Obsessive, distracting, challenging, fun. Sketching 100 people in a week has been a crazy ride. Instead of eyeing the artistic properties of carrots and beets in the supermarket, I found myself wishing I could draw the man with the waist-length gray beard or the woman in the colorful scarf. I became a spy in the coffee shop and at the library: casing the joints for subjects, finding seats where I could be unobtrusive, stealing glances, occasionally getting caught.
I’ve learned a lot in a week.
- The more you do, the better you get—with a major caveat. If you keep doing the same thing over and over, you’re just doing the same thing over and over. Taking time to learn (e.g., anatomy, technique, accuracy, etc.) or trying different materials can jump you to the next level. The combination of learning and practice is how you improve.
- Sometimes working from photos is a good thing. By stopping the action and giving yourself time, you can really study your subject. You can mess around, make mistakes, and clean them up. Your sketches might be less lively, but when you go back to working from life, you just might be more prepared.
- There’s no substitute for working from life.
- Studying the work of other artists—whether Masters in a museum or fellow sketchers online—opens up new doors of possibility.
- You are in the driver seat. Sketch what you love, but push the boundaries and take risks every now and then to see what you are capable of.
Click on any sketch to view larger and see notes. (See 1-50 here)
This challenge gave me plenty of opportunity to try different materials for the same subject. Here, I swapped my usual Micron 02 for the Platinum Carbon fountain pen. I like the line quality, but had to take care not to smudge the ink while it was drying.
Here’s where the numbers started to drive me and I lost sight of being thoughtful about what I wanted to do with this challenge. Bad move. With an hour to close and few people at the museum, I became reckless.
While I like the sketches of the security guards in this set, there little else I’m pleased with on these pages. I needed to remind myself to take charge again and focus on what I wanted to practice and learn. Good move.
I switched gears in a major way—working from a photo, I wanted to see if I could manage a more detailed portrait in watercolor. The subtleties of skin tones were well worth doing. (I think this should count as more than one.)
For my remaining sketches, I wanted to achieve a more accurate likeness of my subjects (which I did not achieve on 86-88, but did better on 89). These four were done with an inexpensive Pilot Varsity fountain pen with water soluble ink that bleeds beautifully for dramatic effects. I loved this pen for quick sketches with the simplest of washes.
An hour to closing time and 10 people to go, I was back to stalking subjects at the library. Working directly in pen, I managed to capture a decent likeness and suggest form with just two rounds of watercolor wash on most of these. I’ve come a long way from sketch #1.