Shading Quick-Sketches Quickly

Many sketchers enjoy doing quick-sketches as they can be done while waiting in line, sitting in a doctor’s reception room, or in any food court.  You can do them while driving down the highway, though it’s best to have someone else driving.  I fill several sketchbooks a year with these kinds of sketches, each taking 1-3 minutes.

But one thing these simple line drawings lack is any sense of tonal variation – unless you add it.  As a couple people have asked about how I do it I thought I’d talk about my process, though I’m a rank amateur at quick-sketching.  The same technique can be used to color more complete drawings as well.

The most common form of shading quick sketches is to use an ink that isn’t waterproof.  Most fountain pen inks are not so you have a wide range of colors, brands, and pens to choose from.  I believe Goulet Pens say they stock 600 inks, and most of them are water-soluble.

2013-02-13QS2

Done in Strathmore “toned gray” sketchbook, using J.Herbin 1670 ink. Click to enlarge.

If you carry a waterbrush (with clear water), shading with water-soluble ink  is easy.  You simply run the pen along one side of the line, pulling color from the line and into a shape to indicate shading.

While this is, by far, the easiest approach there are a couple of potential drawbacks.  First, drawing ink away from the lines diminishs the lines and possibly makes them fuzzy.  This can be good or bad, of course.  The other limitation is that your shading is the same color as the lines.  Again, sometimes good, sometimes bad.

 Shading brushes

Stillman & Birn Alpha, Noodler's Lex Gray and brown & black waterbrushes

Stillman & Birn Alpha, Noodler’s Lex Gray and brown & black waterbrushes. Click to enlarge.

For nearly a year, now, in addition to a clear-water waterbrush I’ve carried a waterbrush where I’ve added a few drops of Noodler’s Lexington Gray and another with a few drops of Noodler’s Polar Brown.  This gives me the flexibility to use both a brown and a gray to shade my drawings and I can do it in seconds.  I keep the shade from the waterbrush very light so that I can apply multiple coats and obtain a range of colors.  I think the very dilute solution helps keep the brushes flowing properly.  I use a waterproof ink (Noodler’s Lexington Gray) for the linework so that it’s unaffected by the shading.

Stillman & Birn Alpha 4x6. Pilot Prera & gray waterbrush. Click to enlarge

Stillman & Birn Alpha 4×6. Pilot Prera & gray waterbrush. Click to enlarge

If you enjoy quick-sketching, give this approach a try.  Easy to carry, easy to apply when there’s no time for a full watercolor treatment.

Some quickies at the coffee shop.  Click to enlarge.

Some quickies at the coffee shop. Click to enlarge.

Using both color sometimes enhances the scene.  Click to enlarge.

Using both color sometimes enhances the scene. Click to enlarge.

 

Winter Building Sketching

I’m desperate.  I really am a building sketcher and winter sends me indoors, to museums, concerts, etc.  Not many buildings to be found inside buildings.

This is a view if you sit on the second floor of the McDonalds on St. Jean St. in old Quebec, McCafe in hand.  Stillman & Birn Alpha 4x6), Platinum Carbon pen, Platinum Carbon ink

This is a view if you sit on the second floor of the McDonalds on St. Jean St. in old Quebec, McCafe in hand. Stillman & Birn Alpha 4×6), Platinum Carbon pen, Platinum Carbon ink

But when there’s a will, there’s a way, at least in a limited fashion.  If one is lucky, one can sit by the window in a coffee shop and sketch the outdoors.  I searched a bit and got lucky.  Here’s a couple small sketches I did while looking out of windows.  I’m ready for spring.  How about you?

This one was hard to do as I had to lean over a bench and a heater so I could look out a small window in the old jail that's now associated with the art museum in Quebec City.  It was to see and balance sketchbook at the same time.  Stillman & Birn Alpha (4x6), Platinum Carbon pen.

This one was hard to do as I had to lean over a bench and a heater so I could look out a small window in the old jail that’s now associated with the art museum in Quebec City. It was to see and balance sketchbook at the same time. Stillman & Birn Alpha (4×6), Platinum Carbon pen.

Sketching Hotel St-Antoine In Quebec City

Next to my winter sketching grounds, the Musée de la Civilisation, is one of the finest hotels in Quebec City.  I doubt I could afford to rent a broom closet for the night.  But one very cold day, when we’d arrived at the museum too early and were standing around, waiting for it to open, Claudette suggested we visit the Hotel St-Antoine, a ploy to get inside some place…any place.

Once we were there, however, we saw great potential as a sketching opportunity.  Not only is the hotel gorgeous, throughout its corridors and lobby area are shadow boxes built into the wall that are filled with artifacts from the 1600-1800s, mostly dug up from what is now called Place Royal, where the hotel is situated.  We vowed to return.

And we did and found the staff very accommodating.  They gave us permission to sketch and I concentrated on an area near the entrance, which is something of a posh sitting/lunch/reading room.  We had so much fun there.   It was also fun that the staff were telling their buddies about our activities and one after the other they came by to see our sketches.  It was great fun and their kind comments good for our egos (grin).  They even offered us a cup of coffee.

2014-02-24HotelSt-Antoine_72Here are two sketches done in that lobby area.  Both were done in a Stillman & Birn Alpha (10×7) using a Pilot Prera and diluted Lexington Gray.  I’ll be returning to sketch some of the items in their shadowboxes ‘real soon.’

2014-02-27HotelStAntoine_72

 

Sketching To Music

CALVQIn Québec City there is a sketching group called Collectif des ateliers en arts visual de Québec.  Yes, the name is far too long and it forms an acronym that’s completely unpronouncable (CALAVQ).  Naming things is not the strong suit of Quebecers, but it is a great organization that organizes life drawing and portrait workshops among other art-related events.

Lucien Provost is the president of this group and he arranged for ten of us to spend the day sketching at the Conservatoire de musique de Québec, courtesy of its director, Louis Dallaire, and several of his very accomplished and accomodating students who played for us while we sketched them.  They were:

Julie C. Villeneuve, oboe and English horn
Étienne Chenard, violin
Alejandro Calzadilla, alto saxophone
Guillaume Turcotte, cello
 
and a trio:
Jean-Michel Dubé, piano
Romain Rocher, violon
Paola Curcio-Rizzato, cello
Julie Villeneuve - Hero 9018 bent-nib pen, J.Herbin 1670 ink.

Julie Villeneuve –
Hero 9018 bent-nib pen, J.Herbin 1670 ink.

Thanks to all of you who gave of your time and facilities to make a bunch of sketchers very happy.

The music was amazing.  The students were fun.  Julie’s dress was simply spectacular.  And the sketching was non-stop.  We started at few minutes after 10AM and finished at 3PM, with 15 minutes for lunch.  To say it was intense is to understate the situation.  I ended up with 17 pages of sketches, some better than others I should add.

I’ll share just a few of them with you.  I spent the day trying different pens and have indicated which were used in each case.  The sketchbook was a Strathmore “Toned Gray” 6×9 book.  Clicking on the images will enlarge them.

Detail of Julie's sleeve shrouds - Hero 9018, J.Herbin 1670

Detail of Julie’s sleeve shrouds – Hero 9018, J.Herbin 1670

One of the sketchers - Hero 9018/J.Herbin 1670 and Hero 578/Platinum Carbon Black

One of the sketchers – Hero 9018/J.Herbin 1670 and Hero 578/Platinum Carbon Black

 

 

 

 

 

 

 

 

 

Some details & Guillaume's face - Platinum Prera, Lexington Gray

Some details & Guillaume’s face – Platinum Prera, Lexington Gray

 

cello - Pilot Prera, Lex Gray, Hero 578, Platinum Carbon Black

cello – Pilot Prera, Lex Gray, Hero 578, Platinum Carbon Black

 

 

 

 

 

 

 

 

 

Romain Rocher, Pilot Prera, Lex Gray

Romain Rocher, Pilot Prera, Lex Gray

 

Paola Curcio-Rizzato, ballpoint pen

Paola Curcio-Rizzato, ballpoint pen

1898 Renault-Tilbury Car Sketch

A couple days ago I posted a sketch of the back end of a Renault car that putted its way through Paris in 1900.  When I look at it I see Mr. McGoo driving.

I got back to the museum yesterday and sketched the front end of that same car.  I regret that I did it too fast and drew the wheels too thin but, caveats aside, I think it’s cute as a bug.  Maybe I was channelling Mr. McGoo cartoons as I sketched.

Stillman & Birn Zeta (6x9), Pilot Prera, Lexington Gray

Stillman & Birn Zeta (6×9), Pilot Prera, Lexington Gray