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Life Sketching vs. Studio Montage

February 1, 2015

My video class on Sketching People in Motion is in full swing. Which means I’m getting lots of great questions from students.

The course starts with the basic techniques of speed sketching, followed by tinting in watercolor, and some demonstration of direct watercolor sketching.

In the later lessons, I get into some discussion about ‘reportage’. The practice of using your sketches to document events.

This montage of sketches from the Corning Museum of Glass is one of the more complex examples I talk about near the end of chapter 7. We do an animation showing how it’s put together, but I’ve had a question about it in the class discussion, and I’d like to go into more detail here.

GlassBlowers_Color
GlassBlowers_Color_Crop

I love this kind of drawing. It’s a way to get out into the world and discover things I would otherwise never encounter. [Beekeepers | Rock Climbers | Trial Lawyers | Alzheimers Patients]

To some extent, every sketch done on location is a documentary.  But in these reportage drawings, I’m consciously trying to show a sequence of events. To visually describe a process.

I suppose it’s just part of how I learn. I have a very short attention span. I’m not sure if it’s pathologically short – but it seems to be sometimes. The act of drawing things allows me to slow down. To stay locked into something long enough to try and understand it.

I always feel, when teaching sketching, that there are two things I’m responsible for.

Primarily we’re here to learn the actual skills. That’s what most people are wanting. This is in fact the easy part. Hand skills are just a matter of showing clearly what to do, and tricking the student into a lot of practice.

But secondly, I feel I have to touch on Aspirational Goals. What we are ultimately going to do with this skill.  Fun as it is to simply sketch, with no motivation beyond doing it (Life Drawing) I think we must have, in the back of our minds, a real world application.

Maybe we want to be travel sketchers, seeing the world and reporting in our sketchbooks (sounds great right?). Maybe we want to be investigative journalists, or biographers of great individuals (or all three!). Whatever your goal – the question is – how will you use your sketches to communicate?

Corning_Feild Sketches (2)

I don’t want to actually start quoting the lesson from class. But I do want to show exactly how I did this particular composition.

The heart of the question is Location Sketching vs. Studio Work. How much do you draw on-the-spot, and how much do you finish later.

I firmly believe the best drawings are completed entirely on location. You have 100% of the information you need right there. All the color, composition and detail of real life to choose from. Anything you do after is going to require visual memory (which is a trained skill), or reference material (which is impossible to collect at the same time as sketching – unless your wife is a photographer), or you might even be tempted to fake things (aiee!).  This all means, I prefer to do it right there, beginning to end.

However. There are practical concerns.

I can, and do, bring large sheets of paper on location. My largest field sketches are 18×24″.  The only limit to how wide a view and how many details I can get in, is the size of the board I can carry around all day.  That’s why I’ve started to do diptych’s on location. So I can use two boards, spread open like a sketchbook, and go even larger.

But – when you’re seated in an auditorium, or standing in a small space, or are with an audience of folks who don’t want to be distracted, sometimes you simply have to work on a smaller scale.

The actual original drawings for this montage are done in a Stillman & Birn Epsilon at 6×9″. I’m sketching these as quickly as possible, doing what they call Key Framing (freezing motion).

Corning_Feild Sketches (3)

It is a juggling act between A: what can you see from your vantage, B: what you have time to draw before it’s gone, and C: what you need next to explain the action – what part of the operation is missing? The goal is for every sketch to show something new. Usually, you don’t have time to repeat yourself. Collect information and keep moving. Prioritize – what is the anchoring activity, and what doodles might support it. (Here’s an older example).

Corning_Feild Sketches (1)

Corning_Feild Sketches (4)

Doing all these small sketches allows me great flexibility. I never have to erase – just flip the page. I can do a few very rapid ones, because I know they are going to be in the background, or used as ‘supporting cast’ for the main actors. I can write notes about color or action, that I will erase later.

In my head, I’m already combining them into a collage. The old-school method for the actual combination is to trace your drawings – or transfer with graphite paper. I do this digitally these days, simply because it’s faster. Collage in Photoshop, and print to the final paper.

Nobody regrets the vanishing art of tracing. In fact, mid century illustrators didn’t trace either – people used to physically cut and paste sketches and do large photo prints to paint over. Talk about costly and time consuming. I’d rather take my chances doing it all in one drawing if it came to that. I suppose that is part of why illustration used to be a highly paid career. (I suppose it’s still ok? Will let you know re: that).

Here’s a few steps from the in-class animation showing how all the loose sketchbook pages are combined together:

GlassBlowing_Collage_Progres01

GlassBlowing_Collage_Progres03

GlassBlowing_Collage_Progres07

After that, it’s simply a matter of tinting the drawings. (That’s lesson 4 in the series).

OK! sorry for the long winded post – but I wanted to be able to fully answer the questions that came up. I hope it’s interesting for anyone who is thinking to take their field sketching further – illustration, journalism, fine art – even comics and cinematic story boarding.

~m

15 Comments leave one →
  1. Mili_Fay permalink
    February 1, 2015 12:54 PM

    Thanks for sharing. Just one question, when you combine the drawings in PS, do you print them out before tinting and then scan, or do you tint in PS?

    • February 1, 2015 3:20 PM

      Hey Mili – I print the drawing onto watercolor paper for sure! Just as if I’d drawn it in pencil. Coloring in Photoshop feels very artificial for me now :) I love the effects you can only get in watercolor. I do digital art, but not for fun, just for work :)

  2. February 1, 2015 1:12 PM

    Great post! I am taking the class, too! Love the progression shown here! BTW, was flipping through the newspaper here and while I am not a big sports fan, I was grabbed by the action shots of players. So, I am doing some practice with them…not as exciting as being on a location, but still good practice! I am learning so much from you: book, class and your blog posts all combine…terrific!

  3. MaxTracks permalink
    February 1, 2015 2:22 PM

    My daughter and I visited the Corning Glass Museum a few years ago. Your montage really does capture the fluid motion and well practiced choreography of the glass blowing studio. Any plans to make this montage available as a print on your ETSY store? It’s pure poetry in motion, just lovely!

  4. February 1, 2015 3:14 PM

    Great post, I am also taking the class. Five stars from me. I am already seeing progress in my sketches. Not up to the advance work yet. Taking my time to absorb each step. Now when I open your book I can see what I am learning online. The book has come to life!

  5. anne permalink
    February 1, 2015 3:46 PM

    Really great post, and your reference to Aspirational Goals is so welcome and so needed. Thanks for taking the time and thought to do this.

  6. Pip permalink
    February 1, 2015 5:36 PM

    Hi Marc, Just an add on from that question about printing onto watercolor paper… is that something you can get done at a service bureau like Kinkos then? I know I can’t print onto watercolor paper on my little inkjet printer…

    • February 1, 2015 5:58 PM

      You know, I have never had occasion to try Kinkos – so I would think so, yes, but have not done it myself. You can use any pigment ink printer that feeds paper straight through. That is, a flat bed in and through, not around a set of rollers. That way the heavier paper is no problem.

      • Pip permalink
        February 2, 2015 12:37 AM

        Ok, thanks, good to know :)

  7. February 1, 2015 10:48 PM

    Great post. That really answered my question!

  8. February 4, 2015 1:02 PM

    What printer and paper do you use?

    • February 4, 2015 4:46 PM

      Hey Margaret. We have an Epson 4900 printer, and use the same watercolor paper I would otherwise paint on. Fabriano or Arches lately.

  9. February 13, 2015 4:22 PM

    Reblogged this on yourfavoriteimperfectionist.

  10. Cassandra Epalle permalink
    December 20, 2015 7:33 AM

    This is so interesting. Last night I drew during a theater performance and I feel like I got a bit of this and bits of that. Basically all of the important elements which make up the story and I was considering making it into something a bit more finished. Thank-you for taking the time to write this on your blog. As someone who is still very new to drawing I love the idea of just drawing on location but will try and see if I can take my sketching a little farther.

Trackbacks

  1. Sketching for Collage : Greater than the Sum of it’s Parts | Citizen Sketcher

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