have a conversation.  These posts concentrate on individuals and speak in their own words and sketches.

Interview by Andrew Banks
Spotlight on Ted Gordon: 3D Character Animator, Urban Sketcher, Plein Air Painter


Hi Ted, thanks so much 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?

My friend Ginny, a member of my early-morning sketching & plein air group, recommended USK Chicago to me. She was correct, it was right up my alley!

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

Yes, as a kid, I was very interested in drawing, comic books, science fiction & fantasy illustration, computers - all that stuff predicted my future career. Life Drawing was my favorite part of art school - where I could see my skills increasing dramatically. Sketching outside of sessions keeps me in practice. My favorite artists have done a lot of sketching ‘in the wild’. I’ve been following their example.

Can you tell us a little bit about your career as an animator?  Does urban sketching ever have an impact on your day job?  If so, how?

I have been working as a 3D Character Animator in the games industry since 1999. I use a combination of animation skills and specialized software, including 3DS Max, Maya, and Motionbuilder, to create the motion for people, monsters, animals, and robots for video games.

I believe an artist’s career is as much about what is done outside of work hours to become a better artist as it is about what is done in the studio. I like to draw on the bus, I have a weekly plein air group, I do life drawing & life sculpture, and I like to go out and explore areas with my camera. Most recently, I explored Chinatown before people filled the sidewalks for the day. I work on portrait & house portrait commissions during my lunch hour and I make my plein air paintings available for sale on my site.

I highly respect the Disney Animators that established my industry’s Principles and actively practiced life drawing and plein air painting as part of their job. They are my role models. That, and my love for drawing, painting, & animation, motivate me. Building my skills of observation, through practice like Urban Sketching, makes me a better animator & artist.

You are also a member of the Plein Air Painters of Chicago group and many of your urban sketches can also be considered plein air paintings.  There is real neat crossover between our two groups, and we’ve personally talked about this before.  In your experience, what distinguishes urban sketching from plein air painting, and, having been a member of both groups, are there any specific skills or lessons you have learned from one group that can apply to the other?

I’ve written a Tuesday Tips and Tricks blog entry about this, so it is easy to answer. :) In my opinion, the differences boil down to three things: Time, Narrative, and Style. While both are created on-location, and in a single session, an Urban Sketch can be created in minutes, while a plein air piece could take all day to complete. Urban Sketching, with its journalistic roots, is often more literally narrative - even including text in the images. Finally, Urban Sketching can be more experimental with style. To the contrarian reader, I’d have you point me to a plein air painting with a cartoon-style character in it! :)

Both groups are about direct observation, drawing and painting on-location. I find them more similar than different. I suspect that my own work will organically combine elements of each the more I do of both!

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

I like to do portrait & house portrait commissions. When I’m out and about, I am attracted to figures and architecture ‘in the wild’ too.

What inspires me tends to be the unusual, the well-lit & appealing. It’s that moment on a train, when I see an intriguing character. It’s when I spot a tree, exploding full of color from back-lit light. It’s when I find rusty old controls on a conservatory pipe. Those moments, I think, “Oh yeah, that’s getting drawn!”

What is your favorite medium to sketch with?

I’ve been carrying a fountain pen, a ballpoint & watercolors. For precision and speed, I prefer ballpoint. For even faster, but looser, I prefer the fountain pen. If I have more time, I like to add watercolor washes.

Are there any Urban Sketchers who inspire your own work?

I’m a big Don Colley fan. He shows what a life of regular practice can do. His videos, sketching in ink were so exciting to find. I love the variety of work that USK Chicago and the international group share. Everyone has inspirational work in them.

You will also be an instructor at this year’s Chicago Sketch Seminar for the second year in a row.  What are you most looking forward to about this year’s Seminar?

I’m looking forward to seeing all the new sketches my students will make, the new location, and the other instructors’ classes!

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

I sure do!

You can follow me here:

Please contact me through http://www.tedgordonart.com/contact/ to inquire about commissioning original portraits & house portraits.

You may order prints of my work at: http://www.tedgordonart.com/order-prints/

You can find examples of my animation here: www.MotionImpossible.com Also, visit a Dave&Busters, movie theater, or amusement park near you and play Jurassic Park Arcade! I loved animating those dinosaurs!