JIM CHAPMAN

LAUGHTER –AN ESSENTIAL TOOL FOR SKETCHING IN PUBLIC

Painting in public takes some courage; I’ve had passing folks make comments that can seize up the whole process.

“My cousin paints, too…now, she’s a real artist,” the man tells me. Humor works both ways, though. It helps us artists survive. Not long ago, I had a woman ask if I actually saw those ‘wild colors’ I was putting into my sketch.

“Yes, of course,” I said, “but that’s how things look to those of us that stood too close to microwave ovens when we popped corn as kids.” Then – after a few blank seconds – she and I both cracked up laughing, having bonded in some ancient, existential way. Because it’s challenging to sketch outdoors with moving subjects, burrowing insects and often curious people, I have adopted a ‘one-stroke’ style of watercolor that – by focusing on shadows – is fast and suggests detail without actually providing any.

I have found it ideal for urban sketching and I’d like to share the technique with you, using this black and white reference image (above). I used a Fabriano Studio pad paper 11” x 14”, tube watercolors and a No. 8 flat brush. The finished sketch may not look so much like my subject, but it sure feels like that moment the cool autumn air and sunshine illuminated him – and that was what caught my attention in the first place.

Experiment. Above all, have fun. Your way will be the right way.

SKETCHER DEMO

Follow the shadows

URBAN SKETCHER AND ART TUTOR JIM CHAPMAN SHOWS HOW YOU CAN KEEP THINGS FRESH IN YOUR WORK BY FOLLOWING THOSE RICH, JUICY SHADOW TONES.

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Step 1: Shadows dwell where light doesn’t – It is useful to seek out the shadow areas because they imply where the ‘light-struck’ forms and areas are, and this results in a convincing illusion of space. In fact, creating a shadow silhouette is an excellent start because it lends a frame on which to ‘hang’ the light. In my demo subject, the fellow is light-struck by bright sunlight raking in from about a 10 o’clock position.

Step 3: How much brushwork?

Less brushwork translates to fresher colors, so I let the colors mingle without brushing them together. I switch from ‘warm’ colors to ‘cool’ colors, darker to lighter, and also slide into neutrals. As long as I use my compatible ‘tribe’ of colors, any combination will work. Step 2: Choosing your color ‘tribe’ – Once you have an understanding of the structure, it’s easy to fill the shadow areas with color – as long as the colors harmonize. My palette (today) is Viridian, Antwerp Blue, Cadmium Lemon, Gamboge, Raw Sienna, Burnt Sienna, Alizarin Crimson, Ultramarine, Ivory black, Phthalo Green, Cadmium Red Light and Dioxazine Purple. Experiment and find your own color ‘tribe.’

Step 4: Simply don’t paint what’s light struck – I leave out key light-struck areas, for example on the guy’s face and hat, etc. These light slivers separate shadow shapes and create accent areas. It also allows the mind to ‘fill in’ absent areas with imagination, creating a sense of mystery. 12 • 2021 35