A busy city scene is probably the most challenging subject for an urban sketcher, especially for one like me who has lived in the countryside for the past two decades. But oh, I can’t resist the challenge. It would be marvelous to go out each day and practice in a busy location, but winter temps here in the Pacific Northwest are not amenable to on location sketching, especially in the time of Covid. So what better time to learn some new skills, sketching along on Zoom with people who excel at capturing the lively city!
(The art shown here is my student work.)
Jedidiah Dore is a New York City artist and passionate urban sketcher/reportager who teaches a series now on Sketchbook Skool’s Spark platform called Creative Urban Sketching.
One lesson was about editing a complex scene – deciding before putting pen to paper what should be included and what left out. And the scene was one I remembered well and loved from a sketch trip to New Orleans almost two years ago now!
In another class titled: Let’s Figure it Out: Drawing People, we were timed and coached in a way to simulate live action scenes and draw decisively. Continuous line gestural drawing, while looking more at a subject, who will move at any moment, than at the paper. This is from Jedidiah’s photograph, but in the spirit of live action.
We all want to “get it right” and know we can’t possibly succeed at that with a moving scene. So it takes a certain practiced surrender to let go enough to set the hand loose from the thinking mind. A lifetime of practice surely. Works for me, because it’s such a high to be able stop the mind for a while. Most sketchers would agree.
And I took another fun urban sketch class on Spark with someone whose style many of you will recognize instantly – Ian Fennelly! Lots of patterned pen work and zany watercolor washes which I dutifully tried. It’s not my style, but I wanted to play with different pens and was happy to go wild with it and even get tangled up in all the patterns. Such a fun way to tell a story of a time and place!
So much of what I’ve learned about drawing and painting and dancing and playing music has been a process of imagining myself in the body of the master . . . trying to hold a pen or leg or hand in the same way, watching and feeling and listening from the inside. Almost an Alice in Wonderland leap into another perception.
One of my current master teachers is a two year old boy across the street who soaks up everything in his environment, interacts with it, seeks to understand it with all his senses, and never seems to worry about getting it wrong. So I’ll take my cues from him, and above all keep it fun!