Sổ tay ký họa đô thị mẹo vẽ phóng sự và tư liệu: Phát triển cách tiếp cận sáng tạo của riêng bạn, bất kể kỹ năng của bạn ở cấp độ nào với Sổ tay Phác thảo Đô thị: Vẽ Phóng sự và Tài liệu. Tập thứ ba trong sêri Sổ tay ký họa đô thị, Vẽ phóng sự và phim tài liệu, nói về vẽ như một hình thức báo chí hoặc ghi lại cuộc sống. Điều này bao gồm các sự kiện vẽ như diễu hành, biểu diễn âm nhạc, sự kiện thể thao, bài phát biểu và có thể bao gồm mọi thứ từ các sự kiện chính trị đáng chú ý đến các cuộc phiêu lưu trong ngày đơn giản. Đó là về việc chú ý đến môi trường xung quanh bạn và kể câu chuyện đó thông qua các bản phác thảo của bạn. Nghệ sĩ Veronica Lawlor giải thích cách sử dụng nghệ thuật để tìm và kể những câu chuyện xung quanh bạn. Từ báo chí trực quan đến đơn giản là chia sẻ trải nghiệm cảm xúc của bạn về một địa điểm, người vẽ minh họa cho phóng sự luôn có điều gì đó để nói với khán giả của họ. Giống như có tất cả các thể loại truyện kể, bí ẩn, kinh dị, lãng mạn tập này của sêri Cẩm nang Phác thảo Đô thị nhắc nhở các nghệ sĩ, người vẽ phác thảo, người vẽ nguệch ngoạc và người vẽ tranh minh họa rằng có tất cả các thể loại câu chuyện bằng hình ảnh đang chờ được kể. Và bước tiếp theo là đi ra ngoài và nói với họ Một số khái niệm chính được khám phá trong tập này là: Quan sát Bối cảnh Lịch sử Nghi thức Hiểu biết Kể chuyện Kịch Tài liệu
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REPORTAGE AND DOCUMENTARY DRAWING
Tips and Techniques for Drawing on Location
THE URBAN SKETCHING HANDBOOK
VERONICA LAWLOR
© 2016 Quarto Publishing Group USA Inc
Illustrations © Individual Artists
First published in the United States of America in 2016 by
Quarry Books, an imprint of
Quarto Publishing Group USA Inc
Visit our blogs ar QuartoKnows.com
All rights reserved No part of this book may be reproduced in any
form without written permission of the copyright owners All images
in this book have been reproduced with the knowledge and prior
consent of the artists concerned, and no responsibility is accepted by
the producer, publisher, or printer for any infringement of copyright or
otherwise, arising from the contents of this publication Every effort has
been made to ensure that credits accurately comply with information
supplied We apologize for any inaccuracies that may have occurred
and will resolve inaccurate or missing information in a subsequent
reprinting of the book
Page Layout: Studioink.co.uk
Cover images: Old Havana, Cuba, Veronica Lawlor, Pen and ink,
watercolor, oil crayon, pastel, (front); Travers Park, Veronica Lawlor,
Fountain pen, marker, and Prismacolor pencil, (back)
Tokyo Vendor, Veronica Lawlor, Pen and ink with brush, (opposite)
REPORTAGE AND DOCUMENTARY DRAWING
Tips and Techniques for Drawing on Location
THE URBAN SKETCHING HANDBOOK
VERONICA LAWLOR
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
REPORTAGE AND DOCUMENTARY DRAWING
Tips and Techniques for Drawing on Location
THE URBAN SKETCHING HANDBOOK
VERONICA LAWLOR
© 2016 Quarto Publishing Group USA Inc
Illustrations © Individual Artists
First published in the United States of America in 2016 by
Quarry Books, an imprint of
Quarto Publishing Group USA Inc
Visit our blogs ar QuartoKnows.com
All rights reserved No part of this book may be reproduced in any
form without written permission of the copyright owners All images
in this book have been reproduced with the knowledge and prior
consent of the artists concerned, and no responsibility is accepted by
the producer, publisher, or printer for any infringement of copyright or
otherwise, arising from the contents of this publication Every effort has
been made to ensure that credits accurately comply with information
supplied We apologize for any inaccuracies that may have occurred
and will resolve inaccurate or missing information in a subsequent
reprinting of the book
Page Layout: Studioink.co.uk
Cover images: Old Havana, Cuba, Veronica Lawlor, Pen and ink,
watercolor, oil crayon, pastel, (front); Travers Park, Veronica Lawlor,
Fountain pen, marker, and Prismacolor pencil, (back)
Tokyo Vendor, Veronica Lawlor, Pen and ink with brush, (opposite)
REPORTAGE AND DOCUMENTARY DRAWING
Tips and Techniques for Drawing on Location
THE URBAN SKETCHING HANDBOOK
VERONICA LAWLOR
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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(Text)
About This Series
With just a few simple art tools and a small sketchbook, you too can become
an urban sketcher—someone who goes out and captures his or her city
or neighborhood through drawings As you work you may find yourself
drawn to reportage—a kind of visual journalism—through your sketches.
But whether you are a beginner or someone who has been drawing on
location for a while, you may find that there are so many different things
happening in your neighborhood that you don’t quite know how to decide
what to cover with your drawings Or conversely, you might feel like there
is nothing special enough to capture in your sketchbook.
This book, part of the Urban Sketching Handbook series, is a guide on how
to find sketch-worthy events and situations, both large and small Through
key ideas and examples, the Urban Sketching Handbook: Reportage and
Documentary Drawing will give you points of departure for creating reportage
drawings of your surroundings, while at the same time improving your skills
of drawing and observation.
Amsterdam Windmill
Pen and ink with brush
12" x 9" / 30.5 x 23 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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(Text)
About This Series
With just a few simple art tools and a small sketchbook, you too can become
an urban sketcher—someone who goes out and captures his or her city
or neighborhood through drawings As you work you may find yourself
drawn to reportage—a kind of visual journalism—through your sketches.
But whether you are a beginner or someone who has been drawing on
location for a while, you may find that there are so many different things
happening in your neighborhood that you don’t quite know how to decide
what to cover with your drawings Or conversely, you might feel like there
is nothing special enough to capture in your sketchbook.
This book, part of the Urban Sketching Handbook series, is a guide on how
to find sketch-worthy events and situations, both large and small Through
key ideas and examples, the Urban Sketching Handbook: Reportage and
Documentary Drawing will give you points of departure for creating reportage
drawings of your surroundings, while at the same time improving your skills
of drawing and observation.
CONTENTS
About This Series 04 Introduction 07
KEYS
I Observation 09
II Storytelling 21
III Drama 33
IV Ritual 45
V History 57
VI Documentary 67
GALLERIES I Advocacy 81
II Portraits 91
III Landscapes and Panoramics 97
IV Mood and Emotion 105
Challenges 110 Contributors 111 Acknowledgments 112 About the Author 112
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DTP: 229 Page: 4
(Text)
About This Series
With just a few simple art tools and a small sketchbook, you too can become
an urban sketcher—someone who goes out and captures his or her city
or neighborhood through drawings As you work you may find yourself
drawn to reportage—a kind of visual journalism—through your sketches.
But whether you are a beginner or someone who has been drawing on
location for a while, you may find that there are so many different things
happening in your neighborhood that you don’t quite know how to decide
what to cover with your drawings Or conversely, you might feel like there
is nothing special enough to capture in your sketchbook.
This book, part of the Urban Sketching Handbook series, is a guide on how
to find sketch-worthy events and situations, both large and small Through
key ideas and examples, the Urban Sketching Handbook: Reportage and
Documentary Drawing will give you points of departure for creating reportage
drawings of your surroundings, while at the same time improving your skills
of drawing and observation.
Amsterdam Windmill
Pen and ink with brush
12" x 9" / 30.5 x 23 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
44_08-AC74164 DTP: 229 Page: 4
(Text)
About This Series
With just a few simple art tools and a small sketchbook, you too can become
an urban sketcher—someone who goes out and captures his or her city
or neighborhood through drawings As you work you may find yourself
drawn to reportage—a kind of visual journalism—through your sketches.
But whether you are a beginner or someone who has been drawing on
location for a while, you may find that there are so many different things
happening in your neighborhood that you don’t quite know how to decide
what to cover with your drawings Or conversely, you might feel like there
is nothing special enough to capture in your sketchbook.
This book, part of the Urban Sketching Handbook series, is a guide on how
to find sketch-worthy events and situations, both large and small Through
key ideas and examples, the Urban Sketching Handbook: Reportage and
Documentary Drawing will give you points of departure for creating reportage
drawings of your surroundings, while at the same time improving your skills
of drawing and observation.
CONTENTS
About This Series 04 Introduction 07
KEYS
I Observation 09
II Storytelling 21
III Drama 33
IV Ritual 45
V History 57
VI Documentary 67
GALLERIES I Advocacy 81
II Portraits 91
III Landscapes and Panoramics 97
IV Mood and Emotion 105
Challenges 110 Contributors 111 Acknowledgments 112 About the Author 112
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“to carry back.” Carry back—this is a wonderful explanation of reportage,
especially as it relates to urban sketching To do reportage illustration or documentary drawing, then, means to go out into the world and carry back what we experience behind our pen or brush What artists will carry back is,
of course, determined not only by what places and situations confront them, but also by what they feel passionate about while they are being confronted For some artists, the political world is their passion: These sketchers would
be most likely found in the midst of a demonstration, at the courthouse, or
at a national convention For other artists, the carry back might be a more ephemeral, emotional experience: a beautiful day at a garden, a child’s birthday party, or a rainy afternoon spent people watching at a local café
The possibilities are as varied as the artists What really counts is the artist’s
intent More than simply recording what our eyes see, reportage illustration,
sometimes called visual journalism, is also about what the mind and heart see
and take note of, and the story the artist wants to tell
And how do you make those stories your own? By practicing intent: go to
a location and spend time making observations, and then draw what you’ve observed What would you want to tell someone about what you saw, heard, felt? The more you think in terms of communicating with your urban sketches, the more natural it will be for you to create reportage The goal of this handbook is
to give you some tips and things to consider while drawing on location, as well
as some examples to inspire you
Just as there are all types of written stories to be told, this issue of the Urban
Sketching Handbook series reminds the reader that there are all types of visual
stories to tell And the next step is to go out and tell them!
ÃThis drawing of a corner near Fisherman’s Wharf in San
Francisco combines many descriptive elements of the city: the
iconic cable cars and Victorian architecture, the urban bustle of
people walking and riding bicycles, and the traffic signals, all on
a typical tree-lined hilly street
San Francisco Corner Pen and ink on paper 9" x 12" / 23 x 30.5 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
“to carry back.” Carry back—this is a wonderful explanation of reportage,
especially as it relates to urban sketching To do reportage illustration or documentary drawing, then, means to go out into the world and carry back what we experience behind our pen or brush What artists will carry back is,
of course, determined not only by what places and situations confront them, but also by what they feel passionate about while they are being confronted For some artists, the political world is their passion: These sketchers would
be most likely found in the midst of a demonstration, at the courthouse, or
at a national convention For other artists, the carry back might be a more ephemeral, emotional experience: a beautiful day at a garden, a child’s birthday party, or a rainy afternoon spent people watching at a local café
The possibilities are as varied as the artists What really counts is the artist’s
intent More than simply recording what our eyes see, reportage illustration,
sometimes called visual journalism, is also about what the mind and heart see
and take note of, and the story the artist wants to tell
And how do you make those stories your own? By practicing intent: go to
a location and spend time making observations, and then draw what you’ve observed What would you want to tell someone about what you saw, heard, felt? The more you think in terms of communicating with your urban sketches, the more natural it will be for you to create reportage The goal of this handbook is
to give you some tips and things to consider while drawing on location, as well
as some examples to inspire you
Just as there are all types of written stories to be told, this issue of the Urban
Sketching Handbook series reminds the reader that there are all types of visual
stories to tell And the next step is to go out and tell them!
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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“to carry back.” Carry back—this is a wonderful explanation of reportage,
especially as it relates to urban sketching To do reportage illustration or documentary drawing, then, means to go out into the world and carry back what we experience behind our pen or brush What artists will carry back is,
of course, determined not only by what places and situations confront them, but also by what they feel passionate about while they are being confronted For some artists, the political world is their passion: These sketchers would
be most likely found in the midst of a demonstration, at the courthouse, or
at a national convention For other artists, the carry back might be a more ephemeral, emotional experience: a beautiful day at a garden, a child’s birthday party, or a rainy afternoon spent people watching at a local café
The possibilities are as varied as the artists What really counts is the artist’s
intent More than simply recording what our eyes see, reportage illustration,
sometimes called visual journalism, is also about what the mind and heart see
and take note of, and the story the artist wants to tell
And how do you make those stories your own? By practicing intent: go to
a location and spend time making observations, and then draw what you’ve observed What would you want to tell someone about what you saw, heard, felt? The more you think in terms of communicating with your urban sketches, the more natural it will be for you to create reportage The goal of this handbook is
to give you some tips and things to consider while drawing on location, as well
as some examples to inspire you
Just as there are all types of written stories to be told, this issue of the Urban
Sketching Handbook series reminds the reader that there are all types of visual
stories to tell And the next step is to go out and tell them!
ÃThis drawing of a corner near Fisherman’s Wharf in San
Francisco combines many descriptive elements of the city: the
iconic cable cars and Victorian architecture, the urban bustle of
people walking and riding bicycles, and the traffic signals, all on
a typical tree-lined hilly street
San Francisco Corner Pen and ink on paper
“to carry back.” Carry back—this is a wonderful explanation of reportage,
especially as it relates to urban sketching To do reportage illustration or documentary drawing, then, means to go out into the world and carry back what we experience behind our pen or brush What artists will carry back is,
of course, determined not only by what places and situations confront them, but also by what they feel passionate about while they are being confronted For some artists, the political world is their passion: These sketchers would
be most likely found in the midst of a demonstration, at the courthouse, or
at a national convention For other artists, the carry back might be a more ephemeral, emotional experience: a beautiful day at a garden, a child’s birthday party, or a rainy afternoon spent people watching at a local café
The possibilities are as varied as the artists What really counts is the artist’s
intent More than simply recording what our eyes see, reportage illustration,
sometimes called visual journalism, is also about what the mind and heart see
and take note of, and the story the artist wants to tell
And how do you make those stories your own? By practicing intent: go to
a location and spend time making observations, and then draw what you’ve observed What would you want to tell someone about what you saw, heard, felt? The more you think in terms of communicating with your urban sketches, the more natural it will be for you to create reportage The goal of this handbook is
to give you some tips and things to consider while drawing on location, as well
as some examples to inspire you
Just as there are all types of written stories to be told, this issue of the Urban
Sketching Handbook series reminds the reader that there are all types of visual
stories to tell And the next step is to go out and tell them!
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8 | Reportage and Documentary Drawing
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Think about the large and the small view, the iconic and the known parts of a place Observe the architecture, the people, the patterns, the colors, and the movement What is the overall impression you get? This is what you want to record and bring back
lesser-to show others Every place has its own feeling or vibe; it’s there if you take the time to find it.
Traveling is a great excuse to practice reportage drawing—you explore a place so much more when you are drawing it But you can practice these same kinds of observational skills closer to home
You might be surprised by what is sitting right in your own backyard
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8 | Reportage and Documentary Drawing
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Think about the large and the small view, the iconic and the known parts of a place Observe the architecture, the people, the patterns, the colors, and the movement What is the overall impression you get? This is what you want to record and bring back
lesser-to show others Every place has its own feeling or vibe; it’s there if you take the time to find it.
Traveling is a great excuse to practice reportage drawing—you explore a place so much more when you are drawing it But you can practice these same kinds of observational skills closer to home
You might be surprised by what is sitting right in your own backyard
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When traveling as an artist, be sure to observe and
document the landmarks or major tourist attractions
of a location Every place has them, and they can
anchor your reportage Plus, the local residents
are proud of their monuments, so this shows some
respect for their home Don’t neglect to document
the landmarks of your own hometown either.
ÃDon’t hesitate to include people in your drawings
of landmarks, to indicate scale New York City’s Times Square was teeming with characters to draw
Times Square 3 Pen and ink, colored pencil, and pastel on paper 9" x 12" / 23.5 x 30.5 cm
ÃTia Boon Sim’s energetic drawing of Wat Pho in Bangkok breathes life into the architecture Feel free to take some artistic liberties when drawing well-known landmarks; this gives the drawing your personal touch
TIA BOON SIM
Wat Pho Ink and watercolor on paper 8” x 16” | 20.3 x 40.6 cm
ÂLandmarks are not just limited to man-made structures
An extreme viewpoint of a classic can be interesting, as
in Tommy Kane’s bird’s-eye view of Machu Picchu
TOMMY KANE
Machu Picchu Black Uni-ball pen, watercolors, and Prismacolor pencils on Windsor Newton, Cotman
140 lb watercolor block 10" x 14" / 25.4 x 35.6 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Times Square 3 Pen and ink, colored pencil, and pastel on paper 9" x 12" / 23.5 x 30.5 cm
ÃTia Boon Sim’s energetic drawing of Wat Pho in Bangkok breathes life into the architecture Feel free to take some artistic liberties when drawing well-known landmarks; this gives the drawing your personal touch
TIA BOON SIM
Wat Pho Ink and watercolor on paper 8” x 16” | 20.3 x 40.6 cm
ÂLandmarks are not just limited to man-made structures
An extreme viewpoint of a classic can be interesting, as
in Tommy Kane’s bird’s-eye view of Machu Picchu
TOMMY KANE
Machu Picchu Black Uni-ball pen, watercolors, and Prismacolor pencils on Windsor Newton, Cotman
140 lb watercolor block 10" x 14" / 25.4 x 35.6 cm
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When traveling as an artist, be sure to observe and
document the landmarks or major tourist attractions
of a location Every place has them, and they can
anchor your reportage Plus, the local residents
are proud of their monuments, so this shows some
respect for their home Don’t neglect to document
the landmarks of your own hometown either.
ÃDon’t hesitate to include people in your drawings
of landmarks, to indicate scale New York City’s Times
Square was teeming with characters to draw
Times Square 3 Pen and ink, colored pencil,
and pastel on paper 9" x 12" / 23.5 x 30.5 cm
ÃTia Boon Sim’s energetic drawing of Wat Pho in Bangkok breathes life into the architecture Feel free to take some artistic liberties when drawing well-known landmarks; this gives the drawing your personal touch
TIA BOON SIM
Wat Pho Ink and watercolor on paper 8” x 16” | 20.3 x 40.6 cm
ÂLandmarks are not just limited to man-made structures
An extreme viewpoint of a classic can be interesting, as
in Tommy Kane’s bird’s-eye view of Machu Picchu
TOMMY KANE
Machu Picchu Black Uni-ball pen, watercolors, and Prismacolor pencils on Windsor Newton, Cotman
140 lb watercolor block 10" x 14" / 25.4 x 35.6 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Square was teeming with characters to draw
Times Square 3 Pen and ink, colored pencil,
and pastel on paper 9" x 12" / 23.5 x 30.5 cm
ÃTia Boon Sim’s energetic drawing of Wat Pho in Bangkok breathes life into the architecture Feel free to take some artistic liberties when drawing well-known landmarks; this gives the drawing your personal touch
TIA BOON SIM
Wat Pho Ink and watercolor on paper 8” x 16” | 20.3 x 40.6 cm
ÂLandmarks are not just limited to man-made structures
An extreme viewpoint of a classic can be interesting, as
in Tommy Kane’s bird’s-eye view of Machu Picchu
TOMMY KANE
Machu Picchu Black Uni-ball pen, watercolors, and Prismacolor pencils on Windsor Newton, Cotman
140 lb watercolor block 10" x 14" / 25.4 x 35.6 cm
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Observing these little slices of life can become
a big part of the overall story.
ÁIt's not always necessary
to take the front view, as illustrated by Suhita Shirodkar’s interesting angle on this farmstand The produce is as important to this reportage illustration as the people
SUHITA SHIRODKAR
Farmers’ Market Bounty Watercolor, pen and ink 7” x 9” / 17.8 x 23 cm
ÃIt helps to find people engaged in an activity, like the men that
Isabel Fiadeiro drew playing checkers This gives you time to move
around and draw from several points of view Notice the languid
postures of the players; this is clearly a relaxing activity and part of
the daily social life of the Medina neighborhood of Nouakchott
ISABEL FIADEIRO
Checker Players at Medina Pen and watercolor on paper 8½" x 6" / 21.6 x 15 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Observing these little slices of life can become
a big part of the overall story.
ÁIt's not always necessary
to take the front view, as illustrated by Suhita Shirodkar’s interesting angle on this farmstand The produce is as important to this reportage illustration as the people
SUHITA SHIRODKAR
Farmers’ Market Bounty Watercolor, pen and ink 7” x 9” / 17.8 x 23 cm
ÄFood markets can be a good place to discover the daily life of a neighborhood,
as evidenced by the different people moving in and out
of this vegetable market in San Francisco’s Chinatown district Draw in one place for a while, to observe the comings and goings
Vegetable Market
in Chinatown Pen and watercolor and oil crayon on Canson paper 14" x 11" / 35.6 x 28 cm
ISABEL FIADEIRO
Checker Players at Medina Pen and watercolor on paper 8½" x 6" / 21.6 x 15 cm
Workshop
On your next family vacation, take an afternoon alone to draw Visit the local food market of the town you are visiting, and document not only the people and place, but also what kind of food is being bought and sold
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Observing these little slices of life can become
a big part of the overall story.
ÁIt's not always necessary
to take the front view, as illustrated by Suhita Shirodkar’s
interesting angle on this farmstand The produce is as
important to this reportage illustration as the people
SUHITA SHIRODKAR
Farmers’ Market Bounty Watercolor, pen and ink
7” x 9” / 17.8 x 23 cm
ÃIt helps to find people engaged in an activity, like the men that
Isabel Fiadeiro drew playing checkers This gives you time to move
around and draw from several points of view Notice the languid
postures of the players; this is clearly a relaxing activity and part of
the daily social life of the Medina neighborhood of Nouakchott
Observing these little slices of life can become
a big part of the overall story.
ÁIt's not always necessary
to take the front view, as illustrated by Suhita Shirodkar’s
interesting angle on this farmstand The produce is as
important to this reportage illustration as the people
as evidenced by the different people moving in and out
of this vegetable market in San Francisco’s Chinatown district Draw in one place for a while, to observe the comings and goings
Vegetable Market
in Chinatown Pen and watercolor and oil crayon on Canson paper 14" x 11" / 35.6 x 28 cm
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14 | Reportage and Documentary Drawing
ÁDon’t hesitate to observe one person for a while, as Inma Serrano did with this little girl doing her homework Making more than one drawing of a person can reveal a lot
INMA SERRANO
Homework Liquid Vallejo red watercolor, Pentel brush pen, Uni Pin 0.2 mm
in a Stillman & Birn sketchbook 10" x 16" / 25.4 x 40.6 cm
ÄNotice how these men are sleeping, trying to make the most of the cramped space of
a third class car in an sian train Body language can tell so much of the story
Indone-DHAR CEIndone-DHARR
Third-Class Passenger Train Kenko Hi-TECH-H Gel Pen #0.28 and Cotman watercolors on Moleskine
7" x 5" / 18 x 12.7 cm
People Watching
People are perhaps the most important ingredient
of any observation of place How do they occupy the space? What is their body language? How do they interact with each other? Do they have certain kinds of facial expressions? Clothing? How do they relate to their children, their older people? All of these things can vary from one location to another,
so you need to get a bit curious about the people you are drawing.
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
INMA SERRANO
Homework Liquid Vallejo red watercolor, Pentel brush pen, Uni Pin 0.2 mm
in a Stillman & Birn sketchbook 10" x 16" / 25.4 x 40.6 cm
ÄNotice how these men are sleeping, trying to make the most of the cramped space of
a third class car in an sian train Body language can tell so much of the story
Indone-DHAR CEIndone-DHARR
Third-Class Passenger Train Kenko Hi-TECH-H Gel Pen #0.28 and Cotman watercolors on Moleskine
7" x 5" / 18 x 12.7 cm
People Watching
People are perhaps the most important ingredient
of any observation of place How do they occupy the space? What is their body language? How do they interact with each other? Do they have certain kinds of facial expressions? Clothing? How do they relate to their children, their older people? All of these things can vary from one location to another,
so you need to get a bit curious about the people you are drawing.
ÃNote who is talking in this scene, and who has everyone’s attention See whether you can guess the gist of the conversation when drawing a group like this Small details of body language matter, too: Look
at the moving foot of the younger woman in the center
of the bench Perhaps she is bored by the gossip
Dominican Matriarchs Pen and sepia and black ink with wash on Canson paper 14" x 11" / 35.6 x 28 cm
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14 | Reportage and Documentary Drawing
ÁDon’t hesitate to observe one person for a while, as Inma
Serrano did with this little girl doing her homework Making
more than one drawing of a person can reveal a lot
INMA SERRANO
Homework Liquid Vallejo red watercolor,
Pentel brush pen, Uni Pin 0.2 mm
in a Stillman & Birn sketchbook 10" x 16" / 25.4 x 40.6 cm
ÄNotice how these men are sleeping, trying to make the
most of the cramped space of
a third class car in an sian train Body language can
Indone-tell so much of the story
People are perhaps the most important ingredient
of any observation of place How do they occupy the space? What is their body language? How do they interact with each other? Do they have certain kinds of facial expressions? Clothing? How do they relate to their children, their older people? All of these things can vary from one location to another,
so you need to get a bit curious about the people you are drawing.
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Pentel brush pen, Uni Pin 0.2 mm
in a Stillman & Birn sketchbook 10" x 16" / 25.4 x 40.6 cm
ÄNotice how these men are sleeping, trying to make the
most of the cramped space of
a third class car in an sian train Body language can
Indone-tell so much of the story
People are perhaps the most important ingredient
of any observation of place How do they occupy the space? What is their body language? How do they interact with each other? Do they have certain kinds of facial expressions? Clothing? How do they relate to their children, their older people? All of these things can vary from one location to another,
so you need to get a bit curious about the people you are drawing.
ÃNote who is talking in this scene, and who has everyone’s attention See whether you can guess the gist of the conversation when drawing a group like this Small details of body language matter, too: Look
at the moving foot of the younger woman in the center
of the bench Perhaps she is bored by the gossip
Dominican Matriarchs Pen and sepia and black ink with wash on Canson paper 14" x 11" / 35.6 x 28 cm
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There are certain
places that are just
known for certain
things It may seem like
a stereotype, but if you
were to think of your
biggest association
with a place, chances
are what you think of
would qualify as an
“iconic scene.” An
icon is an image that
symbolizes something,
and these kinds of
scenes can give a
snapshot of a cultural
norm, attitude, or
typical event
ÂFall in Venice brings the
season of acqua alta, or the
floods in the city Margaret
Hurst aptly captures the
crowds of people walking
on thin boardwalks through
the watery streets Look for
situations that combine the
unusual with the everyday
MARGARET HURST
Acqua Alta in Venice
Pen and ink with wash
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There are certain
places that are just
known for certain
things It may seem like
a stereotype, but if you
were to think of your
biggest association
with a place, chances
are what you think of
would qualify as an
“iconic scene.” An
icon is an image that
symbolizes something,
and these kinds of
scenes can give a
snapshot of a cultural
norm, attitude, or
typical event
ÂFall in Venice brings the
season of acqua alta, or the
floods in the city Margaret
Hurst aptly captures the
crowds of people walking
on thin boardwalks through
the watery streets Look for
situations that combine the
unusual with the everyday
MARGARET HURST
Acqua Alta in Venice
Pen and ink with wash
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ÄEvan Turk braved the sometimes not-so-pleasant odors of
a rooftop leather tannery to document this traditional craft of
Morocco Men work in giant vats set into building rooftops, scraping,
treating, and dyeing the animal skins amid noxious chemicals
EVAN TURK
Leather Tannery in Fes
Watercolor, colored graphite, sepia pen and ink
14" x 11" / 35.6 x 28 cm
ÁMen work in the tannery
to prepare the skins for scraping It’s a good idea
to show an overall view
of something as well as a closer view for more specific information, as Evan does with these two drawings
EVAN TURK
Leather Tannery:
Scraping Skins Watercolor, colored graphite, sepia pen and ink 7" x 5" / 17.8 x 12.7 cm
18 | Reportage and Documentary Drawing
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
ÁMen work in the tannery
to prepare the skins for scraping It’s a good idea
to show an overall view
of something as well as a closer view for more specific information, as Evan does with these two drawings
EVAN TURK
Leather Tannery:
Scraping Skins Watercolor, colored graphite, sepia pen and ink 7" x 5" / 17.8 x 12.7 cm
ÃPachinko is an arcade game that’s like a cross between a slot and a pinball machine It is popular in Tokyo, where it is played by black-suited businessmen all over the city These two men were so absorbed in their game that they never even noticed me drawing them
Pachinko Pen and brush 9" x 7" / 23 x 17.8 cm
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ÄEvan Turk braved the sometimes not-so-pleasant odors of
a rooftop leather tannery to document this traditional craft of
Morocco Men work in giant vats set into building rooftops, scraping,
treating, and dyeing the animal skins amid noxious chemicals
EVAN TURK
Leather Tannery in Fes
Watercolor, colored graphite, sepia pen and ink
14" x 11" / 35.6 x 28 cm
ÁMen work in the tannery
to prepare the skins for scraping It’s a good idea
to show an overall view
of something as well as a closer view for more specific
information, as Evan does with these two drawings
EVAN TURK
Leather Tannery:
Scraping Skins Watercolor, colored graphite,
sepia pen and ink 7" x 5" / 17.8 x 12.7 cm
18 | Reportage and Documentary Drawing
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
ÁMen work in the tannery
to prepare the skins for scraping It’s a good idea
to show an overall view
of something as well as a closer view for more specific
information, as Evan does with these two drawings
EVAN TURK
Leather Tannery:
Scraping Skins Watercolor, colored graphite,
sepia pen and ink 7" x 5" / 17.8 x 12.7 cm
ÃPachinko is an arcade game that’s like a cross between a slot and a pinball machine It is popular in Tokyo, where it is played by black-suited businessmen all over the city These two men were so absorbed in their game that they never even noticed me drawing them
Pachinko Pen and brush 9" x 7" / 23 x 17.8 cm
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When we use the word storytelling, we tend to think of blockbuster
Hollywood movies or epic Victorian novels We don’t tend to think about our day at the market, or doing the laundry, or walking the dog But, really, what makes a good story? Interesting people, situations, a little humor, and perhaps some theatrics will give you a good start Do you find facts interesting, or are you more involved with emotions? What about your opinions on things?
The truth is, stories are all around us, if we start paying attention
If you were to call your best friend tonight and tell him or her about your day, what events would you talk about? And how would you
describe them? Those are your stories And if you start drawing them
too, then you’re well on your way to storytelling with your art
Women in the Tuileries Fountain pen, brush pen, and graphite 13¾" x 8¼" / 35 x 21 cm
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When we use the word storytelling, we tend to think of blockbuster
Hollywood movies or epic Victorian novels We don’t tend to think about our day at the market, or doing the laundry, or walking the dog But, really, what makes a good story? Interesting people, situations, a little humor, and perhaps some theatrics will give you a good start Do you find facts interesting, or are you more involved with emotions? What about your opinions on things?
The truth is, stories are all around us, if we start paying attention
If you were to call your best friend tonight and tell him or her about your day, what events would you talk about? And how would you
describe them? Those are your stories And if you start drawing them
too, then you’re well on your way to storytelling with your art
Women in the Tuileries Fountain pen, brush pen, and graphite 13¾" x 8¼" / 35 x 21 cm
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22 | Reportage and Documentary Drawing
Look for Stories
When your are out on location drawing, don’t hesitate to talk to people: You never know what stories they have to tell Develop
a sense of curiosity and a habit of asking questions Following up with a chance encounter made on site may lead you into
an entire series of work
LAPIN
Cadillac Uni Pin 0.1mm and watercolor
on old accounting paper 8¼" x 6" / 21 x 15 cm
ÃFrench illustrator Lapin always includes a vintage car
some-where in his sketchbook While drawing this old Cadillac during
a visit to Portland, Oregon, he began chatting with its owner,
Willie He then drew a portrait of this Korean war veteran and
barbershop proprietor, turning the drawing of the old Cadillac
into a story Following up with people like this can create a
whole world of reportage Don’t be afraid to say hello!
LAPIN
Willie Uni Pin 0.1mm and watercolor
on old accounting paper 8¼" x 6" / 21 x 15 cm
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(Text)
Key II: Storytelling | 23
ÃI met “Papito” at the mercado in Santo Domingo Between my few words of Spanish and his few words
of English, he was able to tell me all about his botanica, and why people buy his products: “for love, and for luck.”
Papito Colored ink and pencil on paper 12" x 9" / 30.5 x 23 cm
Look for Stories
When your are out on location drawing, don’t hesitate to talk to people: You never know what stories they have to tell Develop
a sense of curiosity and a habit of asking questions Following up with a chance encounter made on site may lead you into
an entire series of work
LAPIN
Cadillac Uni Pin 0.1mm and watercolor
on old accounting paper 8¼" x 6" / 21 x 15 cm
Tip
Not everyone will like the way you see them If people don’t like your drawing of them, tell them it’s simply your interpretation, smile, and move on
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22 | Reportage and Documentary Drawing
Look for Stories
When your are out on location drawing, don’t hesitate to talk to people: You never know what stories they have to tell Develop
a sense of curiosity and a habit of asking questions Following up with a chance encounter made on site may lead you into
an entire series of work
LAPIN
Cadillac Uni Pin 0.1mm and watercolor
on old accounting paper 8¼" x 6" / 21 x 15 cm
ÃFrench illustrator Lapin always includes a vintage car
some-where in his sketchbook While drawing this old Cadillac during
a visit to Portland, Oregon, he began chatting with its owner,
Willie He then drew a portrait of this Korean war veteran and
barbershop proprietor, turning the drawing of the old Cadillac
into a story Following up with people like this can create a
whole world of reportage Don’t be afraid to say hello!
LAPIN
Willie Uni Pin 0.1mm and watercolor
on old accounting paper 8¼" x 6" / 21 x 15 cm
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(Text)
Key II: Storytelling | 23
ÃI met “Papito” at the mercado in Santo Domingo Between my few words of Spanish and his few words
of English, he was able to tell me all about his botanica, and why people buy his products: “for love, and for luck.”
Papito Colored ink and pencil on paper 12" x 9" / 30.5 x 23 cm
Look for Stories
When your are out on location drawing, don’t hesitate to talk to people: You never know what stories they have to tell Develop
a sense of curiosity and a habit of asking questions Following up with a chance encounter made on site may lead you into
an entire series of work
LAPIN
Cadillac Uni Pin 0.1mm and watercolor
on old accounting paper 8¼" x 6" / 21 x 15 cm
Tip
Not everyone will like the way you see them If people don’t like your drawing of them, tell them it’s simply your interpretation, smile, and move on
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Context can be a very important part of storytelling
through drawing Case in point: A kiss generally implies some
kind of narrative, but where it takes place can definitely change
the storyline I was happy to come across this couple kissing behind
Notre Dame cathedral in Paris, the city of love Think how the
meaning of the story in this drawing would change if the couple
were in the middle of the desert, or in a crowded train.
Notre Dame Kiss Pen and sepia ink with wash on paper 12" x 9" / 30.5 x 23 cm
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(Text)
Key II: Storytelling | 25
Notre Dame Kiss Pen and sepia ink with wash on paper 12" x 9" / 30.5 x 23 cm
Tip
Make a few drawings of the overall environment, just to place your story If you pay attention not only to the action but also to where it is happening, your stories will have greater depth It’s like telling a joke: the more specific the details, the bigger the laugh
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Context can be a very important part of storytelling
through drawing Case in point: A kiss generally implies some
kind of narrative, but where it takes place can definitely change
the storyline I was happy to come across this couple kissing behind
Notre Dame cathedral in Paris, the city of love Think how the
meaning of the story in this drawing would change if the couple
were in the middle of the desert, or in a crowded train.
Notre Dame Kiss Pen and sepia ink with wash on paper 12" x 9" / 30.5 x 23 cm
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(Text)
Key II: Storytelling | 25
Notre Dame Kiss Pen and sepia ink with wash on paper 12" x 9" / 30.5 x 23 cm
Tip
Make a few drawings of the overall environment, just to place your story If you pay attention not only to the action but also to where it is happening, your stories will have greater depth It’s like telling a joke: the more specific the details, the bigger the laugh
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Anything worth talking about is worth drawing It’s like writing a letter to someone with your pictures.
ÄNotice how artist Melanie Reim uses body language to show people lost in their own private world, in the midst of a crowded shoe sale
MELANIE REIM
Shoe Sale Frenzy Pelikan cartridge pen and Pentel brush marker 9½" x 7¾" / 24 x 19.7 cm
MELANIE REIM
Shoe Sale Frenzy—Again!
Pelikan cartridge pen and Pentel brush marker
9½" x 7¾" / 24 x 19.7 cm
[NOTE: please put these two images together to make a
panoramic, see rough layout **]
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(Text)
Key II: Storytelling | 27
ÁSouth African artist Cathy Gatland follows the everyday life of her town
by drawing a group of young men taking down
a eucalyptus tree
CATHY GATLAND
End of a Eucalyptus 11¾" x 8¼" / 29.8 x 21 cm each Pilot pen and watercolor
ÄNotice how artist Melanie Reim uses body language to show people lost in their own private world, in the midst of a crowded shoe sale
MELANIE REIM
Shoe Sale Frenzy Pelikan cartridge pen and Pentel brush marker 9½" x 7¾" / 24 x 19.7 cm
Tip
Keep a very small sketchbook and a pen with you all the time, so you can jot down these types of daily stories as they arise
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conversations you have with friends and family
Anything worth talking about is worth drawing It’s like writing a letter to someone with your pictures.
ÄNotice how artist Melanie Reim uses body
language to show people lost in their own private
world, in the midst of a crowded shoe sale
Shoe Sale Frenzy—Again!
Pelikan cartridge pen and Pentel brush marker
9½" x 7¾" / 24 x 19.7 cm
[NOTE: please put these two images together to make a
panoramic, see rough layout **]
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(Text)
Key II: Storytelling | 27
ÁSouth African artist Cathy Gatland follows the everyday life of her town
by drawing a group of young men taking down
a eucalyptus tree
CATHY GATLAND
End of a Eucalyptus 11¾" x 8¼" / 29.8 x 21 cm each Pilot pen and watercolor
ÄNotice how artist Melanie Reim uses body
language to show people lost in their own private
world, in the midst of a crowded shoe sale
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From the factory to the artisan’s studio, there are
plenty of stories to be found in the workplace
People will often be happy to show you their world,
and may even allow you to document their working
process Be sure to pay attention to people’s hands
when doing a reportage like this: They are the most
essential of tools!
28 | Reportage and Documentary Drawing
ÄMetalsmithing such as
this is intricate work done by
hand, something the artist
makes clear in his focus on
hands in the drawing
MARC TARO HOLMES
Goldsmith Marin Marino
in the Studio Ballpoint, brush pen, and watercolor 8½ " x 11" / 21.6 x 28 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
of a factory
ORLING DOMINGUEZ
Dominican Workers in the Free Trade Zone China markers and ink 8½" x 11" / 21.6 x 28 cm
Key II: Storytelling | 29
ÁScientists work to discover
an AIDS vaccine: So far, they have unfortunately not been successful
Scientist, VaxGen Pen and ink 11¾" x 8¾" / 29.8 x 22.4 cm
Tip
When documenting work such as this, it helps to create several smaller drawings that follow the process from start to finish You can then choose the most compelling one for your story, or put several together for a montage effect
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From the factory to the artisan’s studio, there are
plenty of stories to be found in the workplace
People will often be happy to show you their world,
and may even allow you to document their working
process Be sure to pay attention to people’s hands
when doing a reportage like this: They are the most
essential of tools!
28 | Reportage and Documentary Drawing
ÄMetalsmithing such as
this is intricate work done by
hand, something the artist
makes clear in his focus on
hands in the drawing
MARC TARO HOLMES
Goldsmith Marin Marino
in the Studio Ballpoint, brush pen, and watercolor
of a factory
ORLING DOMINGUEZ
Dominican Workers in the Free Trade Zone China markers and ink 8½" x 11" / 21.6 x 28 cm
Key II: Storytelling | 29
ÁScientists work to discover
an AIDS vaccine: So far, they have unfortunately not been successful
Scientist, VaxGen Pen and ink 11¾" x 8¾" / 29.8 x 22.4 cm
Tip
When documenting work such as this, it helps to create several smaller drawings that follow the process from start to finish You can then choose the most compelling one for your story, or put several together for a montage effect
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(Text)
Telling a Story Over Time
Sometimes it’s nice to follow a story over time with your drawings, as illustrator Gabi Campanario does in his documentation of Captain Brent
Bierbaum and the crew of the Arctic Titan, loading
up the tugboat for their 1,400-mile (2,253 km) journey to Alaska from Seattle.
Willing to become more involved with multiple drawings over the course of a day or even a few weeks can lead to a richer, more in-depth reportage experience You become a part of what’s going on.
GABI CAMPANARIO
Arctic Titan, series Lamy Safari fountain pen with black Noodler’s ink, Uni-ball Vision pen, ballpoint, watercolor 11" x 14" / 28 x 35.6 cm each
Key II: Storytelling | 31
Workshop
Choose a location, and spend a full day documenting it with your drawings This doesn’t have to be a particularly important place, just a place where people come and go See what kind of narrative sequence you can develop from it
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30 | Reportage and Documentary Drawing
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(Text)
Telling a Story Over Time
Sometimes it’s nice to follow a story over time with your drawings, as illustrator Gabi Campanario does in his documentation of Captain Brent
Bierbaum and the crew of the Arctic Titan, loading
up the tugboat for their 1,400-mile (2,253 km) journey to Alaska from Seattle.
Willing to become more involved with multiple drawings over the course of a day or even a few weeks can lead to a richer, more in-depth reportage experience You become a part of what’s going on.
GABI CAMPANARIO
Arctic Titan, series Lamy Safari fountain pen with black Noodler’s ink, Uni-ball Vision pen, ballpoint, watercolor 11" x 14" / 28 x 35.6 cm each
Key II: Storytelling | 31
Workshop
Choose a location, and spend a full day documenting it with your drawings This doesn’t have to be a particularly important place, just a place where people come and go See what kind of narrative sequence you can develop from it
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(Text)
| 33
The word drama has been getting a bad rap lately As in, “Don’t
bring me all of your drama,” or “Oh, he (she) just loves to create drama!” I blame reality television for the disparagement of something that we all need a little bit of in art, as well as in life
Drama adds the excitement, the emotion, and the spice to any series of reportage drawings And who wants bland drawings?
In this chapter we’ll talk about how to contain the excitement of
a sporting event or live performance on your page, and I’ll suggest some situations you can seek out to amp up the drama factor of your work So what creates that “drama factor”? It’s any number
of things—color choices, texture, marks, line quality, scale—all of the expressions of the drawing language can be put to good use
in creating the high emotion of an event Or even of a quiet street corner It’s all in how you see it.
A Night on Frenchman Street Graphite and oil pastel 16½" x 12" / 42 x 30.5 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
32 | Reportage and Documentary Drawing
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
DTP: 229 Page: 32
(Text)
| 33
The word drama has been getting a bad rap lately As in, “Don’t
bring me all of your drama,” or “Oh, he (she) just loves to create drama!” I blame reality television for the disparagement of something that we all need a little bit of in art, as well as in life
Drama adds the excitement, the emotion, and the spice to any series of reportage drawings And who wants bland drawings?
In this chapter we’ll talk about how to contain the excitement of
a sporting event or live performance on your page, and I’ll suggest some situations you can seek out to amp up the drama factor of your work So what creates that “drama factor”? It’s any number
of things—color choices, texture, marks, line quality, scale—all of the expressions of the drawing language can be put to good use
in creating the high emotion of an event Or even of a quiet street corner It’s all in how you see it.
A Night on Frenchman Street Graphite and oil pastel 16½" x 12" / 42 x 30.5 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Behind the Scenes
When visiting a theater for a show or concert, it’s always interesting to figure out what’s going on behind the scenes
And if you can get back there
to make some drawings, even better! Especially for a series of reportage drawings, knowing what came before always makes the after so much more interesting.
ÃIllustrator Don Low was elated to receive special permission
to go behind the scenes of a local Hokkien opera He drew the performers putting on their elaborate costumes and traditional stage makeup before drawing their performance at a temple
in Singapore
ÁThe artist gives us
an intimate view of the puppeteers controlling the onstage action from high in the rafters Although it may take away a little of the fantasy, it is an interesting point of view!
THOMAS THORSPECKEN
Puppeteers (sketch of Cinderella rehearsal) Ink and watercolor 5" x 15¾" / 12.7 x 40 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
DTP: 229 Page: 34
(Text)
Key III: Drama | 35
Behind the Scenes
When visiting a theater for a show or concert, it’s always interesting to figure out what’s going on behind the scenes
And if you can get back there
to make some drawings, even better! Especially for a series of reportage drawings, knowing what came before always makes the after so much more interesting.
ÃIllustrator Don Low was elated to receive special permission
to go behind the scenes of a local Hokkien opera He drew the performers putting on their elaborate costumes and traditional stage makeup before drawing their performance at a temple
in Singapore
DON LOW
Getting Ready Hero fountain pen with watercolor 8" x 5" / 20.5 x 13.5 cm each
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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DTP: 229 Page: 34
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Behind the Scenes
When visiting a theater for a show or concert, it’s always
interesting to figure out what’s going on behind the scenes
And if you can get back there
to make some drawings, even better! Especially for a series of
reportage drawings, knowing what came before always
makes the after so much more interesting.
ÃIllustrator Don Low was elated to receive special permission
to go behind the scenes of a local Hokkien opera He drew the performers putting on their elaborate costumes and traditional stage makeup before drawing their performance at a temple
in Singapore
ÁThe artist gives us
an intimate view of the puppeteers controlling the
onstage action from high in the rafters Although it may
take away a little of the fantasy, it is an interesting
point of view!
THOMAS THORSPECKEN
Puppeteers (sketch of Cinderella rehearsal)
Ink and watercolor 5" x 15¾" / 12.7 x 40 cm
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
DTP: 229 Page: 34
(Text)
Key III: Drama | 35
Behind the Scenes
When visiting a theater for a show or concert, it’s always
interesting to figure out what’s going on behind the scenes
And if you can get back there
to make some drawings, even better! Especially for a series of
reportage drawings, knowing what came before always
makes the after so much more interesting.
ÃIllustrator Don Low was elated to receive special permission
to go behind the scenes of a local Hokkien opera He drew the performers putting on their elaborate costumes and traditional stage makeup before drawing their performance at a temple
in Singapore
DON LOW
Getting Ready Hero fountain pen with watercolor 8" x 5" / 20.5 x 13.5 cm each
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Main Point of Action
When covering a sporting event or theatrical performance, it’s very important not to miss the main point of the action! See if you can sum up why everyone is attending the event in a single drawing—think of it as a reportage “tweet!”
36 | Reportage and Documentary Drawing
ÃArtist Greg Betza
captures the forward
movement and dynamism
of the hockey players in this
drawing from the New York
stadium series
GREG BETZA
Stadium Series 2014: Teams
Caran d’Ache crayon and
quickly as a race, it helps
to draw the background
Main Point of Action
When covering a sporting event or theatrical performance, it’s very important not to miss the main point of the action! See if you can sum up why everyone is attending the event in a single drawing—think of it as a reportage “tweet!”
ÄDrawing the Tour de France bicycle race as it flows down the Champs- Élysées can be quite a challenging, as well as exhilarating, experience
Besides doing it myself, I’ve brought my most advanced students there to try their hand at it, with great results!
Tour de France Pen and ink with water-soluble crayon 17" x 11" / 43.2 x 28 cm
Key III: Drama | 37
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
Main Point of Action
When covering a sporting event or theatrical performance, it’s very important not to miss the main point of the action! See if you can sum up why everyone is attending the event in a single drawing—think of it as a reportage “tweet!”
36 | Reportage and Documentary Drawing
ÃArtist Greg Betza
captures the forward
movement and dynamism
of the hockey players in this
drawing from the New York
stadium series
GREG BETZA
Stadium Series 2014: Teams
Caran d’Ache crayon and
quickly as a race, it helps
to draw the background
Main Point of Action
When covering a sporting event or theatrical performance, it’s very important not to miss the main point of the action! See if you can sum up why everyone is attending the event in a single drawing—think of it as a reportage “tweet!”
ÄDrawing the Tour de France bicycle race as it flows down the Champs- Élysées can be quite a challenging, as well as exhilarating, experience
Besides doing it myself, I’ve brought my most advanced students there to try their hand at it, with great results!
Tour de France Pen and ink with water-soluble crayon 17" x 11" / 43.2 x 28 cm
Key III: Drama | 37
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Of course, when drawing sporting or theatrical
events, it’s important to pay attention to the crowd
as well—this is the secondary action of your
reportage As you can see with these two drawings
of the same events from the previous spread,
sometimes these “secondary” pieces can create
just as much excitement.
ÄTo get a good view of the Tour de France, I had to be
on the Champs-Élysées several hours before the race was due
to come by This gave me a great opportunity to draw
my fellow spectators
Tour de France Spectators Pen and ink with water-soluble crayon 17" x 11" / 43.2 x 28 cm
ÃIt’s interesting to see how the body language of the crowd mimics that of the hockey players: dynamic!
GREG BETZA
Stadium Series 2014: Fans Caran d’Ache crayon and China marker 14" x 11" / 35.6 x 28 cm
38 | Reportage and Documentary Drawing
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
ÃIt’s interesting to see how the body language of the crowd mimics that of the hockey players: dynamic!
GREG BETZA
Stadium Series 2014: Fans Caran d’Ache crayon and China marker 14" x 11" / 35.6 x 28 cm
Key III: Drama | 39
Tip
Notice how the artists create depth by focusing on the closest figures and keeping the background as simple shapes and marks
F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook