I have mentioned it a few times over the last year of posts, and I have even posted a few modest samples, but I have a slow burning fascination with sketching that has kindled into something more since I’ve been spending so much time at home longing to travel.
In particular #urbansketching has wrapped a watercoloured claw around my heart (and jabbed it with a few sharpened pencils for good measure) and I find myself looking for local subjects as much as flipping through old photography looking for buildings, scenes, architecture, and adventure moments to turn into ink and paint doodles.
Urban sketching is the name of a subset of artistic pursuits usually narrowed to the specific time and attention given to capturing an object or space filled with people and buildings and life and city emotion. It is meant to be quick and rough and in the moment and replace the act of wandering through an urban space clicking countless snapshots into one’s phone with the deliberate action of pausing for long enough to draw a scene with pencil, ink, colour, or one’s medium of choice.
I try. Frequently. I’m admittedly mediocre.
But I am working and practicing and thinking the types of thoughts that I hope will come together into being much better.
What do you want
to learn in 2022?
There is a short list of things I need to focus on over the next year as I improve my sketching skillset and move towards the next level of artistic expression. As I see it, these things are:
1) Finding my own style.
I actually kinda thought this would come to me as a simple act of rote practice, but not only has a style not found me in my numerous pages of scribbles and sketches, I think the lack of a style is starting to creep into what I have drawn as a kind of looming sloppiness.
This is not self-depricating criticism. It’s just a trend I’ve noticed. That in the gaps where I don’t know what kind of deliberate line to draw to fill a space, I make something up. A personal style would inform that and steer me clear of the messy scribbles approach.
Style is a you-know-it-when-you-see-it thing, ineffible but simultanously it jumps off the page when it is done right.
I need to find mine next year because it doesn’t seem to be looking for me.
2) Working in partnership with the colours.
My wife bought me a new set of twenty-four watercolours for my birthday last month and I dug in and was immediately slapping shades onto the page to see how things looked and worked and made the sketch pop with double the number of hues.
I love the set, but I don’t think it has done me any favours. My sketches have just become a little bit more muddled. Why? Because I’m not painting with the colours that need, want, yearn to be part of the picture. Rather the literal science-technology nerd in me is transcribing the colors of the scene directly into the page.
I’m neither good at that, nor is that art. It’s this photographer guy trying to replicate something in front of his eyes with a brush and a smattering of pigments.
I recognize this as a flaw in my approach and that thinking about a cohesive palette that evokes a vibe of the scene or object is far more important that getting the right shade of green for that tree in the background.
3) Seeing.
Similarly to how I’ve tended to regard colour, I’ve always thought of myself as a reasonable photographer because I have a well-tuned sense of composition that has aided me in a way that has led to nice pictures.
I have been working on changing my perspective already, but in 2022 I need to open my eyes a little wider and examine the world like a sketch artist, rather than a guy with a camera lens… at least when I’m attempting to draw that world.
Composing a sketch on the page is a bit like framing a photograph in the viewfinder, but with a different set of tools and a completely different objective. The point of a photo is often to replicate an object or scene with clear focus, to represent it in a way that is true and clear. Alternatively, the point of sketch is often to create a model of an object or scene by use of abstraction, to use shapes and colour to trick the eye into seeing a re-creation of a simplified essence of that and to convey what the artist wanted to purposefully move from the reality of that object or scene into a feeling of the same upon the page.
I’m still thinking too much like a photographer.
4) Letting go of the literal.
And while that overthinking photographer guy struggles to see the world as a sketchable space, looking for the lines and shapes of reality and unravelling it all, in that effort is also a search for the metaphor of the art.
I’ve spent too much time enviously looking at “good” art that faithfully represents something, and while skill is a noble purpose and often a milestone towards achieving all these things I’m writing about, it is just one path.
I don’t know what the alternative path is, but I think it is shaded by experimenting, practice, and dabbling in all these things I’ve been writing about. It’s a mash up of all these points: a style, evoking feelings through colours, and seeing what’s in the scene but also what is inside and through and beyond the scene yet needs to find a way onto the page.
In 2022 I don’t expect to move from hobbiest suburban sketcher to epic, master artist, but I think I’m at the point in my drawing adventure where I need permission (if only from myself) to let go of the aspriration to draw anything but what makes me happy drawing it.
Learning, after all, never really ends.
Thirty one topics. Thirty one posts. Not exactly a list… but close. In December I like to look back on the year that was. My daily posts in December-ish are themed-ish and may contain spoilers set against the backdrop of some year-end-ish personal exposition.
