There is nowhere to hide when you draw, visual accuracy especially when drawing architecture or the built environment with just a pencil and sketchbook is essential, for the most part the natural flow of building along a busy high street or an isolated farm cottage are something we take for granted, but when attempting to render the building the laws of perspective and their relationship with the immediate surroundings must be observed if you are to achieve a visually pleasing composition. I keep my drawing materials to a minimum when I’m out drawing with HB and 2B pencils, I like to draw with a very fine point and the harder the lead of an HB pencil will hold its point longer especially on smooth paper. When roughing out a sketch and then work back through with a softer 2B, enhancing to tones and over all composition. I prefer Staedler Mars Lumograph pencils, the soft wood encasing the lead, it is much easier to cut back with a sharp knife leaving me with a clear 10mm of lead which I refine to an even finer point with the emery board strips you can buy from any pharmacist and are used for filing finger nails.
My sketch books are various makes, but I like the smooth white paper, the whiter the better as this gives a better contrast with pencil or pen, a pliable eraser and fixative are also an essential part of my equipment and of course a sharp knife. I never carry more than I need to and if possible park my vehicle close to the subject and often draw from the comfort of the driver’s seat.
Once you have found an interesting subject look for the light source if you are to render a pleasing drawing, it will be paramount when you have established the basic composition, stand back and observe the light, consider it carefully it’s not always as obvious as you first think and needs some planning at the outset.
Foliage is often the sketchers best friend, and can be used in many ways to soften, emphasise, dramatise or frame to great effect, and I often invent extra foliage to break up lines, filter out areas and taper drawings at the edges, my drawing would be classed as vignette as I tend to leave a clean white area around the subject and the framing mat, this tecniche works especially well with drawing.
I sometimes try to draw with words as well as a pencil, Duffy’s farm overlooks park of Yellagonga Regional Park in WA, which is dotted with lakes and swamps, a haven for birds and many times I’ve unintentionally panicked a Heron, I love the way that they lift off like a Harrier Jump Jet on a mission, landing a few hundred metres away to carry on the fossicking.
STEP ONE (STUDIO)
Getting set up to draw in the studio, pencils, knife, eraser etc., close to hand, John Williamson CD playing and crisp new paper. I don’t grid up the paper preferring to find the centre point of either my site sketch or photograph, mark a centre spot (lightly) on the paper and can usually work the composition from there, however I do sometimes use a ruler to set key point working in from my centre point, you are looking for a pleasing composition. I rarely invent things but often leave out unwanted detail, earlier I had slipped down to Duffy’s farm which is not far from where I live and taken a photograph. I have drawn the old farm many times before but not from the angle demonstrated.
STEP TWO
Duffy’s Farm, working on Cardex paper, I find the centre and have left this mark visible on the demonstration stage one. It is about two thirds down, the second post from the left of the water tower. At this stage I am just looking for a pleasing composition, the photo suggests it should work as a sketch but you need to see it outlined on the paper for a better idea, no point spending time working up a drawing that is never going to look right. I rarely attempt to cover the whole paper and much prefer the vignette style and this work follows that design.
STEP THREE
Starting to work back into the drawing with my 2B pencil, the light is somewhere behind me, coming over my right shoulder and casting some interesting shadows across the limestone cold store from the water tower and your hopefully your eye is being pulled back to this area, make sure to use a fixative now as you will smudge your work if you don’t.
STEP FOUR
Working back through the background trees, darkening and lightening areas and loosening up the tops of the trees, but not too much detail, over all the drawing seems to be working, so I continue with my pencil romping about the paper increasing tone, dark against light, I’m also looking now at ways of making it more interesting, starting to draw down the clumps of grass that skirt the building and fence posts, to dramatise the paddock and also considering putting a little animal life in the composition.
STEP FIVE
Just sit back now and wait for Heron to pass by, only kidding, I invented the Heron, but there are many around this park so it is quite applicable. I have a collection of birds, kangaroos etc., I have cut from magazines and like to select one, put in on my drawing and move it about before selecting the right spot and drawing it in. Don’t fiddle any longer, put it away, come back to it in a day or two and you will instantly know whether it’s good or not so good.
