30
Sketching on the move
Being able to dash down quick
sketches is a great skill to develop
and one that will improve with
practice. It’s surprising to see just
how much you can leave out and
still capture the essence of the
subject. Limit your time to force
speed of working, or try sketching
looking out from a bus or train.
THE BASICS
1
Observing the subject
Painting is all about the effects of light.
Look for a good range of tonal variety and
strong compositional elements. A photo can
provide extra information for your painting.
2
A tonal (value) study
This type of sketch helps plan the areas
of light and shade you will paint. Draw or
paint this quickly; do not focus on details.
Aim for a few big interesting tonal shapes.
Recording things quickly
This sketch of bougainvillea took 10 minutes
and doesn’t include every detail—it doesn’t
need to. A splash of magenta records the
main color and replaces a multitude of
pencil marks. The result is both quicker
to do and more descriptive.
Sketching and planning
HOW TO WORK BEST WITH YOUR REFERENCE MATERIAL
Many visual artists always carry a sketchbook, since you never know when
the perfect subject may present itself. Once you’ve captured a quick sketch,
dashed down any color suggestions, and taken any supporting photos,
it’s time to sketch out, plan, and execute your painting.
Strokes of magenta
and green with a splatter
of color on top neatly
conveys the bougainvillea
Painting shadows is much
quicker than drawing them
A door is described
simply, for speed
From real life to a painting
Watercolor is a spontaneous
medium and the process is easier if
you have an indication of where to
place your paint. Creating a tonal
study will help you plan a successful
painting. When it is time to paint,
your preparatory sketch should map
out only the main features of your
subject or, even better, the main
tonal shapes. Avoid shading and use
a soft pencil (2B or softer) so as not
to dent the paper’s surface.
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31 Sketching and planning
Photos—the whole picture
While it is useful to take a
photograph of your subject (using
a smartphone or a compact camera
is ne), rarely does one photo offer
enough to render a successful
painting. Painters need more
information, so take photos from
different viewpoints as well as
wide-angle and zoomed-in detail
shots. However, a photograph
cannot substitute the information
you will gain from sketching.
3
Preparatory sketch
Before applying paint, lightly draw the
boundaries of the painted areas. It is best to
leave a few scribbles rather than risk erasing
and possibly damaging the watercolor paper.
4
The nal painting
Notice how this nished painting closely
mirrors the tones in the tonal study. Tone is
your most powerful weapon in constructing
a painting. Details come far behind.
“You will learn
more from a
single sketch
than from
taking a hundred
photographs.”
Taking and using photos
PROS
Is quick and simple
Provides accuracy and detail
May be the only option if the viewpoint
is awkward or dangerous
CONS
Cannot lter which elements of a scene
excited you most
Is poor at indicating depth
Is no substitute for careful observation
1
Take some photos
The pattern of these three
boats and their sharp shadows
in the sunshine is sure to
appeal to many. While the
buildings in the background
appear equally bright in the
photograph, the eye is drawn
more to the boats.
2
Sketch tonal areas
While the camera records
everything, in a sketch you can
focus on what catches your eye.
Now is the time to decide what
is the main focus, what to omit,
and adjust accordingly. Quickly
record the tones that will
inform your painting.
3
Refer to all sources
Working from your sketch
helps keep the painting
simple, but it’s good to have
the photograph to refer to for
color information, to check
relationships of objects within
the scene, and to ensure the
shapes are properly rendered.
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