The Downsides of Sketchbooks by Sam

The Downsides of Sketchbooks

Samantha Warner Graphic Arts Research Project

Contents

Introduction / p.2 1 Location City / p.6 Architecture / p.8 Airport / p.10 Waiting Room / p.12 Social Settings Party / p.14 Coffee Shop / p.17 Eating Out / p.20 Overview / p.22 2 Transport Train / p.24 Aeroplane / p.28 Overview / p.30 3 Material Pen / p.33 Pencil / p.36 Paint / p.38 Overview / p.41 4 Weather Wind / p.42 Sun / p.49 Overview / p.51 5 Illustration Cliches Memory Book / p.52 Page a Day Diary / p.54 60 Observations in a day / p.56 Life Drawing / p.60 Overview / p.65 Conclusion / p.67 References / p.70 Bibliography / p.72 Figures / p.76

Introduction

The downside of sketchbooks can be read as an ironic title. I habitually keep sketchbooks for creative projects and they are undoubtedly a useful way to record and store ideas. Sketchbook, journal, visual diary, notebook and scrapbook are all names used to describe a blank book. Whichever one you choose as an illustration student, within an art school environment, I find you are expected to be carrying one at all times. This is, in fact, one reason why I want to challenge the tool: I want to question the stereotypical demand placed on an illustrator to be constantly drawing in their sketchbook. Is it a practical research tool for the contemporary artist? Sketchbooks are ‘for ‘personal reflection, artistic aspirations […] a place for exploring inner worlds and self-doubts.’ (Bales and Delacruz, 2010, p. 37) During my initial research, I found the majority of sketchbook descriptions similar to this, full of admiration. I do not completely disagree. However, none describe how unrealistic and impractical they can be. A lot of the talk was quite pretentious and this encouraged me to research the subject in a way that challenged the tool and highlighted the disadvantages they have. I also wanted to find out why there is so much attention and obsession on plain notebooks! Whilst taking extra interest in the sketchbook, I began to notice how many books, most within the past 5 years, are available on the subject. There are ‘a plethora of sumptuous books on sketchbooks, many claiming to uncover the authentic “inner voice”, of the creative mind.’ (Stanton, 2013, p. 27) There are many books advising what to do on each page and a range showcasing the ‘inner voice’ of graphic designers, fashion designers, typographers, travellers, etc. I cannot reject the ‘sumptuous’ pieces I found when looking through the books but I can challenge how unrealistic some artist’s sketchbook work is. Many people feel capable of keeping a sketchbook, even if they aren’t necessarily from a creative background. When you get to look at the messy

sketchbook of a successful artist it makes you feel better about your own work! Julia Rothman began sharing posts of artist’s sketchbooks on her website: ‘many readers were so inspired they hurried out to purchase a Moleskine and started their own sketchbooks.’ (Rothman, 2011, p. 12) When I’ve looked at artists sketchbooks and seen no intricate observations or perfected lines it makes me feel like the simple pages within my own notebooks aren’t so boring. Is this the reason why there is an obsession with sketchbooks? Has public interest increased now there are regular opportunities to view an artist’s personal work? Another reason why people could be enthusiastic about sketchbooks is because they are a comfort. As Heit (2013, p. 10) states ‘artists have become weary of endless hours in front of a computer and grow nostalgic for the time when they simply took out a pencil and began to draw”’. Has the web and digital culture accelerated the nostalgia for tactile objects? Could this be why creatives idolise sketchbooks? It gives them a reason to move away from the computer; surely working on a screen isn’t as directly rewarding as drawing with your hands.

via the internet. Is the sketchbook still a practical research tool used as ‘a place to rehearse, experiment or just play around’ (Heller and Talarico, 2010)? Or is it’s current use a platform to boost the artist’s ego by giving them a format to promote their work? To decipher whether the sketchbook is a practical research tool for today’s creative I experimented with my own practice. Many artists state where and when they use their sketchbook; this has given me material against which to test myself. I have been to similar locations at similar times to sketchbook work produced by others. I have then compared their sketchbooks to my own, to see how practical and beneficial the activities are. I have produced around 50 experiments, selected specific examples and divided them into five chapters: Location, transport, materials, weather and illustration clichés.

The passion for nostalgia may be why sketchbook manufactures can make so much profit off blank pieces of paper. You can buy a Magma Sketchbook, specifically for Art & Illustration, at £12.95 for 152 (23.4 x 17.8cm) pages of eco friendly paper. Recently, ‘sketchbook manufacturer Moleskine was valued at $626 million, partly due (no doubt) to its success in selling expensive blank books to the general public, responding to trends in the amateur market’ (Stanton, 2013). The fashion trend of sketchbooks has resulted in more people keeping one, and not just people from creative backgrounds. I also want to explore the use of sketchbooks in today’s world. “Scrapbooks, like diaries and today’s blogs on the Internet, are a reflection of the very human need to tell our stories, to create a record of our lives” (Clyde, 2005). Many artists combine the two by sharing their stories in their sketchbooks,

1 / Location

Whilst browsing through other artists sketchbooks, I found significant attention towards location drawing. Many artists keep to the stereotypical expectation of observing wherever they go. The illustrator Paul Cox’s work mostly consists of location drawing across the world and he promotes the practicality of the sketchbook in different environments. Location drawing ‘always presents many challenges, particularly working in busy urban environments on a large scale so the more intimate size of the sketchbook can enable me to be more private […] I often draw figures when they are unaware of my intent’ (Cox, cited in Heller & Talarico, 2010, p.99). Figure 1 (Cox in Heller and Talarico, 2010, p. 98) is an example of his urban sketchbook observations. Cox uses fluid bold lines with a sporadic use of watercolour to capture the figures, atmosphere and architecture he experiences. Many of his lines are unfinished emphasising the fast pace he works at to record the moving figures.

Figure 1

City To test the sketchbook I made several observations across several cities: Liverpool, Manchester, Cardiff, Venice, Florence, Milan and Rome. When drawing in the UK I found the experience very different in comparison to drawing abroad. As Cox stated, location drawing presents many challenges: I felt it wasn’t always realistic to be taking out a sketchbook in a busy environment. Each time I went to draw within a UK city centre I anticipated being disturbed. However in foreign cities I didn’t feel as bothered. Figure 2 is an image taken from my sketchbook whilst drawing in Italy. I mostly created quick line drawings of people that caught my eye. I was naturally drawn to focusing on interesting people, recording their face or posture by using strong black lines or vague sketches. Despite being surrounded by people I rarely felt awkward, it seemed second nature to see people drawing (fig. 3). I could easily photograph people with sketchbooks because it appeared to be a fashion (seen in fig 4. and fig. 5). Whilst in Italy, I visited famous tourist cities, known for their architecture and history, which understandably attracts artists to draw. The UK has its own attractions but evidently it isn’t such a normal activity. Since returning to the UK, there hasn’t been one occasion where I have spotted anyone but myself sketching. Overall, I found location drawing in UK cities wasn’t easy due to the discomfort of being surrounded by people. In contrast, in foreign cities, no one will look twice.

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Architecture Whilst location drawing, I found I had a subconscious tendency to render people. When trying to concentrate on architecture I had limited patience for accuracy, particularly lines and shapes. I naturally found it easier and more enjoyable to get down quick outlines of noticeable features or figures instead. The line drawing, seen in figure 6, was the only building I recorded in my sketchbook. I have drawn the outline in a child-like manner rather than going into any textural detail. I may have produced a more realistic response if I had carried a ruler! When comparing my work to the sketchbooks of the Swedish illustrator Mattias Adolfson, I feel quite inadequate. In all Adolfson’s work he creates intricate imaginary worlds, carefully drawn using only a fine black pen and a few strokes of gentle colour. Figure 7 (Adolfson, 2012) is an image of obsessively detailed buildings, taken from one of his sketchbooks. He conveys a 3D quality with his drawings that I have struggled to achieve. Adolfson doesn’t produce exact replicas. This is a deliberate decision to allow him to be creative. In contrast my inaccurate building is an automatic depiction. My sketchbook page does have a light style, however, the time and effort spent on the drawings evidently differs. In contrast to Adolfson’s sketchbooks are the Moroccan sketchbooks of Matisse. His instructor, Gustave Moreau (cited in Cowart, 1990, p.124) advised ‘a student should make sketches after nature from the street, in the country, wherever you go.’ This instruction was taken from the early 20th century yet the idea is still valued today.

Figure 8 (Matisse, 1912/1913, p. 124) shows Matisse’s use of pen strokes to capture the shape of the dome in Morocco with slight detail. The way he has executed the outline appears more confident that my own unsteady lines. Matisse, a master artist, didn’t necessarily concentrate on creating full detailed observations. Known for his shapes and colour, it was likely he was ‘observing’ the motifs and atmosphere of Morocco rather than creating precise architectural sketches. Whilst drawing on location, I realised architecture isn’t my forte. Ideally, I should use this knowledge to improve and challenge my technique. Priit Pärn described how people either draw in two ways: ‘let’s describe one as real object-eye-brain-hand-result; and the second as brain-hand-result.’ (Pärn, cited in Heit, 2013, p. 178). People either directly reference a physical example or draw from their imagination. Mattias uses his imagination and Mattise his instinct. Therefore I feel more confident about my inaccurate observations!

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Airport I found sketching in the airport enjoyable, mainly because of the selection of people to observe. The location meant they stayed in the same position long enough for me to record their shape and some simple detail (fig. 9 and fig. 10). The artist Rachel Gannon produces work that challenges drawing in a ‘non-place; a place that is not concerned with identity and is measured in periods of time?’ (Gannon, 2014) One recent ‘nonplace’ study was in Luton airport. Gannon visited this location several times a week for one month to sit and observe with her sketchbook. Gannon’s sketchbook focuses on the atmosphere, structure and signs within the airport whereas I was inclined to focus on the people. Her observations communicate an unusual view of an airport experience which I find refreshing in comparison to the usual locations documented within sketchbooks. Figure 11 (Gannon, 2014) is an example of a page within her journal, a dark pencil drawing. Her depiction of the familiar space appears slightly dark and distorted. A figure is placed alone on a chair, showing no engagement or eye contact. Reflecting on my experience, I remember the same dull atmosphere with minimal interactions. Since evaluating Gannon’s drawing I also recognise the solitude and boredom from the figures in my own depiction. I found the airport to be an ideal drawing location because you are unlikely to be disturbed. Unfortunately, it is a difficult location for frequent visits.

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Waiting Room During the location experiments, I frequently rendered people. Whilst doing this I improved my understanding of where it wasn’t suitable to draw. Whilst sitting in a dentist waiting room, I took out my sketchbook. However, I soon realised this wasn’t a location to be watching people. It was likely to create awkward confrontations; instead I kept my head bowed and drew the feet around me (fig. 12 and fig. 13). I produced simple black outline sketches; it wasn’t a location to be taking out a full set of colours! Mik Artistik asks strangers that catch his eye if he can draw them. He produces biro sketches of people on brown paper bags, seen in figure 14 (Artistik, 2012).

Figure 12

‘When I’ve got an audience watching, there’s a pressure to deliver and I find that it heightens the experience’ (Artistik, as cited in Harper, 2014). Artistik must be extremely confident to ask someone to sit for a portrait, with the added pressure of producing an accurate observation. Maybe the brown bags make it more relaxed; Artistik doesn’t have to be too precious (when using a sketchbook there is a pressure to keep a consistent standard on each page). Personally I would find asking someone to sit for a portrait intimidating. However, it is something I should consider. Instead of avoiding awkward eye contact I should confront the subject. Overall the experience was a refreshing change to my usual facial observations and developed my ability to draw feet.

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Social Settings I found it strange how some artist’s sketchbooks include observations they have made in social settings. How did they comfortably do this? I found it hard to undertake the following experiments: I felt as if I was attention-seeking and ignorant. Party One social location I chose was a wedding reception. The setting was dark and the majority of people were lively which meant I wouldn’t stand out. I kept to using a black fine liner because I found it impractical to carry my sketchbook to the party, never mind a full pencil case (fig. 15 and fig. 16). Figure 17 (Deakin in Heit, 2013, p. 43) is an extract from the sketchbook of Suzanne Deakin. ‘These are essentially the quickest images of people and situations that I can draw. It’s a combination of feeling a little shy in public, but also always wanting a minimal line to hold the most information.’ (Deakin as cited in Heit, 2013, p. 42). This page has been clearly inspired by real people. Even though, like myself, Deakin was shy in public, each of her sketches tells a story with the representation of body language. From looking at Deakin’s drawings, I realise how I misinterpreted the atmosphere at the party through my choice of characters. I haven’t represented any animated guests on the dance floor, only seated guests close by. I found using a sketchbook at a party pointless. I was only drawing for the sake of completing the task. I was happy to draw in the dark so less people noticed me although this resulted in basic drawings misinterpreting the actual atmosphere of the party. On one hand, I could see this exercise as a way to improve my confidence in drawing with an audience but realistically this was an awkward experience unlikely to be repeated.

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Coffee Shop With my sketchbook I drew some characters whilst sat outside a shop (fig. 18 and fig. 19). I only created a few illustrations as it was a busy location and the average pace of people was fast. Unfortunately, I spilt some drink on the pages – a hazard of sketching in a coffee shop. Villard (as cited in Heit, 2013, p.295) stated ‘I like grease from my chorizo nachos to get on my pages, I like my sketchbook. It’s always on me…I draw anytime, anywhere!’ Maybe I should have let the drink completely stain the page to add some effect to my sketchbook. Villard’s own sketchbook pages, seen in figure 20 (Villard in Heit, 2013, p. 297), are chaotic, with a strong use of colour and interesting characters. There are marks from the smudges of colour but no obvious stains, slightly contradicting his account of ‘grease’ on his pages. As an experience, I could feel people looking over my shoulder but, in general, I found it comfortable to sit and record passers by without looking vain. Even though there is a risk you may stain your pages, I feel it could add validity to the drawing. If there is an expectation to be using the sketchbook everywhere, it is bound to get some natural wear. Figure 18

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Eating Out Many illustrators draw their food which I find hard to comprehend. How can someone have patience to draw a plate before eating in a restaurant? The first time I did this exercise I felt I was intentionally ‘standing out’ which resulted in me giving up on the drawing (fig. 21). I repeated the exercise in a quieter café and drew my plate (fig. 22 and fig. 23). I used brightly coloured pens to demonstrate the mix of colour and shapes on the plate. I also drew bold patterns to show the combination of textures. I didn’t feel awkward in this location but it was still uncomfortable because I was impatient to eat before the food got cold. Illustrator Tom Hovey draws each contestant’s cake on the BBC series The Great British Bake Off. The visual aesthetic of his illustrations, evident in figure 24 (Hovey, 2013), reflect a homely, vintage-feel that makes the food look appetising. He uses bold black lines and inserts of colour, more descriptive and considered than my own drawings. His finished illustration is then imposed onto a sketchbook and

photographed in situ. The sketchbook is used to help promote the vintage-feel to the show’s audience, emphasising the connection between the current sketchbook obsession and the fashion for nostalgia. In the future, I will definitely use my sketchbook to draw food because of the likelihood of good illustrations. They will, however, be drawn from photographs. Taking out a sketchbook to draw your food takes a lot of discipline and patience! In general, I feel it’s wiser to illustrate the object afterwards, from the photograph, when there are no distractions. Hovey’s own observations are biased because he had a client.

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Overview Drawing on location proved to have many challenges. The locations that were easiest tended to be where there was less chance of an audience. Drawing in a crowded UK city was challenging compared to foreign cities. One comfortable drawing location I did find was a ‘non-place’ such as the airport. Unfortunately, it is also an unrealistic regular drawing location. Some locations I anticipated feeling awkward, so I had to make myself do the experiments. It felt unnatural to take out the journal when in company which, in turn, resulted in misinterpreting atmosphere. I am more likely to take photographs for future reflection in these situations. Illustrator Pam Smy spent several months drawing on location for research in response to a manuscript.

Maybe a different format such as drawing on a paper bag like Mik Artistik would help relieve the pressure of perfecting an image. Apart from the downsides, I appreciated the experience of location drawing. I mostly produced quick sketches instead of detailed physical observations as I realised the majority of artist’s sketchbooks don’t either. I developed my ability to naturally illustrate my surroundings as well as drawing with more conviction and creativity. Even though I had to force myself to do a lot of the experiments, the material I gathered was worthwhile: I produced many characterised line drawings of significant features to inspire future character designs.

‘This body of visual research became invaluable to the illustration of the book as a whole. The process of looking closely and recording gave me an insight into how the spaces worked, and, in turn, a closer relationship and understanding of Newbery’s text’ (Smy, 2012, p. 82). Smy’s experience helped her produce authentic gardens to reflect the story she was illustrating, evident in figure 25 (Smy, 2012, p. 83). She used seven sketchbooks for the one project: four on location to record the allotments and three to re-draw and create the finished illustrations. If Smy hadn’t observed from life would she have produced such strong work? Maybe not. However, the locations she was recording, quiet secluded allotments, are different to the locations I chose. Her visual research must have been a comfortable experience if she filled four sketchbooks, contrasting my experience. I had little confidence to draw in public and ended up focusing on avoiding eye contact. I should challenge myself to not worry about other people or request their permission.

2 / Transport

â&#x20AC;&#x2DC;I tend to use my sketchbook when I am travelling on public transport. I make sure the portraits are of people sleeping or reading individuals to avoid any crazy confrontationsâ&#x20AC;&#x2122; (Pearson cited by Rothman, 2011, p. 146). During my research I found many artists praised using their sketchbook when travelling. I decided that transport was therefore a subject I needed to challenge.

Figure 26

Train The most frequent location I drew in my sketchbook was on the train. I regularly travel on trains so it became second nature to take out my book each time. ‘I set out hunting for faces in quite a random way, but drawing on the underground seemed to work best. There’s almost nowhere else that a total stranger would come and sit face-to-face with you and there is such a fast turnover of sitters. I also like the expressionistic effect that the lurching motion of the train has on my drawings, forcing a degree of inaccuracy.’ (Hodgson, as cited in Heit, 2013, p. 115). Figure 26 (Hodgson in Heit, 2013, p. 114) is an outtake from the sketchbooks of Jonathon Hodgson. Hodgson needed believable faces to match personalities for an animated documentary. You can see in this image how he accomplished this through his detailed rendering of the expressions and body language of strangers. Through regular travelling I got to know which type of train, seat and time would be ideal to use a sketchbook. Hodgson’s quote describes two of the

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Figure 27

experiences I had on the train: one being a positive, (high turnover of sitters) and the other negative (sudden movements in the carriage). A good seat is when you get a high turnover of people and a good (distanced) view of them. In hindsight, I wish I had spread my observations out onto several pages as I managed to get a lot down in the short time I had (fig. 27 and fig. 28). The shaky blue lines evidence the trainâ&#x20AC;&#x2122;s sudden movements but overall, the experiment produced an interesting variety of line drawings. Figure 29 and 30 demonstrate a situation where there is no body on the train. I could only draw the litter on the table and empty seats. The train travels too fast to take down anything outside of the windows and I had limited colours to capture the blur. I only produced two drawings but by using the bright pink I managed to make the subjects more interesting. In contrast, I also experienced the train being packed at rush hour. When you are in this situation you have to decide between wanting to sketch (to cure boredom) with not wanting to be watched. The decision I made in this situation is clear, as I have no sketchbook pages to show!

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Aeroplane Before this experiment I presumed that drawing could use up time on a 3-hour flight! Unfortunately once seated, and in the air, I found there was nothing to draw. Figure 31 and 32 show all I managed to record. A double page spread of what I could see outside the window: the sky. Luckily I had a blue pencil crayon which meant I could capture the significant part, the block of colour. The untidy scribbly lines seem very immature, partly due to not carrying a pencil sharpener. Figure 33 (Corte-Real, 2014) is an image taken from the sketchbooks of Eduardo Corte-Real. He uses black lines to render the scale and shape of the wing outside the aeroplane window. The negative space on one side of the book helps contrast the plain aeroplane interior with the busy runway. This style of drawing is repeated throughout Eduardo’s sketchbooks. He either works on one page or across double page spreads with black pen and pencil with occasional additions of colour. He constantly uses a sketchbook and has updated a blog with each outcome for the past 5 years. Eduardo’s blog supports my question; do creatives keep one as a research tool or as a platform to promote themselves online? Eduardo has created a range of interesting observations that by choosing to upload online has led to a rise in his profile. Building an online presence is worthwhile to get people recognising your work so it’s not necessarily a negative, just a change in its use.

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Overview I understand why artists use sketchbooks on transport. From my experience I found it a comfortable setting to relax and cure boredom. I found any success to be dependent on different factors on the day: having a good seat, objects to draw and minimal sudden movement. Next time, I will make sure I carry a set of colours so I can capture the blur outside the window! I also tried to use my sketchbook whilst in a car and on a bus (fig. 34). Due to suffering from motion sickness this was unachievable. This is an activity I therefore couldnâ&#x20AC;&#x2122;t recommend. From coming across artists such as Eduardo CorteReal, I see how sketchbooks are used to attract an audience online. In one way, this could be seen as a pretentious use for a book that is supposed to improve your observational technique. However, in todayâ&#x20AC;&#x2122;s age, boosting your online presence coincides with bringing in more work. This makes it hard to criticise.

3 / Materials

Different artists use different materials in their sketchbooks and I wanted to challenge the practicality of certain tools. I also wanted to see how realistic some artistâ&#x20AC;&#x2122;s observational work is by comparing my outcomes using the same materials.

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Pen Figure 35 are drawings of people n Liverpool, made using a black fine liner. I produced 4 pages of faces, aiming to capture each character and personality. Throughout my sketchbook, I often use black fine liners, of various thicknesses, as I find them to be useful when observing strangers: they’re practical when you feel people are aware of being watched as you can pretend that you’re writing instead of drawing.

Figure 37 is an example of coloured pens in my sketchbook: an observation in a park. I kept to three colours and I think this produces a basic but successful outcome. Black pens are good for quick characterisations. However, for a scene, coloured pens are more effective at capturing the atmosphere. In a way, the results can appear quite childlike, because of the association with children and felt tip pens, yet I am pleased with the aesthetic.

Figure 36 (Correll, 2011) is a page from the sketchbook of the illustrator Gemma Correll. Correll’s work mainly consists of strong black pen drawings with witty lines and puns. In this image she has produced quirky line drawings and annotation to record the experience. Her use of turquoise adds a different element to the drawings and helps to distinguish different narratives in the piece. A limited colour palette is practical (to carry around) and adds an interesting aesthetic.

Figure 37

Pencil A pencil is not a material I regularly use as I find I don’t produce confident, strong work. This is reflected in the double page spread of a gondola in Venice (fig. 38 and fig. 39). I sketched out rough outlines of the canal and passing boats. This is a renowned and fascinating location and yet I failed to represent this with my image. I did not have enough patience to sit and produce a detailed observation. I also didn’t work on any shading or texture which would have given it some life. I have pen marks seeping through the pages throughout the sketchbook; this is especially prominent on this image where the pencil work is so light. Should I have invested in a more expensive book? Successful sketchbook manufacturers may use a denser paper stock, however, it is particularly costly if they have the same problem.

Figure 38

Illustrator Lizzie Stewart uses pencil in her sketchbook observations seen in figure 40 (Stewart in Rothman, 2011, p. 172). She produces charming and delicate illustrations using steady lines and different pencil shades. The advantage of using a pencil is that you can erase anything you aren’t happy with. Stewart’s illustrations don’t appear to have any mistakes so it wouldn’t be a surprise if she used a rubber. Some artists believe sketchbooks are not supposed to be for finished work, such as artist David Shrigley: ‘I keep a notebook but not a sketchbook. When I keep a sketchbook, the work in it ends up being ‘finished’ work.’ ‘Things don’t get better if they are re-drawn, in my experience.’ (Shrigley as cited in Heit, 2013, p. 237).

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Paint I knew this material wouldn’t be straightforward. However, having seen numerous artists use paints in their sketchbook it was a material I needed to test. A famous artist who produces sketchbook work with paints is David Hockney. One of his projects included filling a sketchbook with watercolour and ink to capture the panoramic landscapes of rural Yorkshire. Figure 41 (Hockney, 2011) is a double page spread, showing his intelligent use of a limited palette of blues, greens and reds to convey the life of the countryside. Inspired by Hockney’s Yorkshire sketchbook, I took mine to a country park with a set of watercolours, water and paintbrushes. I found it hard to find a place to sit (I am predicting Hockney would have taken a stool) and it was awkward mixing colours and balancing water whilst sat on a hill (fig. 42). Hockney prepares thoroughly when painting in the countryside, obviously more experienced than myself:

‘we premixed some of the paints we’d be using – we didn’t want to be out there in the cold spending an hour mixing up the subtle grays.’ (Hockney as cited in Weschler, 2008, p. 136). Figure 43 and 44 show my experience and outcome of the activity. I tried to convey the array of colours and shapes that I could see. Unfortunately, the location wasn’t the most comfortable place. I cannot be too critical of my pages when comparing them to Hockney’s. He also doesn’t focus on any intricate detail. Instead, he captured the life of the landscape with his pattern and colour, something that I have only touched on with my first attempt. This experience reminded me that using paint is hard, even more so in your sketchbook in public. Even though the results were interesting and the medium helped capture the beautiful rural atmosphere, it is not practical to carry around water and paint.

Figure 44

Overview Different artists choose different materials for their sketchbook work. Their choice is dependent on their personal style, yet some materials are frequently used due to their practicality. The material choice depends on location. Paints in a sketchbook at home would be fine yet in the middle of a park it isn’t so easy. I found pens were the easiest although slightly repetitive. Coloured pens look slightly immature although they are a nice additional element. Pens will continue to be my ‘go-to’ material because of my confidence in their results. They also offered a way of pretending you weren’t drawing to a stranger. I struggled to produce any strong work with pencil, although I was reminded that ‘things don’t get better if they are re-drawn’. I should concentrate more on improving my technique with this material.

4 / Weather

Prior to my experiments the weather wasnâ&#x20AC;&#x2122;t a subject I was going to discuss. However, it affected some of my work and therefore I became aware I needed to consider it.

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Wind Through my research I came across the sketchbooks of German-French artist Edouard Baribeaud who uses his sketchbook in different locations with different materials. ‘I consider my travels as observation periods, so I bring with me my sketchbooks, my pens and watercolour box. I love discovering a country and its people through the rhythm of drawing.’ (Baribeaud as cited in Wormser, 2013) Figure 45 (Baribeaud, 2011) is taken from one of Baribeaud’s sketchbook pages, produced with his ‘watercolour box’. Here Baribeaud has captured the levels of the waves with his use of pale watercolours and white space. The figures opacity, along with the colours and bleak sky, give an eerie feel to the image. Inspired by Baribeaud’s watercolour beach scenes, I undertook this experiment at Southport sea front (fig. 46). I captured the sky, the sand and a quick depiction of the pier running through the scene. The colours I viewed were much bleaker than what I have used in this image. When planning the day out I didn’t consider the weather being a downside. However, once on the beach, the wind was so strong I had to put an umbrella up to shelter (fig. 47). Due to the pages constantly flapping, I had to leave my drawing of the pier, leaving any additions of texture or bleaker colours. Instead I painted a man, whilst holding the pages down (fig 48. and fig. 49). I focused on painting the block colour of his figure, collecting items off the sand. On the page, you can also see random brush strokes and blotches, evidencing the clash between watercolour and wind. Away from the seafront, I produced a stronger drawing using pens to copy some seaside typography (fig. 50) which was much more practical. The wind is a definite downside to locational sketchbook work. It is unrealistic to paint whilst trying to stop water falling over and keeping pages from blowing around! It was lucky I had an umbrella otherwise I may have lost the sketchbook!

Figure 50

You can now keep a sketchbook using applications on tablets/iPads. Instead of sitting under an umbrella to mix paints and hold down pages, a portable screen would have been a lot easier. British reportage artist Tim Vyner created live sketchbook illustrations of the Beijing 2008 Olympics, seen in figure 51 (Vyner, 2008). Four years on at the London Olympics he used an iPad, seen in figure 52 (Vyner, 2012). In figure 51, he produced simple pencil observations whereas in figure 52 he used a range of colours with a similar effect to watercolour. “‘I had lots of trouble in Beijing with a sketchbook, paper and watercolours where I wasn’t allowed to get past security […] The iPad is the ultimate sketchbook.

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You can take all your materials with you and produce drawings that have a similar sort of authenticity to the [watercolours] location work’. (Vyner as cited in Taylor-Gill, 2012) On an iPad, you can use your fingers to mix colours and capture the atmosphere without carrying around a bag of materials. Sketching on a tablet is practical and gives you the opportunity to use more colours than you can carry, but if this is the case why are people still buying sketchbooks? As I discussed, people are nostalgic for tactile objects and an excuse to move away from a computer screen. Perhaps this is why applications on a tablet haven’t yet overtaken the physical sketchbook.

Sun Another sketchbook illustration from Baribeaud that inspired me can be seen in figure 53 (Baribeaud, 2011), a sketch of a beach resort in Germany. Baribeaud uses block coloured shapes and negative space to contrast the calm sea and lively footballers. Baribeaudâ&#x20AC;&#x2122;s style has a clear narrative, making you feel the temperature and atmosphere of the scene despite the image not being highly detailed.

Figure 53

Whilst by the pool on holiday I decided to use my sketchbook. I predicted it would be relaxing to draw whilst sunbathing. Unfortunately, I found this wasn’t the case. Trying to observe a scene in 33-degree heat with the sun in your eyes wasn’t realistic. An iPad also wouldn’t have been practical in this weather: it would have overheated in the sunlight. I used pencil crayon and captured the simple shapes of the scene (fig. 54 and fig. 55). It was too hot to concentrate on any detail for the illustration as all I could think about was getting in the pool; Baribeaud’s German beach must have been at least 5 degrees cooler. ‘When drawing, there’s an incompressible creation lapse that allows the scene to be engraved in memory. Drawing is a universal language’ (Baribeaud as cited in Wormser, 2013). I can relate to this because as I

Figure 54

look back at my sketchbook pages it reminds me of the events, atmosphere and temperature from the particular occasion. When I look back at figure 54 I can remember the heat and agitation I was feeling when sketching the scene. I thought using a sketchbook in the sun would be ideal; relaxing without worrying about any wind or rain affecting the paper. My experience in 33-degree heat wasn’t very successful. Maybe it would work in something more moderate.

Overview The weather is definitely a downside to sketchbook work. The stereotypical bad British weather affected some of my work although, fortunately, I produced most of these experiments from late spring through to autumn in one of the driest summers for many years. If it had been another season, it’s likely my book would be full of rain-covered pages. The wind is a weather condition I won’t be drawing in again. Trying to hold down the pages of your book and draw at the same time isn’t practical. If I do have to repeat this in the future I will stick to simple materials. Watercolours, especially, are completely impractical. Alternatively, I could sketch on an iPad, it would be much easier to carry and still likely to produce a good quality image. In other conditions, such as rain or bright sunlight, I would have to consider not sketching at all. Something I learnt from these experiences was how drawing helps enrich the memory. Looking back on a sketchbook drawing, for example figure 46, evokes the memory of wind against an umbrella, trying to balance a watercolour pallete and hold water between my feet. This was an unexpected upside of the sketchbook.

Figure 55

Unfortunately, unpredictable British weather makes it near impossible to predict how the day will turn out. If you are using a sketchbook outdoors, for drawing research, I would have several visits planned because you don’t know what’s going to affect your observations. You can choose the material and your location but you cannot control the weather.

5 / Illustration Clichés

As well as location drawing, I also wanted to challenge drawing activities stereotypically expected from an illustrator. Are they beneficial for a contemporary artist? I selected four examples of sketchbook activities to test: memory book, page a day diary, 60 observations in one day and life drawing. Memory Book ‘In an act of extreme generosity, at the beginning of each term’s course we give the students an A6 sketchbook which we call the “memory book”. In this we ask them to draw an incident from memory, one a day, from that day, quickly like brushing teeth. The drawings are a document – or an evocation – of something seen and experienced, concerning events, objects or people.’ (Anyango, 2013, p. 39) Figure 56 shows the images I created whilst keeping an A6 memory book. My quick images tended to be a cartoon style narrative using a black pen to draw the memory. I forgot to do the drawings on a couple of evenings so had to try and remember the day after. I was only going to do the task for a week yet I carried on for an extra few days. This shows I relaxed into the habit of drawing everyday although when I have done similar activities in the past I have given up.

Figure 56

Page a Day Diary Like the memory book, at the beginning of the previous year, I tried to draw everyday. I started the activity on January 1st and lasted until January 11th. Unfortunately, I lost the motivation and time to continue with the illustrations (fig. 57). I tried to add humour, either with the narrative or the way I drew. Spanish graphic designer, Pep Carrió keeps a page a day diary: “I try not to have any special subject, using a different technique or style every day. When the diary is finished, after a whole year of different images, you can see that there are many subjects.”(Carrió as quoted in Heller and Talarico, 2010, p. 83) The results of his diary/sketchbook pages, seen together in figure 58 (Carrió in Heller and Talarico, 2010, p. 85), are aesthetically impressive. His use of different media each day and the way he places

Figure 57

his illustrations on the page is intelligent. I hadn’t come across Carriós sketchbooks when I was doing the activity. In hindsight, I think I would have been more successful because they would have inspired me to create an interesting illustration each day rather than a narrative. If I had drawn something from my imagination this may have alleviated the pressure of creating something humorous and I would have relaxed more. Aiming for a drawing a day can be beneficial whether it is practical to find the time is another question. For me keeping a memory book and a sketchbook diary were ways to accumulate lots of work. However, I am yet to understand what their other benefits were. Their original aim may be related to improving imagination and drawing ability yet for me I only gained a collection of project ideas.

Figure 58

Figure 59

60 Observations in One Day In contrast to one drawing a day illustrator Peter. J Field (as cited in Brereton, 2009, p.108) states, ‘I have been known to make 60 observations in one day’. His sketchbook consists of simple representational sketches of mundane objects, seen in figure 59 (Field, 2010). Instead of using his sketchbook to illustrate his imagination, he captures ordinary surroundings. In the written word this may sound tedious but his illustrations highlight the beauty in mundane objects and moments. To understand if there were any benefits to creating this many observations I also aimed for 60 in one day. I began in the morning casually illustrating items around me (fig. 60). As it got to the late afternoon I realised I was only a quarter of the way through and hurriedly got down anything I could (fig. 61). I had this attitude for the rest of the day, drawing whilst on a train (fig. 62) and then having to make 20 observations when I got home at 9 o clock at night (fig. 63).

As well as sketchbook applications available on tablets, sketchbook manufacturers Moleskine have created ‘Smart Notebooks’ – combining technology with the sketchbook. The product transforms your hand-drawn sketches into instantly editable vector files, when you take a photo on your smartphone. They have cleverly combined current software with the tactile book, responding to the current trends with sketchbooks. Having your illustrations instantly editable and organised would be useful although I think it is slightly pretentious. Does the price of a ‘smart notebook’ justify the time it saves you looking through old sketchbooks and scanning in pictures? The tactile feel of looking through old drawings and the memories they evoke are positives of the sketchbook. Hence, I am undecided if the ‘smart notebook’ is the future.

Producing 60 observations in one day was extreme as the experience becomes tiresome. Field picks out things that are usually unnoticed or considered ugly in daily life and this is the aspect that I appreciated. I was observing and illustrating everyday objects that made me look and remember them differently. I aimed for the same simple neat quality as Field and I am happy with the body of simple illustrations I gained.

Figure 60

Figure 61 Figure 1

Figure 62

Figure 63 Figure 1

Life Drawing Life Drawing is an artist clichĂŠ, acknowledged to be beneficial because it teaches you how to observe, measure and evaluate shape, space, colour and texture of the human body. Taking part in life classes is encouraged in many art schools and most commonly involves a naked model. Artist Sally McKay takes a different approach to life drawing and sketches dancers during rehearsals, capturing the movement and atmosphere of live performance in the studio. McKay produces sensitive observations of the artistic process of choreography that many people do not get chance to see. In figure 64 (McKay, 2014) you can see how McKay has captured the fast turning motion and chaos with instant marks on the paper. You can feel the energy of the dancers through the expressive gestures she has used. In contrast, McKay also has the ability to capture the control and strength of the dancers, demonstrating their technique and flexibility with her pencil shading (fig. 65).

Figure 64

Figure 65

Figure 66

Figure 67

Figure 68

Figure 69

I had the opportunity to observe dancers in the studio (fig. 66 and fig. 67). Figure 68 shows the type of sketches I was initially producing whilst sat in the class. McKay captures an immediate reaction to the movement whereas I initially focused on the strong positions the dancers were making. I wasn’t very confident in my ability to capture the figures in my initial images. This was somewhere I knew well yet I had never sketched so it took me a while to relax into the drawing. As the choreography became quicker I concentrated on particular body parts and movements rather than accurate figures (fig. 69 and fig. 70). Overall, the dance class as a location was quite uncomfortable. I asked for permission to draw which then put more pressure on recognisable drawings. When I was focused on particular movements I think I was more successful than trying to produce exact depictions. However, life drawing is about your ability to depict the human body. To become confident in portraying people and capturing motion like McKay this is an exercise I would need to continually repeat.

Overview There are many stereotypical sketchbook activities for an illustrator, useful for generating images but not always practical. Activities such as observing mundane objects helps to create a body of interesting illustrations but I felt 60 a day was unrealistic. Producing a drawing a day I found I felt under pressure and aside from creating work, the benefits of activities such as memory books, I fail to understand. Products such as Moleskine’s ‘smart notebook’ that store and organise your illustrations would be useful yet I find it could appear ostentatious. Will it be the next fashion? Personally, I am currently satisfied with looking through my old sketchbooks and scanning them in. When drawing in the dance class, I was reminded how hard life drawing is. Having accuracy in your illustrations is challenging but it has encouraged me to repeat the activity to improve my (cliché) skills as an illustrator.

Figure 70

Conclusion

The key aim of this research project was to challenge the sketchbook and explore the ‘downsides’ to examine whether it is a practical research tool for 21st century creatives. I carried the book around with me for several months and the experience did give me an understanding of the sketchbook. I now know when to sketch, where to sketch, what to sketch, what to sketch on and what to sketch with. One of my main challenges was the stereotypical expectation for an illustrator to be constantly drawing in their sketch/note/scrap book. Hence, the majority of work was done on location. My experiences were better in ‘non-places’ or when there was less chance of an audience. At some locations I anticipated feeling awkward so I had to force myself to do the experiments. Maybe other mediums would give more freedom, for example Mik Artistik and his brown bags. Artist Jason Brooks always uses his sketchbook on location: ‘It really is the only way to get that atmosphere, otherwise there’s no feeling, no life behind the illustrations. It’s so important to go there and experience the place.’ (Brooks, as cited by Bromwich, 2014, p.4) If you don’t observe from life can you still produce realistic work? I believe you can; if you aren’t comfortable in a situation your illustration may misinterpret the atmosphere anyway. In the future I will observe on location unless it is a particular type of setting. For example I found social settings weren’t very conducive to sketchbook work. Therefore, if a particular place I find uncomfortable is needed for visual research I will take photographs for later reflection.

Aside from the downsides, I appreciated the experiences. I didn’t produce detailed scenic observations yet I realised the majority of artist’s sketchbooks, including historical figures such as Matisse, don’t either. I developed my ability to naturally illustrate my surroundings as well as improving my confidence to draw with more conviction and creativity. Drawing a scene helps enrich a memory, supporting the sketchbook as a useful research tool. Using a sketchbook on transport was a comfortable way to spend time. The success of the illustration was dependent on differing factors ‘on the day’: a good seat, something to focus on and no sudden movements. Due to suffering from motion sickness, I couldn’t recommend using a sketchbook whilst in a car or on a bus. I also couldn’t recommend sketching on an aeroplane; I was disappointed when I found nothing to draw! Through the book I tried to use different materials. However, pens were the most frequent material. They were slightly repetitive yet easy to use and more practical to carry around. There is confidence in the results with this medium (and a useful way to pretend you aren’t drawing strangers). Pencil is a material I am unlikely to use again as my work never looked strong. Pencil is useful because you can erase mistakes although I have learnt some artists, like David Shrigley, believe in not concluding work in sketchbooks anyway. I used paints now and then; I liked the addition of colour although they were the most unpractical material. Paints in a sketchbook at home would be fine but in the middle of woodland they aren’t so handy. Travelling to the beach on a windy day with a set of watercolours also wasn’t my best idea. The weather is definitely a downside to the sketchbook. The wind and rain make it near impossible to use your sketchbook: having to hold down pages, an umbrella and a paintbrush isn’t easy. At the other end of the scale, the sun isn’t always

practical either. I found 33-degree heat wasn’t pleasant to draw in. Somewhere in between the two is the perfect condition. It’s unfortunate you can’t control the weather. Carrying around an iPad to create an image may be more practical than carrying a sketchbook and a full set of materials. However, sketchbooks are still used as they give a break from technology. Combining the tactile with the practicality of technology is why companies are investing in products such as the ‘smart notebook’. Personally, I’m not attracted to these hi-tech products and I am currently satisfied with a basic sketchbook and scanner – an ironic statement when I have been targeting their disadvantages. I didn’t believe that all cliché activities with a sketchbook could be beneficial. I understand many tasks, such as the memory book, can gather ideas for a student although, aside from this, I failed to understand their benefits. Producing a drawing a day and observing mundane objects does accumulate material although it is not practical to do every day. There’s a lot of pressure to keep up with a book especially if you’re expected to post work online every day. From coming across artists such as Peter J Field and Eduardo Corte-Real I see how sketchbooks are used to attract an audience online. On one hand, this could be seen as a slightly vain practice. On the other, keeping up regular drawings and uploading them online boosts your online presence and may bring in more work. This makes it harder to criticise. In truth, I have kept sketchbooks ever since I began studying art-based subjects and I will continue to do so. From my experiences, I have realised the sketchbook can be awkward, unpractical and unrealistic. Yet it is also rewarding, useful and beneficial. The sketchbook has long been a practice for artists and yet it’s not dated, as proved by the current fashion.

The pages I filled aren’t of an exceptional standard. However, I cannot highlight these negatives when each experience has given me project material. The outcomes I produced are mostly interpretations of people, characterised drawings that I can use for character designs. Aside from my own experiments, I mostly analysed artist’s sketchbooks, to test their work against my own. I can repeatedly criticise and question their techniques but when I observe the overall aesthetics of their books I cannot deny they’re beautiful. Is it a practical research tool for the contemporary artist? Yes I think it is. As technology advances and new applications and smart books are invented it may become less popular yet it will always survive. Despite all it’s downsides, the reward of having a tactile finished drawing, that resembles or at least reminds you of the scene and atmosphere you observed, is irreplaceable.

References

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Smy, P., 2012. Picturing words: Creating illustration for a novel. Intellect Limited, [e-journal]. 2(1/2) Available through: Liverpool John Moores University Library website <http://www.ljmu. ac.uk> [Accessed 2nd December 2014] Stanton, J., 2013. 7 Thoughts on the Cult of the Sketchbook. Varoom Magazine. 22. p41-44. Taylor-Gill, H., 2012. How One Man Aims To Illustrate the Olympics Using Just His iPad. MacTrast iPad News blog [blog] Available at: <http://www. mactrast.com/2012/05/how-one-man-aimsto-illustrate-the-olympics-using-just-his-ipad/> [Accessed 3rd December 2014]. The Guardian, 2009. Artist Peter James Field on how he draws. The Guardian, [online] (Last updated 12.01 on 16th September 2009). Available at: <http://www.theguardian.com/ artanddesign/2009/sep/19/guide-drawing-peterjames-field> [Accessed 4th December 2014].

Figures

Location Figure 1. Cox, P. Travel sketchbooks [drawing in sketchbook] In Heller, S and Talarico, L., 2010. Graphic: Inside the Sketchbooks of the Worldâ&#x20AC;&#x2122;s Great Graphic Designers. London: Thames and Hudson Ltd. p 98 Figure 2. Pisa and Florence [sketchbook drawing with black fine liner] Figure 3. St Marks Square [photograph] Figure 4. People drawing in Venice [photograph] Figure 5. Boy drawing in Florence [photograph] Figure 6. Leaning Tower of Pisa [sketchbook drawing with black fine liner] Figure 7. Adolfsson, M., 2012. Sketchbook. [drawing in sketchbook] Available at: <http://www. mattiasadolfsson.com/5358/432812/gallery/ commissions-and-sketches-early-2012> [Accessed 6th May 2014]. Figure 8. Mattise, H., 1912/1913. Le dome du marabout [drawing in sketchbook]. In Cowart, J., 1990. Mattisseâ&#x20AC;&#x2122;s Moroccan Sketchbooks and Drawings: Selfdiscovery through Various Motifs. p 124 In: Cowart J, Coyle L, Elderfield J, Kostenevich A, Schneider P., 1990. Matisse in Morocco: The Paintings and Drawings 1912-1913. New York: Harry N. Abrams, Inc. Figure 9. Sketchbook in Termini airport [photograph] Figure 10. Rome Termini airport [sketchbook drawing with black fine liner] Figure 11. Gannon, R., 2014. London Airport Residency [image online] Available at: <http://rachelgannon. co.uk/Luton-Airport-Residency> [Accessed 15th October 2014].

Figure 12. Dental Practise waiting room [sketchbook drawing with black fine liner] Figure 13. Waiting room feet [photograph] Figure 14. Artistik, M., 2012. Ted. [image online] Available at: <http://www.theguardian.com/ artanddesign/gallery/2014/apr/13/drawing> [Accessed 19th October 2014]. Figure 15. Sketchbook at a party [photograph] Figure 16. Brett & Natalie’s Wedding [sketchbook drawing with black fine liner] Figure 17. Deakin, S. Ibiza people collection [drawing in sketchbook] p43. In Heit, L., 2013. Animation Sketchbooks. London: Thames & Hudson Ltd.

Figure 25. Smy, P., 2012. Sketchbook figures [e-journal image] In Intellect Limited. 2(1/2). p 83. Available through: Liverpool John Moores University Library website <http://www.ljmu.ac.uk> [Accessed 2nd December 2014] Transport Figure 26. Hodgson, J. Underground sketchbook [sketchbook drawings] p114. In Heit, L., 2013. Animation Sketchbooks. London: Thames & Hudson Ltd. Figure 27. Sketching on a Trenitalia train [photograph] Figure 28. Sketchbook of a Trenitalia train [sketchbook drawing with black and blue pen]

Figure 18. Sketchbook outside Coffee shop [photograph]

Figure 29. Sketchbook on a Manchester to Liverpool train [photograph]

Figure 19. Outside coffee shop in Cardiff [sketchbook drawing with black fine liner]

Figure 30. Sketchbook on the Manchester to Liverpool table [sketchbook drawing with coloured pens]

Figure 20. Villard, JJ. Sketchbook pages. [drawing in sketchbook] p 297. In Heit, L., 2013. Animation Sketchbooks. London: Thames & Hudson Ltd. Figure 21. Nandos, Southport [sketchbook drawing with coloured pen] Figure 22. Full English [photograph] Figure 23. Sketchbook in Sefton café [sketchbook drawing with coloured pen] Figure 24. Hovey, T., 2013. Cakes for Comic Relief ’s Great British Bake Off. [image online] Available at: <http:// www.digitalartsonline.co.uk/news/illustration/ interview-tom-hovey-on-drawing-cakes-for-comicreliefs-great-british-bake-off/> [Accessed 18th October 2014].

Figure 31. Sketchbook on a plane [photograph] Figure 32. Window view [sketchbook drawing with blue pencil crayon] Figure 33. Corte-Real, E., 2014. london, spring 2014. [image online] Available at: <http:// eduardocortereal.wordpress.com/2014/07/23/ london-spring-2014/london2014223/> [Accessed 12th October 2014]. Figure 34. Sketchbook in the car [photograph]

Material Figure 35. Scousers [sketchbook drawing with black fine liner]

Figure 47. Windy sketchbook [photograph]

Figure 36. Correll, G., 2011. Valencia [image online] Available at: <http://www.gemmacorrell.com/ wp-content/uploads/2010/11/valencia1.jpg> [Accessed 12th October 2014].

Figure 48. Sketchbook litter picker [photograph]

Figure 37. Park in Milan [sketchbook drawing with coloured pen]

Figure 50. FUNLAND & PIER [photograph]

Figure 38. Sketching in Venice [photograph] Figure 39. Gondola [sketchbook drawing with pencil] Figure 40. Stewart, L. On the Beach 1937 / ‘I knew a woman lovely in her bones.’ [sketchbook drawing with pencil] p. 172 In Rothman, J., 2011. Drawn In: A Peek Into the Inspiring Sketchbooks of 44 Fine Artists, Illustrators, Graphic Designers and Cartoonists. United States of America: Quarry Books Figure 41. Hockney, D., 2011. A Yorkshire Sketchbook [image online] Available at: <http://www. kathrinjacobsen.com/index.php?/graphicdesign/ david-hockney-yorkshire-sketchbo/> [Accessed 6th May 2014]. Figure 42. Equipment set up [photograph] Figure 43. Tandle Hills [sketchbook painting with watercolour] Figure 44. Sketchbook in Tandle Hills [photograph]

Figure 46. Southport [sketchbook painting with watercolour]

Figure 49. Litter picker [sketchbook painting with watercolour]

Figure 51. Vyner, T., 2008. Boxing [image online] Available at: <http://www.timvyner.com/olympics/ index.html> [Accessed: 4th December 2014]. Figure 52. Vyner, T., 2012. London 2012 - Triathlon [image online] Available at: <http://timvyner. wordpress.com/2012/10/26/day-11/> [Accessed: 4th December 2014]. Figure 53. Baribeaud, E., 2011. Prora auf Rügen [image online] Available at: <http://www.edbaribeaud. com/de/croquis/skizzenfestival> [Accessed: 23rd November 2014]. Figure 54. 33 degrees by the pool [sketchbook drawing with pencil crayon] Figure 55. Poolside [photograph] Illustration Clichés Figure 56. Memory drawings [sketchbook drawings with black fine liner]

Weather

Figure 57. January 8th – 9th 2014 [sketchbook drawings with black fine liner]

Figure 45. Baribeaud, E., 2011. Quiberon. [image online] Available at: <http://www.edbaribeaud. com/de/croquis/carnac> [Accessed 23rd November 2014].

Figure 58. Carrió, P. Page a day [sketchbook images] p 85. In Heller, S and Talarico, L., 2010. Graphic: Inside the Sketchbooks of the World’s Great Graphic Designers. London: Thames and Hudson Ltd.

Figure 59. Field, P., 2010. Hogan [image online] Available at: <http://agencyrush.com/Artists/ Peter_James_Field/Hogan/> [Accessed 4th December 2014]. Figure 60. 60 observations in one day 1-3 [sketchbook drawings with black pen and watercolour] Figure 61. 60 observations in one day 18-24 [sketchbook drawings with black pen and watercolour] Figure 62. 60 observations in one day 31-39 [sketchbook drawings with black pen and watercolour] Figure 63. 60 observations in one day 53-60 [sketchbook drawings with black pen and watercolour] Figure 64. McKay, S., 2014. Le Patin Libre [image online] Available at: http://blog.sallymckay.co.uk/ [Accessed 23rd November 2014]. Figure 65. McKay, S., 2014. Edward Scissorhands Rehearsal [image online] Available at: <http://blog. sallymckay.co.uk/> [Accessed 23rd November 2014]. Figure 66. Sketchbook in Ballet class 1 [photograph] Figure 67. Sketchbook in Ballet class 2 [photograph] Figure 68. Ballet dancers [sketchbook drawing with pencil and black fine liner] Figure 69. Tap dancers [sketchbook drawing with pencil] Figure 70. Sketchbook in tap class [photograph]