Figure 4: The jetty, St. Aubin’s. Line and wash, 5¾” x 7¾” – figures help to create a sense of scale.

In this article from Leisure Painter May 1989, John Greensmith stirs up our enthusiasm for regular sketching with a sight of his own sketchbooks, overflowing with notes of people and places.

Have you been sketching lately? Did you first make a sketch of that painting? Shall you be taking your sketchbook on holiday? How many times do we hear these words ‘sketch’ or ‘sketchbook’ whenever the subject of art is discussed? I am inclined to believe that they are, perhaps, the most commonly spoken by professional and amateur artists alike in connection with their work.

In this article I wat to express my personal opinions and observations on the subject sketching and give some advice on the factors involved in making a sketch. I would like also to offer some hints on working from photographs in conjunction with sketching.

The long tradition of sketching

The practice of sketching has been going on for a very long time. Indeed, all the great masters had to rely entirely upon their powers of observation which they recorded in the form of sketches. Their sketchbooks are a testimony to this practice. One has only to see the endless sketches made by such masters as Leonardo, Constable, Stubbs and Turner to realise this.

The use of photography

So the practice of sketching has proved beyond doubt that it is the foundation for all that follows. Naturally, the invention of photography in the mid-19th Century has had considerable influence on the practice. Some artists may even feel that photography has replaced the need for sketching. After all, it is far easier and quicker to take a snapshot than to sit, maybe for hours, laboriously sketching away.

On the other hand, some may regard working from photographs as a debased and lazy practice reducing the artist to the level of a copyist. I believe that the photograph is of great help and certainly can be allowed to play an important part in our search for knowledge. I shall deal more thoroughly with this later.

What makes an ideal sketchbook?

To begin, let us consider the size of our sketchbook.

Personally I prefer one which fits comfortably in my pocket, even though this may necessitate having a large pocket.

Sketchbooks sold in art shops usually consist of cartridge paper, which is ideal for most drawing. Because it is not grained one can use either a soft or hard pencil with equal effectiveness, as well as ink pens, felt-tipped pens and crayons.

Often I find it fun to make my own sketchbooks to include varied types of paper. To do this I save off-cuts from large sheets of watercolour paper and cut them to the size required. After folding them, I sew them together through the spine with needle and thread. By sticking a sheet of card to the front and back and some masking tape down the spine I end up with a neat little homemade sketchbook.

Two advantages of this are first that one can choose one’s own paper other than cartridge, such as grained watercolour paper, pastel or tinted.

Observation

When we sketch, we deliberately make a well-observed study.

Ask yourself how many everyday items you can draw convincingly from memory. Though you may drive a car regularly, can you draw the steering wheel or dashboard from memory? Try it! Can you draw a lawnmower from memory? It is a common enough object!

These questions make us realise that despite seeing many things daily we do not observe them in sufficient depth. Once you have made a thorough study of such items you should be able to make a convincing attempt at drawing them from memory. This is what sketching is really about, observing, drawing and memorising.

What to sketch

Figure 3: Passing the train journey, Pencil, 5¾” x 4”.

In deciding what to sketch, much depends upon what is most interesting to you and also upon your particular style of artwork.

For example, if it is usually of a highly finished and detailed nature you will most likely need to use a fine pointed pencil. Alternatively if your work is usually of a loose nature your sketch may look effective executed on a rough-grained paper.

Whatever your motives, remember to tackle your sketching with confidence – and leave your rubber in your pocket! It doesn’t matter if you make errors; correct them by drawing over them.

Keep in mind that while you are sketching you are making notes of information you will most likely require for a future painting. So it is not important if the page looks messy, smudged and full of corrections. In fact, this is a healthy sign because it implies that you have tried to carry out your study with thoroughness and conviction, also with freedom and freshness, qualities so often lacking in finished work.

Don’t be afraid to add little notes, or even a few washes of colour; they are useful in reminding you of details omitted from your sketch.

Figure 1: From the beach, St. Aubin’s. Line and wash 5½” x 15¾” – a double page spread sketch.

Sometimes your drawing needs more space than expected. When this happens continue working on to the adjoining sheet – a double page spread (see figure 1 above).

This was a sketch I made from the beach at St. Aubin’s, in Jersey, during our summer holiday. I often adopt this method for a wide landscape or seascape (see also Figure 2, The Harbour at Rozel Bay, Jersey, below), especially if I am particularly attracted to the width of the vista.

Pen and ink

My favourite sketching implement is an old fountain pen charged with either watered-down ink or watercolour.

Unlike waterproof ink, the water-based inks allow one to soften and merge the lines into an actual watercolour. The inks become an integral part of the watercolour work.

The beauty of using a fountain pen is in not having to carry around bottles of ink. An old pen with a well-worn and springy nib is a delight to use and enables one to express character in the lines.

Also, with a pen one has to be clear and precise, since there is no rubbing out. Confidence is the keynote, so use your pen without fear; work freely and without hesitation.

I repeat, it doesn’t matter if things go wrong, just overdraw to correct mistakes. Failing this, simply have another go on the next sheet.

Figure 2: The Harbour at Rozel Bay, Jersey. Line and wash 5½” x 15¾” – another double-page spread.

Figure drawing

Figure 5: Beach group. Pencil, 5¾” x 7¾” – figures in motion.

I enjoy sketching people, especially in unsuspecting situations. For example, two old men enjoying a pint and a chat in the pub, or a child licking an ice-cream cornet or playing.

I call these topics ‘moments of everyday life’. I might add that they present quite a challenge which I find most interesting.

At school I was taught object drawing and perspective using just a soft pencil and no colour. Later, I was introduced to figure-drawing, so I suppose my love for the human figure was formed then. Much of my work was in pen and ink; we even attempted drawing figures in motion (Figure 5).

Since my introduction to life drawing while a student at art college I have never ceased to be fascinated by the human figure. It is a useful practice to include a figure or two in a landscape. It creates a sense of scale in the picture (Figure 4).

Figure 4: The jetty, St. Aubin’s. Line and wash, 5¾” x 7¾” – figures help to create a sense of scale.

Visual Aid

I would like to now consider the part photography can play in our sketching. I feel sure that had photography existed centuries ago all the great artists would have used it in conjunction with their sketches as a visual aid.

However, it is inadvisable to copy slavishly from a photograph no matter how tempting this may be. When using a photograph for reference one has to be selective in choosing areas which contain details omitted from your sketch.

So, using your camera to snap details which would have taken a considerable time to draw is a sensible practice, useful when working on a new painting. Be wary of shaded parts in a photograph: although they may seem acceptable in photographic form, they can lack the definition essential in a large picture.

Recently a friend showed me an old black and white photograph of men walking alongside a horse and cart down a country lane. My friend had the idea of copying the scene, but upon close scrutiny I saw that the figures appeared as silhouettes, showing no form because they were set against the evening light. Hence details of clothing etc. were totally obscured.

This is a typical example of how, on a small scale, detail can be omitted. But if enlarged to the size of a painting the lack of detail would be disadvantageous.

In conclusion, I can say with some experience that sketching is of paramount importance in observing and obtaining first-hand knowledge. As a bonus, it is good fun and a most exciting adventure.

This article is taken from the May 1989 issue of Leisure Painter