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Workshop in Cortona starts tomorrow!
JUNE 7, 2015
(hĴps://citizensketcher.files.wordpress.com/2015/06/img_4915.jpg)
We’ve been here a couple days, just looking around and enjoying the town. Lovely medieval
achitecture, and spectacular views. Tomorrow we meet the drawing group.
This is going to be a great workshop – it’s a small group, which means lots of 1:1 feedback. The town
is small enough we can get around on foot, and there are terrific drawing subjects everywhere you
look.
I might not be posting for the next few days. We’ll see how busy it is.
Thanks ~ m
1 of 51 9/13/2015 10:59 PM
Citizen Sketcher | Page 4 http://citizensketcher.com/page/12/
3 COMMENTS
from → Uncategorized
Video Review: James Gurney’s Tyrannosaurs: Behind

the Art
JUNE 5, 2015
The other day, James and JeanneĴe Gurney were in town, for the Benjamin Constant
(hĴp://gurneyjourney.blogspot.ca/2015/05/exhibit-review-benjamin-constant-in.html) show at the
Beaux Arts and he happened to mention his new making-of video: Tyrannosaurs: Behind the Art
(hĴp://gurneyjourney.blogspot.ca/2015/04/tyrannosaurs-behind-art.html).
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I’ve just received a free download from him – and am glad to give it a very positive review!
In this 40 min video, James takes you inside his studio – giving you an over-the-shoulder look at his
painting process. He shows tools and materials, his painting methods – from the ideation and initial
drawings, through the under painting in casein and eventually the finished effect in oils.
Here’s a great bit (below) where he selectively textures the surface with acrylic modelling paste, so
the passages of color to follow can be worked in glazes and scumbles over top. A very efficient
method of painting.
(hĴps://citizensketcher.files.wordpress.com/2015/06/gurney_shot_01.jpg)
Much of the film is on ‘how to be an illustrator’ – more so than how to paint. He gives valuable tips
on research and scientific extrapolation from living animals, shows his rough designs and color
mockups, as well as the client’s feedback and his final choices. We get to see a plein air study done for
authenticity – and even go with him to the client as he delivers the finished paintings. Something that
is becoming a rare event in this world of digital art and email.
This kind of first hand career advice is great stuff for someone trying to figure out the profession of
illustration.
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But you’ll also find plenty of close up demonstrations of his painting method.
In the video he creates two paintings – showing bits of the work from start to finish. Jumping through
time to give us the best parts – rather than long stretches of potentially repetitive ‘watch me paint’.
This is not a class for the raw beginner – he is making a real illustration, not taking time to simplify
steps for students. So, besides some talk about materials and color choices, you are going right into
the real deal.
While he will not explain every brush stroke for you – there is a lot to be learned from careful
observation of his painting. It’s well worth watching multiple times. You’re seeing him work up close
and personal. If you wanted to paint exactly like James Gurney – the method is here for you to learn
from.
I’m always impressed with how efficient his paintings are. You can really see the weight of his
experience. No stroke is wasted – every part builds on what went before to a rapid conclusion.
It’s impressive how well he directs himself – painting and shooting the film at the same time, he
knows when to set up the cameras and get a great shot. My favorite part being a daring correction
where he blithely paints out a finished dinosaur face to make a change he felt improved the
storytelling.
His reasons are sound – but it’s a bold change many artists would have shrugged and hand-waved
over. A perfect example of what makes a great illustrator. Commitment to geĴing the story right –
even if that means giving up a great bit of painting.
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You can purchase the video – entirely shot and produced by James and his wife JeaneĴe – from his
online distributors at Gumroad (hĴps://gumroad.com/l/tyrannosaur) (credit card) or Selfy
(hĴps://sellfy.com/p/32HI/) (paypal). It is well worth the moderate $15.00 fee. If you are a fan of his
work, and would like to see more of the great content on his excellent blog
(hĴp://gurneyjourney.blogspot.ca/) – order your copy today!
2 COMMENTS
Breaking news: Landmark victory for victims of the

tobacco industry in Quebec!
JUNE 2, 2015
tags: Montreal, People in Motion
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(hĴps://citizensketcher.files.wordpress.com/2015/01/tobacco-trial_guy-praĴe_collage_02.jpg)
I made these sketches last winter, while observing the Blais-Létourneau tobacco trials here in
Montreal. You may check back here and read about my experience
(hĴps://citizensketcher.wordpress.com/2015/01/09/big-tobacco-on-trial/) as a first time court room
reporter, and my initial impressions on the sides of the argument.
Yesterday afternoon Justice Brian Riordan (sketched above) published his 236 page ruling – coming
down clearly against the tobacco companies. He says:
“Knowingly exposing people to the type of dangers that the Companies knew cigareĴes represented without
any precaution signals being sent is beyond irresponsible at any time of the Class Period. It is also
intentionally negligent.”
So there it is. A straightforward conclusion that the tobacco companies knew they were poisoning
people, that they intentionally hid the truth, and profited from those lies of omission.
(hĴps://citizensketcher.files.wordpress.com/2015/01/tobacco-trial_guy-praĴe_collage.jpg)Guy PraĴe
speaking for Imperial Tobacco Ltd
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What this actually means for the industry, and those who are seriously ill remains to be seen – but
here’s the meat of the ruling:
Justice Riordan awarded $6.86 billion in moral damages to the almost 100,000 Quebec smokers whose
serious illness makes them eligible to be members of this class. Once interest and other charges are added, the
total could be $15.5 billion.
Those who have lung or throat cancer will receive $100,000 if they started smoking before 1976 and $80,000
if they started smoking after 1976. Those with emphysema will receive $30,000 if they started smoking
before 1976 and $24,000 if after. Once interest is considered, these amounts could be doubled or more.
(hĴps://citizensketcher.files.wordpress.com/2015/01/tobacco-trial_suzanne-
cote_collage.jpg)Suzanne Côté, recently appointed to the Supreme Court of Canada, (standing)
I believe this means that it is the justice’s opinion, that the warning labels on the packages
are insufficient defense – probably they came too late after knowing about the credible threat. (I have
not read the report in detail, but this would be my guess as to why complying with labeling
was rejected as a defense).
I must also assume that the ‘everyone knows smoking kills’ argument did not absolve the industry.
Considering their knowledge that people could not overcome their addictions, despite the warnings
and jokes about ‘cancer sticks’ and ‘coffin nails’, it’s not sufficient to say ‘don’t do this thing that I
know you can’t resist doing and that I am so seductively advertising to you’.
And then there is the ‘well, motorcycles kill, and we still sell motorcycles’ defense – which apparently
also did not hold water. I would imagine the logic is that motorcycles have the potential to be used
safely, given proper precautions – whereas there is no safe use for cigareĴes.
So damn! We kind of all knew this, but it’s rather incredible to see it happen in court.
I’m excited to see what comes next. Does this mean then that the sale of cigareĴes will be banned in
Quebec? What will happen at the appeal? I will be watching with curiosity. I’m not sure I will have
the opportunity to make any more drawings on the subject – but it was tremendous to be able to be
there sketching on that historic occasion.
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(hĴps://citizensketcher.files.wordpress.com/2015/01/tobacco-trial_simon-poĴer_collage_01.jpg)
(hĴps://citizensketcher.files.wordpress.com/2015/01/tobacco-trial_simon-poĴer_collage.jpg)Simon
PoĴer representing Rothmans Benson and Hedges
5 COMMENTS
from → Figure Drawing, Montreal
1 Week : 100 People
JUNE 2, 2015
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(hĴps://citizensketcher.files.wordpress.com/2015/06/100-people_01.jpg)
Way back when I was planning my Craftsy.com class Sketching People in Motion
(hĴp://www.craftsy.com/class/sketching-people-in-motion
/4948;jsessionid=AA3C46C9A390C6D13A2FCACAB69C703D.bowie000?ext=MarcTaro-
Holmes_4948_D&utm_source=Marc%20Taro%20Holmes&utm_medium=Instructor&
utm_campaign=General-Course%20Activity&initialPage=true), I gave myself a challenge to draw
100 people in a week. I carried a small book ( a 3×5″ Moleskine Cahier Journal
(hĴp://www.amazon.com/gp/product/8883704940/ref=as_li_tl?ie=UTF8&camp=1789&
creative=9325&creativeASIN=8883704940&linkCode=as2&tag=citizsketc-
20&linkId=3EHLMNKV3TNY4I7M)) and two pens in my pocket everywhere I went for a week.
(Platinum Carbon Fountain Pen, Super Fine (hĴp://www.amazon.com/gp/product/B006CQT87W
/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B006CQT87W&linkCode=as2&
tag=citizsketc-20&linkId=LRVSMY6QAUNODA4L) and a Kuretake Sumi Brush Pen
(hĴp://www.amazon.com/gp/product/B000EBJIKS/ref=as_li_tl?ie=UTF8&camp=1789&
creative=9325&creativeASIN=B000EBJIKS&linkCode=as2&tag=citizsketc-
20&linkId=K4TPNQMV3WBISTMS)).
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If you commit yourself to sketching every time you see someone holding still for a few minutes – it’s
actually fairly easy to get 100 drawings in 5 days.
I was geĴing the most out of riding the subway, but just going shopping or to a restaurant will give
you good opportunities. Bookstores turn out to be great. People in there are usually moving slowly
and distracted with their browsing. Perfect subjects!
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I used inexpensive liĴle books, so I didn’t care if I messed up a page, or if the subject walked away in
the middle of a drawing. I would say I had about a failure 1 out of 5 times – mostly from the person
abruptly leaving – sometimes from overworking the drawing.
I think of these self assigned challenges as play time. Drawing as a sport. It’s like trying to beat your
personal best time doing a marathon. Can I do this? How fast can I do it? If 100 was possible – could I
get 500 in a week? That’s about 16 people an hour over a 6 hour day. It might be possible! I’d have to
spend all day downtown for 5 full days – sticking to places with lots of people around. Maybe I could
arrange a week in New York and do it in Times Square. I’d need to have enough paper and pens with
me to never run out. I’d have to plan breaks in good sketching cafes. See? I’m already geĴing excited.
That’s a ridiculous example – but even if you failed, it would be a glorious failure.
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Why not try your own drawing challenge? Set a time/quantity goal – and use that to break
through any obstacles of perfectionism or ‘sketchers block’. Make it something short – one week is a
lot – and have fun even if you don’t reach the goal – it’s the doing that maĴers!
And – if you’ve been debating taking my Sketching People in Motion (hĴp://www.craftsy.com/class

/sketching-people-in-motion
/4948;jsessionid=AA3C46C9A390C6D13A2FCACAB69C703D.bowie000?ext=MarcTaro-
Holmes_4948_D&utm_source=Marc%20Taro%20Holmes&utm_medium=Instructor&
utm_campaign=General-Course%20Activity&initialPage=true) online course <<< that link there will
give you approximately 50% off the registration!
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16 COMMENTS
Lachine Painters Demo
MAY 31, 2015
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(hĴps://citizensketcher.files.wordpress.com/2015/05/15may27_lachine-demo.jpg)
The other day I was invited out to the Lachine Painters to do a watercolor demo. Thanks very much to
Martha Markowsky (hĴp://www.marthamarkowsky.com/Site_2/Home_page.html) for orchestrating
this opportunity! I used a reference photo from one of my favorite sketching locations in Sao Paulo.
Here’s the original sketchbook version – done in 15 or 20 minutes on a whirlwind sketching day
(hĴps://citizensketcher.wordpress.com/2014/09/19/limited-color/) with Liz Steel
(hĴp://www.lizsteel.com/) before the USK workshop last year.
(hĴps://citizensketcher.files.wordpress.com/2014/09/14aug17_limitedcolor_03.jpg)
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(hĴps://citizensketcher.files.wordpress.com/2015/05/lachine-snap-2.jpg)
The Lachine group had a great setup where the audience could see what I was doing in the mirror
behind my head. Very useful. I didn’t have to talk looking back over my shoulder.
As well, Elaine (picture right) provided a simultaneous translation into French. I’m sure that’s quite
hard to do – much beyond my ability. Thanks very much Elaine!
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(hĴps://citizensketcher.files.wordpress.com/2015/05/lachine-snap-1.jpg)
It was a neat surprise to meet Terry Mosher (hĴp://www.aislin.com/wordpress/) (center, looking at

my book!) – who has sketched political commentary under the pen name Aislin
(hĴp://www.aislin.com/wordpress/) for as long as I can remember. I have always admired editorial
sketching – I don’t even like to call it cartooning – but I suppose they have embraced the term.
I’ve never been informed enough to take it up as a practice myself. Perhaps it will be my next career?
It’s on the list of ways to utilize my drawing skills :) We’ll see what life brings.
~m
8 COMMENTS
Pop up Show Pops up! Oil Paintings on Exhibition

at Farfelu.
MAY 27, 2015
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(hĴps://citizensketcher.files.wordpress.com/2015/05/farfelu-vernissage-announcement.jpg)
I have had a generous offer to be a guest artist at Galerie Farfelu in Westmount

(hĴps://www.google.ca/maps/place/Farfelu+Montreal/@45.47774,-73.602538,15z
/data=!4m2!3m1!1s0x0:0x941e80e76e225805).
My friends Lydia and Marin (hĴps://citizensketcher.wordpress.com/2011/02/15/iladesign-ancient-

gold-brought-to-life/) are showing their gold and sliver jewellery, and have offered me the wall space
in their show. We’ll be there Tuesday June 2 for the opening, or you can see the works in the window
anytime between June 1-14.
If you remember these from awhile back – they are quite a departure from my usual watercolors. But
in a way – they are an aĴempt to paint oils like a watercolorist :) In big areas of wet in wet!
If you get a chance to see them in person, you might enjoy the effect.
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(hĴps://citizensketcher.files.wordpress.com/2015/04/15apr09_leseboulments-1.jpg)
(hĴps://citizensketcher.files.wordpress.com/2015/04/15apr09_leseboulments-2.jpg)
2 COMMENTS
from → Ephemera, Exhibitions
19 of 51 9/13/2015 10:59 PM
One more weekend on the Mountain, and thanks

to everyone!
MAY 27, 2015
(hĴps://citizensketcher.files.wordpress.com/2015/05/15may26_mountain_event-2.jpg)
Last weekend was the USK sketchcrawl on Mount Royal, as well as the Vernissage for the exhibition.
Seeing everyone’s work in person reminded me how much we miss looking at art online. Much of the
work in the show is in large formats or with texture and fine detail that is lost in web-sized
photographs. It’s great to be able to see it all up close.
The show is up for one more weekend. You can still enjoy a day of art on the mountain May 30/31.
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(hĴps://citizensketcher.files.wordpress.com/2015/05/15may26_mountain_event-1.jpg)
We had a great turnout – I’m going to guess 40 people came for sketching, including some folks from
OĴawa and from Vermont, and our own far flung areas – Hudson, Laval, etc.
This is the thing I love best about the urban sketching movement. How it brings people together from
all over, to enjoy a day of drawing.
Thanks to everyone who came out to volunteer!
I’m sure the visiting sketchers had a great experience, having all our local USK’ers on hand to show
their work-in-progress and share their sketchbooks. For a while there, the vernissage had a ‘kitchen
party’ feeling, with everyone crowded in the side room around a big table of the days sketches.
There is talk of doing this show again for next year – so maybe you’ll make a sketch in the park this
summer!
~m
10 COMMENTS
Sketching People in Motion is Now LIVE!
JANUARY 28, 2015
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(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan26_craftsyscreenshots_15c.jpg)
Thanks to everyone who entered the draw for a free registration! We have three winners from 500
entries. One from here, one from USK:MTL, and one from Urbansketchers.org, It’s great to see that
much interest in the new course!
For everyone who didn’t win – I can at least offer you a small Blog Readers Discount :)
Approximately 15% off just for being a reader of Citizen Sketcher. Just click over to the new
VIDEOS page (hĴps://citizensketcher.wordpress.com/videos/), for the discounted registration link
and details about the class.
(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan26_craftsyscreenshots_03.jpg)
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(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan26_craftsyscreenshots_12.jpg)
(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan26_craftsyscreenshots_15a.jpg)
18 COMMENTS
from → Ephemera, Uncategorized
Book Excerpt : Simple Sight Measuring Example
JANUARY 26, 2015

This is the second in a post series of ‘excerpts’ from my book The Urban Sketcher
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(hĴps://citizensketcher.wordpress.com/books/). This time I’m going right back to the very first
lesson in the book; Sight Measuring.
I shouldn’t really call these excerpts. This is more like the director’s cut. Here’s the full length text,
before edits for word count limits and layout. Mainly, because this is the text I have easily available in
electronic form, but also, so you get the full explanation, and larger pictures.
(hĴps://citizensketcher.files.wordpress.com/2015/01/sightmeasure_example.jpg)
[Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Begins]
You are probably familiar with the image of the artist with their arm extended, holding a brush
upright, their thumb up like a hitchhiker. Usually they are shown with their eyes squinted and
tongue sticking out. This is not just a funny cartoon image of an artist – it’s a real measuring
technique!
In this shot I am checking things like the angle of the sloped street, and the height of the windows.
The idea is, we want to spot errors in proportion in the first few minutes of a sketch. I use two simple
techniques called Sight Measuring and Angle Checking. These are a simplified version of what
academic ateliers might call Sight-Size Drawing.
There’s nothing worse than drawing in a lot of interesting details, only to realize you’ve drawn an
important part out of scale. Or worse yet, you haven’t judged the height right, and you’re about to go
off the edge of the page. That has happened to me many many (many) times. It’s quite frustrating to
say the least :)
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(hĴps://citizensketcher.files.wordpress.com/2015/01/sightmeasure_simple_00.jpg)
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This sake set, found at a Chinatown knickknack shop, is a great introductory subject for sketching
‘outside in’.
To recap, the plan of aĴack is: get the outside silhoueĴe shape first, spot check your accuracy, and
then proceed to subdivide into smaller and smaller details until the whole thing is drawn.
The very first step is to decide roughly how large you want the drawing on the page.
Mark a small dash at the top and the boĴom of your subject and lightly sketch a ‘scribble’ of the
outside shape. No internal detail, just the silhoueĴe, as if it was cut out of a piece of paper. (Pencil
sketch is darkened for clarity).
This simple outline is all you need to ensure accumulating proportional errors don’t expand off the
edge of the page. You have a ‘box’ to work within. All future details will fit inside this box. Or that
is, they will, once we make sure the silhoueĴe is accurate.
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The best thing is, that scribble only took a few seconds. We don’t mind correcting a scribble. There is
nothing to lose. If I’d gone right into the paĴern or shading on the object, I’d start to get that feeling of,
‘oh, I like what I’ve done! I can’t erase that – it will be ok, I’ll just keep going’. Until, suddenly it’s not
ok – it’s way off :)
Here’s how sight measuring works.
As you look at the subject, extend your arm straight (elbow locked), and line up the tip of your pencil
with the top of the subject. Slide your thumb down until it’s lined up with the base. That position
you’ve marked on your brush or pencil – that is a unit measure you can use to check against other
objects.
(Line A)
Keep your thumb in position on the pencil to preserve the measurement you have marked. Keep your
elbow locked to maintain the same distance from the subject.
Now, look for something you can compare your measurement against.
It so happens that the height of the jar is equal to the width across the three cups.
(Line A = Line B)
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So, if we compare the height and width on our drawing– oops! The drawing is not correct.
See how we have caught that error with this simple measuring trick?
It’s really not a big deal, this is a preĴy small error. In a simple subject like this it wouldn’t really
maĴer that much, it’s not like people won’t know it’s a sake set :) But since it’s so easy to spot the
issue and fix it, I might as well refine my sketch. I’ll make that fix to the silhoueĴe so that the jar
height (A) matches the cup width (B).
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Blue lines are the original scribble, grey pencil the revised drawing.
The other big thing in this step is to sketch in the dividing line between the dark ceramic base and the
upper paĴerned area. And, I fix a proportion error on the width of the neck.
This is what I mean by working larger-to-smaller. Once you have the outside shape, what is the next
biggest thing you can draw? The ‘waist’ of the boĴle is the next-to-largest shape. Dividing the jar in
half. If you keep dividing each shape by half, eventually you are drawing very small details.
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(hĴps://citizensketcher.files.wordpress.com/2015/01
/sightmeasure_simple_04.jpg)
The other kind of sight measurement is what I call an Angle Check. Measuring the slope between two
points.
When drawing outdoors, this is ideal for finding roof lines or checking perspective on narrowing city
streets.
Place the base of the pencil on the first point, (the edge of the cup) holding the pencil perfectly
vertically, rotate the tip until it lines up with your second point (the lip of the jar). In this case,
rotating counter clockwise.
Now – lock your wrist. Don’t lose the angle of the pencil. Place it over your drawing, and see how
well the angle lines up with what you’ve drawn. Not too bad hey? It’s looking reasonably close after
widening those cups.
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(hĴps://citizensketcher.files.wordpress.com/2015/01/sightmeasure_simple_07_final.jpg)
At this point, my planning is done. I can sit back and have fun with the paĴern. That fish scale design
is what aĴracted me to the thing in the first place. But by starting outside-in, I can see for certain I
have a shape I like before I get into those details.
I want to be able to freely scribble in that paĴern, without a care in the world. It’s a picky thing,
sketching those repeating shapes – and I don’t want to stiffen up while doing it.
I wouldn’t feel as ‘ free’ if I wasn’t sure about the underlying structure. If I had to start and stop the
paĴern a few times, erasing and correcting the shape, it wouldn’t turn out as ‘loose and sketchy’ as I
want.
Oddly, it’s the measuring that allows the sketch to look spontaneous. I’ve heard artists use a saying;
‘loose is how a drawing looks, not how it’s made’.
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(hĴps://citizensketcher.files.wordpress.com/2015/01/sightmeasure_simple_08_sidebyside.jpg)
This particular example is fairly faithful to reality, because the subject is an easy one. As we move on
through the book, you’ll see I only use as much precision as I need to get the sketch on paper. Those
measurements only took seconds to do. In no way do I want this to become hard labor.
My feeling is, you should do whatever measuring you need to do so that you are satisfied with your
drawing. You decide how accurate you want it to be.
I enjoy it when everyone can recognize my subjects, but I don’t want to be doing so much measuring
that the drawing feels mechanical. Accuracy is a skill I want to have, it helps me do more challenging
things. But I don’t ever want it to slow me down.
[Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Ends]
6 COMMENTS
from → Book Exerpts, Demos, Museum Drawing, Pencil, Sketchbook, tips and tricks
Cutting Room Floor : Montreal Tattoo Expo
JANUARY 26, 2015
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(hĴps://citizensketcher.files.wordpress.com/2015/01/taĴoo-montage_pencil.jpg)
(hĴps://citizensketcher.files.wordpress.com/2015/01/taĴoo-montage_ink.jpg)
Here’s a few drawings from the 2013 Montreal Art TaĴoo Expo that didn’t make it into The Urban
Sketcher (hĴps://citizensketcher.wordpress.com/books/).
In the book one of these drawings is broken down into six step-by-step illustrations, showing exactly
how these are done.
It’s kind of fun to see a gradual improvement from the sketches I did at the 2012 show
(hĴps://citizensketcher.wordpress.com/2012/09/09/montreal-art-taĴoo-show-2012/).
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(hĴps://citizensketcher.files.wordpress.com/2015/01/taĴoo_montage_02_pencil.jpg)
(hĴps://citizensketcher.files.wordpress.com/2015/01/taĴoo_montage_02_ink.jpg)
2 COMMENTS
from → Figure Drawing, Portrait, Sketchbook
Called out by the Model
JANUARY 23, 2015
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(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan14_vanier_life02.jpg)
[Long pose session, these were half hour warmups. Watercolor, 12×16″]
I was at the daytime long pose session at George Vanier Cultural Centre (hĴp://www.ccgv.ca/arts-
visuels/modele-vivant-atelier-libre/), which is always a nice opportunity. It’s one hour longer than a
standard life drawing workshop. Which is just fine by me. I like to get at least two watercolors out of
a long pose – so that extra hour to warm up feels like a luxury.
I was happily sketching way – trying to to focus on a few things:
Draw directly with the brush (dropping my pencil drawing safety net),
Establish a silhoueĴe with the first few strokes,
Work color variation into the shapes while wet, (charging in).
Don’t neglect the background tone. I’m often making figures on blank whiteness.
That was going well enough. But in the break our model called me out.
“I look like a 9 year old girl!” she says.
Rightly so. That was a weird mistake. Not sure how it happened. Her head had definitely goĴen large
and child like.
In the second half, I pushed to get a real likeness. I’ve been giving myself a free pass on likeness for so
long (I mean, you have to start somewhere, and geĴing a nice figure is hard enough, I just say “Don’t
worry if it doesn’t even look like them. After the model is gone, who’s going to know?’). But the time
has come that I have to be able to get both a painting and a portrait, hey? If I’m going to do this work
professionally :)
I’ve only done a few commissioned portraits – and each and every one of them has been sweating
bullets. Until this year. Magically – that practice stuff is starting to pay off.
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(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan14_vanier_life01.jpg)
I’m preĴy happy with this one. In particular, the shape of her hair and cast shadows on the forehead.
At the time her hair was throwing me off my stride – I only realized it after the fact – it’s because
Afro-textured hair doesn’t reveal the shape of the skull like I’m used to in a Caucasian. Funny – It’s
one of my own bon mots that a portrait is just a ‘Head Shape / Hair Shape’. Yet it took me a few tries
to get it right on her.
I’m glad Sarah called me out. I needed that push. That right there is a hidden reason to work from
life. You don’t get that collaboration from photo reference.
Brush-wise: In the future I have to focus on a few more things:
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Make the shadow shapes melt a bit more into the light,
Same with the background – more lost edges – less cut out shapes,
Wet-on-dry gives you plenty of control – but it errs on the side of sharp edges,
I’m going to experiment with painting the figure in reverse silhoueĴe next time – to allow beĴer
melting into the background.
18 COMMENTS
from → Figure Drawing, Studio Work
Book Excerpt : Sketching En-Passant
JANUARY 23, 2015

I thought I’d do a few posts excerpting sections from The Urban Sketcher
(hĴps://citizensketcher.wordpress.com/books/). I’ll be resurrecting some stuff that was cut due to
space limitations, and taking the opportunity to show larger images than we can get away with in
print.
Here’s the section as it is in my manuscript, before the final edits in the book:
>>>>
[Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Begins]
Exercise #9: Sketching En Passant: or The Long View: So the final situation to discuss is the
capturing of people who are truly in motion. Not conveniently doing something for your amusement,
but only seen for a few moments as they flow through your drawing. I call it ‘en passant’, the chess
term for ‘capturing in passing’.
In the normal case of a person walking towards you, even in the best situation where you have an
unobstructed view, you have only the time between spoĴing your approaching subject and about 20
or 30 feet before they pass you by. It’s very rare that you have a longer sight line than this. People in
the extreme distance are just too small, and are frequently blocked by the crowd in front.
So we can say you have a 10-15 second window to sketch. I would agree, that is not a lot of time. But!
Of course, I have a strategy for this situation.
There are two things you can do to help yourself out. The first, and most basic, is to widen the
window of opportunity. Try and find a position that gives you the longest possible view of the most
people.
You want to be a small island in a river of people, with a long straight, preferably up or down hill
view. (A steep angle allows seeing over people’s heads. They don’t obscure each other as much).
To avoid being jostled by pedestrian traffic, I’ll lean with my back against a wall or a lamp post, so I’m
only a liĴle bigger than an obstacle they’d have to avoid anyway.
If you can get up somewhere, a balcony or bridge, you can benefit from the bird’s eye view. Other
possibilities are the head of a long escalator, (trapping people for a few moments gliding up to you).
Or across from the exit to a stadium or theater when a big show is leĴing out.
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(hĴps://citizensketcher.files.wordpress.com/2015/01/en-passant-01_pencil.jpg)
(hĴps://citizensketcher.files.wordpress.com/2015/01/en-passant-01_ink.jpg)
If nothing else presents itself, you can use any major downtown intersection during rush hour.
Scribble people waiting for the crosswalk as they stream out of the office buildings.
The further you can see, and the more populated the street, the more fuel you will have for your fire.
You want the best possible view for the longest possible time. (Even if that’s not very long).
In these examples, I scribbled in pencil and did calligraphic line over top using three colors of ink and
a dipping nib. It was a cold windy October day, so I had plenty of interesting scarves, hats and jackets
38 of 51 9/13/2015 10:59 PM
to sketch. The best character was a person wearing a neon orange plastic rain poncho and dragging a
pair of bulging black garbage bags. This is a classic example of something you couldn’t make up.
The second thing you can do to increase your time window, is to cheat.
Don’t restrict yourself to one ‘exposure’. Instead of trying to draw an entire person in that 20 second
window, I create a composite figure, combining multiple passersby, as if they were key frames of a
single character in motion.
In a given crowd of people there are always ‘types’. People dress according to fashion trends, their
jobs and economic standing, and the local weather.
In a street market in Asia there will be a never ending selection of wiry guys in t-shirts, shorts, and
flip flops, often carrying heavy loads on their backs. On a blustery day in Montreal, everyone has long
scarves, layered jackets, and wool caps.
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You can choose a ‘type’ – such as the smartly dressed man walking his dogs – and if you’ve chosen
well, you’ll get another matching type in short order. In this area of expensive condos, it didn’t take
long to get another dog walker.
Just as with the key frames of repeating motions, I can combine these passing ‘twins’ into a single
drawing. Try and spot your character types as far back as possible, and keep your eye on them. Don’t
get distracted by anyone else until they get so close they’re about to stride out of your working zone.
If I can gather one detail from each person – the shape of a hairstyle, a pair of glasses, the clasps on a
bag – fairly quickly I have an entire composite figure. The gesture is the framework I am looking to
fill in. I am adding appropriate details on top of the gesture, so it hangs together as a convincing
person.
The character types that are more common are by definition best descriptions of the time and place
you are in. Whatever you are seeing a lot of, is what will get drawn.
Try to get four or five character types going at once and you can do the multi-tasking trick while you
wait for clones to appear.
40 of 51 9/13/2015 10:59 PM
This is an excellent time to try skipping pencil and going straight to ink – if you dare! Speed is of the
essence here, so perhaps this is the best time to save a step. En passant is a great way to become more
comfortable sketching without the safety net of pencil.
You end up drawing so many people so quickly this way, it’s possible to get a tremendous amount of
training in a single day. A year’s worth of life drawing classes in a week.
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A serious student might set aside a small sketchbook, and try to fill the entire book with direct-to-ink
en passant sketches. Can you devour your way through an entire book in a week? Or a month? If you
can do it, without editing yourself, or concerning yourself with ‘quality’ – simply devoting yourself to
the process, I am sure you will see tremendous results.
Here’s an example where I went directly to ink. I’m using all the ideas we’ve covered, drawing
Outside in, gesture followed by Calligraphy, and Spot Blacks. Doing it all in one continuous process.
(hĴps://citizensketcher.files.wordpress.com/2015/01/en-passant-washable_01.jpg)
42 of 51 9/13/2015 10:59 PM
(hĴps://citizensketcher.files.wordpress.com/2015/01/en-passant-washable_01b.jpg)
With these ones I’m using the Lamy Safari Fountain Pen (hĴp://www.amazon.com/gp/product
/B0002T4032/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0002T4032&
linkCode=as2&tag=citizsketc-20&linkId=GVCQFQGDTSUDXXAL) and a Kuretake Sumi Brush
Pen (hĴp://www.amazon.com/gp/product/B000EBJIKS/ref=as_li_tl?ie=UTF8&camp=1789&
creative=9325&creativeASIN=B000EBJIKS&linkCode=as2&tag=citizsketc-
20&linkId=LZV5PJBLYMAVMARI), then melting the water soluble ink with a liĴle clean water.
I normally prefer the more aggressive line weight of a dip pen, and the more expressive range of a
natural brush – but when you are doing it as fast as humanly possible, these kind of cartridge fed
fountain pens are more practical. The chance of an ink spill goes up considerably when you’re in a
rush. [Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Ends]
6 COMMENTS
from → Book Exerpts, tips and tricks
The Weary Gladiator
JANUARY 22, 2015

I don’t usually post nude figure drawings on this blog. I have another page for that (over here
(hĴps://tarosan.wordpress.com/)). But, as my life drawing classwork gets beĴer, there’s becoming an
overlap between the academic stuff, and the urban sketching. The way I’m doing spontaneous
watercolor portraits – it’s all sort of all the same thing these days.
Anyway, I won’t make a habit of it. Posting too many life drawing studies just gets repetitive. But I
did go to a couple sessions the other week – as part the traditional “It’s January, let’s go back to the
gym”, kind of new years resolution :)
43 of 51 9/13/2015 10:59 PM
(hĴps://citizensketcher.files.wordpress.com/2015/01/15jan04_uqam_gladiator_03.jpg)
[Figure drawing workshop, various 10, 15 and 20 minute poses, watercolor, working wet-on-dry]
The model for this session was an older gentleman, in great shape for a person of any age. In his
youth, he must have been a handsome beast.
I always give models a liĴle code name in my head. This guy was ‘the weary gladiator’.
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I don’t know if he’s been a life-long art model – but he clearly knows how to set a pose. One of the
best I’ve seen in Montreal. You occasionally see models use a wooden pole for supporting a raised
arm. But not many models use posing blocks. Simple cubes of wood that let you raise a hand or foot,
or brace a neck. It’s an old-school technique that really helps shape the body. In traditional ateliers
you might even find block and tackle to allow hanging a model from the ceiling.
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This was at UQAM at the Sunday afternoon quick pose session (hĴps://www.facebook.com/pages
/Latelier-du-dimanche-%C3%A0-lUQAM/277674365697807). It’s a good work environment, (tables,
easels, benches), always with good models. If 5-20’s are your thing, I recommend checking it out. I
will say, the spots by the door are back lit by the skylights at this time of year – so head to the back of
the room unless you like silhoueĴe shapes as much as I do.
46 of 51 9/13/2015 10:59 PM
8 COMMENTS
from → Figure Drawing, Studio Work, watercolor
Persistence: The Only Technique that Matters
JANUARY 22, 2015

I don’t usually show my ‘bad’ sketches. I often draw on loose sheets of paper, and tear up bad ones
right on the spot. So there’s no evidence.
These happen to be in a sketchbook, and this was such a classic incident, I figured I’d post it for you.
Here we have what I’d consider to be a preĴy average drawing. Not very structurally sound. It’s
stiff. And it doesn’t even show what’s going on.
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(hĴps://citizensketcher.files.wordpress.com/2015/01/corning_lampworker_01.jpg)
I ran into this fellow doing a lampworking (hĴp://en.wikipedia.org

/wiki/Lampworking)demonstration at the Corning Museum of Glass (hĴp://www.cmog.org/). He’s
probably there 9-5, five days a week, doing his thing. But I only had 20 minutes before I had to be
somewhere.
I’d found him just as he ignited his jet of flame and started to melt glass. I’m a sucker for a jet of flame.
I’ll watch anything on fire.
So I dive right in aaaand – – – terrible sketch right?
Despite the interesting subject – it just didn’t turn out.
We had driven two hours out of the way to see the other demo I was heading to – so, I wasn’t
interested in missing that. But this drawing was really bugging me. I had already taken five steps
away when I thought ‘No. Actually – I can’t live with it”.
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So – turned around, did another one.
But, wouldn’t you know it!
Still a preĴy weak drawing.
I’ve become a lot more demanding about capturing a likeness in recent months. It’s never going to be
perfect – but this isn’t even close.
Plus – I don’t mind a messy drawing – I’m fine with a sketchy feeling. But I want open, floating lines
that have some elegance. This guy looks hunched over – his shoulder is a mess.
Even though the clock was ticking, there was nothing to be done but try again.
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I had to slow down, ignore the possibility of losing a good seat for the show, take my time, and really
look at the guy. Find what is distinctive about him.
His shoulder length hair rolls down the back of his skull, and flips up around his neck. It’s not just a
bunch of lines – it’s a flowing shape with weight. Smoothly falling, only then dissolving to brush
work.
He had a bit of a heavy jaw (a liĴle chubby – after all, he’s a desk worker like me). His goatee was
very specifically trimmed. Almost a Fu Manchu mustache – not just a generic scruff of hair. A beard
always follows the jaw line. It’s not pasted on – it reveals the shape of the jaw.Solving that leads me
to his somewhat fleshy lips, and prominent – yet pointy – nose.
Now I have an actual person, not a generic human.
As well, the strange device spiĴing flame – it’s like a liĴle cannon on spindly legs jeĴing blue fire.
That’s a unique prop that is important to get right. Add in the glass rods and sculpted vials he’s
crafting – and now I have a real description of an artist doing lampwork. A useful document of the
day, not just a scribbled person.
Hope that helps you feel good about any bad drawings that happen. Use them as an opportunity. Flip
the page and keep going. GeĴing a bit beĴer each time. Persistence is everything in this game.
118 COMMENTS
from → Ballpoint and Brushpen, Figure Drawing, Sketchbook, tips and tricks
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Workshop in Cortona starts tomorrow!

Video Review: James Gurney’s Tyrannosaurs: Behind

Breaking news: Landmark victory for victims of the

1 Week : 100 People

And – if you’ve been debating taking my Sketching People in Motion (hĴp://www.craftsy.com/class

Lachine Painters Demo

MAY 31, 2015

It was a neat surprise to meet Terry Mosher (hĴp://www.aislin.com/wordpress/) (center, looking at

Pop up Show Pops up! Oil Paintings on Exhibition

MAY 27, 2015

I have had a generous oﬀer to be a guest artist at Galerie Farfelu in Westmount

My friends Lydia and Marin (hĴps://citizensketcher.wordpress.com/2011/02/15/iladesign-ancient-

One more weekend on the Mountain, and thanks

MAY 27, 2015

Thanks to everyone who came out to volunteer!

Sketching People in Motion is Now LIVE!

JANUARY 28, 2015

Book Excerpt : Simple Sight Measuring Example

JANUARY 26, 2015

[Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Begins]

Here’s how sight measuring works.

[Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Ends]

Cutting Room Floor : Montreal Tattoo Expo

JANUARY 26, 2015

Called out by the Model

JANUARY 23, 2015

I was happily sketching way – trying to to focus on a few things:

“I look like a 9 year old girl!” she says.

Brush-wise: In the future I have to focus on a few more things:

Book Excerpt : Sketching En-Passant

JANUARY 23, 2015

[Excerpt from The Urban Sketcher (hĴps://citizensketcher.wordpress.com/books/) Begins]

The Weary Gladiator

JANUARY 22, 2015

Persistence: The Only Technique that Matters

JANUARY 22, 2015

I ran into this fellow doing a lampworking (hĴp://en.wikipedia.org

So I dive right in aaaand – – – terrible sketch right?

Despite the interesting subject – it just didn’t turn out.

So – turned around, did another one.

But, wouldn’t you know it!

Still a preĴy weak drawing.

Now I have an actual person, not a generic human.

Follow “Citizen Sketcher”

Build a website with WordPress.com

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