Lately, I’ve been particularly inspired by urban sketching. Capturing exactly what is going on around you, but sketching it with a personal experience only you can bring to the proverbial table. I recently sat down at one of my favorite local coffee shops to sketch the scene in front of me: an elderly man from across the room lounging in an arm chair with his legs crossed, reading a book. I thought to myself, “Perfect, he’s reading and enjoying his coffee. He won’t notice me constantly looking up at him.” Let me tell you, it was tough. On top of trying to loosely sketch the layout of the room itself and the major shapes within it, I also had to contend with a table and chair located across the room at an odd perspective and a figure whose body was partially obscured and in a very gestural position. (Normally, I paint just one or two subjects in a single painting). Working with all of these different elements at once was a lot. Not to mention, it felt like the gentleman noticed me observing him. I quickly decided, “perhaps another time.” And I do mean that. I will return to the endeavor; this was only the first of many attempts.
It was this issue’s watercolor workshop with John Lovett, on page 118, that piqued my interest in urban sketching. In his article, he takes us through his adventures painting various villages around Tasmania. “Over the past few years, thanks to the Urban Sketchers Movement, I have come to enjoy sketching simply for its own sake,” he says. “The pleasure of sitting and sketching in a shady spot with a handful of simple tools and an interesting subject is hard to beat.” I completely agree with John; there is something so wonderful about sketching and painting that lively human energy right in front you, observing every interaction exactly as it unfolds.
Oh, and if you haven’t heard of the group Urban Sketchers, look them up. There’s likely a chapter in your area. (What classifies as an urban sketch, you might ask? The group defines it as “a drawing created on location, indoors or out, capturing what the sketcher sees from direct observation. Urban sketchers use any kind of media to tell the story of their surroundings, the places they live, and where they travel.”
The rest of this issue touches on a variety of other subjects, from still lifes of precariously stacked teacups to botanical art featuring cabbages in patterns that feel almost otherworldly. I hope something in this issue inspires you, whatever it may be.
Warmly,
Alyssa M. Tidwell
Editor
atidwell@internationalartist.com