Demonstration - Camperdown Creek

REFERENCE PHOTOGRAPH
This scene appealed to me because of its strong tonal contrast, in particular the sunlit sand and tide pools. I often work contre-jour – against the light – as it can add drama, as well as help simplify an otherwise complicated scene. The use of a viewfinder at this point is vital in narrowing the field of vision and creating the right composition. It also helps in deciding what format is best for the purpose: landscape, portrait or square

STAGE ONE
The foundation of a sound drawing gives me the confidence to work freely. I sketched in the initial outline using a 4B pencil and then worked on this using a chisel-tip felt marker pen. The pen work not only indicated the principal darks, but also defined the basic drawing. This is important, as when the charcoal is applied over the drawing at the next stage the pencil lines will become indiscernible.

STAGE TWO
Using charcoal on its side I applied the mid-tones for the buildings, boats and reflections. I blended this with my finger, adding further darks with the tip of the charcoal. I was determined to keep the background simple, so I was not afraid to edit the complexities of the scene.

STAGE THREE
To reinstate the lighter areas in the buildings and on the boat, I lifted off areas of the charcoal with a putty eraser. Hard and soft erasers are useful tools and should also be viewed as contributing positively to a sketch, rather than as a way of eradicating mistakes.

STAGE FOUR
Further details were added with a ballpoint pen and a black Conté crayon, on its tip for the ropes and stones and on its side to create the texture for the foreground mud. For the light ropes against the dark hull of the boat I used a white Conté pencil.

FINISHED SKETCH