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SKETCHBOOK: a creative tool and a way of life that celebrates design and drawing as vital ways to see and value culture, to discover ideas, and to envision a better world.

Thursday, June 27, 2019

Draw One True Thing

This is a life-sized bronze of Ernest Hemingway that sits in the author's favorite corner of The Floridita bar in Havana, where he regularly held court with visiting writers, actors and other colorful characters.  The bronze was created by Cuban artist Jose Villa Soberon.  The sketch was for my "Hemingway's Cuba" exhibition at the Nobel Prize-winning author's home near Havana in 2015.

Writing about a recent journey, I kept reminding myself to keep the narrative along the lines of a traveler's personal journal, rather than yet another guidebook.  What did I see, what happened, what do I think about it?  That's all I can really speak to with any sense of authenticity.

Hemingway said, "All you have to do is write one true sentence.  Write the truest sentence that you know."

Interesting...the same could be said of sketching a place, person or any other subject. "Draw one true thing." That would help shortcut cliches and lazy stylistic ruts, perhaps, and encourage one to really look at something. What do you see?  It would also lead towards selecting media and tools that are best suited to capturing that one true thing.

Of course, there is no objective "truth" that isn't shaped, in part, by who is looking at it and the lifetime of experiences and baggage they bring to it.  If two artists are looking at exactly the same scene, and if they both seriously aim to say one true thing, their resulting images will almost certainly be very different, reflecting how their eye and mind shape the truth they see.

So, I'll apply that lens to the next sketch outing.  Draw one true thing.  Draw the truest picture that you know.  Is anything else really worth the time?

Wednesday, June 26, 2019

By Popular Demand: Siesta Key Prints Available

My on-location sketch of Siesta Key Beach and one of its iconic lifeguard stands got several requests for prints. If you love Siesta Key like we do, or simply love a beach holiday, this (and an optional margarita) can transport you to your happy place. High quality prints are available on archival paper and on stretched canvas. You'll see coffee mugs, note cards and other items with the beach image as well. Here's the link.



Keen Insights Into a Weekend Workshop

I'm always honored and delighted when a design firm asks me to spend a couple of days with them to talk about drawing and creativity and to refresh their sketching chops.  This is an insightful look into my "Drawing as Discovery" workshop with Gates and Associates Landscape Architecture in San Ramon, California. Thanks Mikaela Bernhardt for this excellent piece.  Here's the link!  


Thursday, June 20, 2019

An Exciting New Workshop Opportunity!

Hello friends!  I'm very happy to announce a rare workshop opportunity in the U.S. for July 2020! The Madeline Island School of the Arts in Wisconsin is offering a 5-day Urban Sketching Master Class that will feature Shari Blaukopf, Paul Heaston, Uma Kelkar and myself as faculty.  Each participant will spend a full day with each instructor, making this a very unique offering. It's just been announced today, and I wanted you to be among the first to know about it.  Space is limited, and I think this will fill up quickly.  Here's the link to details and registration.  Check it out and join us!






Thursday, April 25, 2019

Posts from an Otherworldly Landscape

This is one of several I'll post from our journey across southern Utah, following our "Drawing as Discovery" workshops in Logan...


The House is Packed at Utah State!

My "Drawing as Discovery" workshops with Utah State's landscape architecture students, faculty and professionals from across the region played to a packed house!  The short course included a public lecture, a 3-hour concept sketching session, a 3-hour location sketching session, and a discovery sketch tour of beautiful Logan, Utah.  What a spirited, talented group and a happy, positive vibe--hope to see you again soon!







Friday, March 8, 2019

A Few Spots Left for the 2.5-day U.K. Workshop!


There are a couple of spots left for our "Sketching Lively Townscapes" workshop, July 17-20, in Ely, Cambridgeshire, UK.  Yes, this is the week before the International Sketching Symposium in Amsterdam, where I'll be teaching 3-hour workshops.  This one is a full 2.5 days, covering my approach and techniques towards a less rigid, more accessible style of on location sketching.  It's a great warm-up for the symposium, and/or an in-depth dive into my working methods.  Our workshop in neighboring Oxford last summer was great fun; we're looking forward to returning to the UK.  Join us!

Location:  Ely, Cambridgeshire, U.K.
Dates: July 17-20, 2019.

July 17: Evening meet and greet
July 18: Full day instruction and drawing sessions
July 19: Full day instruction and drawing sessions
July 20:  Morning Sketchwalk
Workshop Fee: $240 USD per participant (includes entrance fee for Cathedral)

Included:
Four 3-hour workshop sessions
Three demonstrations on location
Informal guidance throughout the sessions from Jim
Detailed handouts of key techniques and examples

Workshop reservations/information: Patti Richards
E:  patti@townscape.com

Saturday, March 2, 2019

Life Drawing for Designers...




A few short years ago, I undertook a life drawing class for the first time, for a number of reasons. I wanted to improve my figure sketching skills, of course. But I'd been intrigued by the fact that many schools of architecture in the U.S. once required at least one life drawing course, and now very few did. By contrast, my architect friends from parts of Europe and South America had life drawing as a required part of their very early training. I'd spoken with a successful glass sculptor in New Orleans, who'd shown me his incredible sketchbooks, and told me that his creative search for form "all goes back to life drawing." And while interviewing my sculptor friend Carl Fougerousse on the topic of creative process, he told me, "Drawing the figure is at the core of it. One, it’s an incredibly complex problem. We know the human form so well intuitively that we can tell and see immediately when something’s not right proportionally, or in terms of structure, perspective, balance or anatomy. It has to have a certain truth about it that we immediately recognize."

And that, for me, has been the essence of it. Regardless of our creative focus, life drawing skills can help us create work that rooted in our own intuitive humanity, and so strikes us as believable and true, and that other human beings can relate to and empathize with. While this will strike my most of my artist friends as obvious, not many of us trained in schools of architecture and design, at least in the U.S., have had the opportunity to experience this first hand.

Earlier this week, I thumbed through those life drawing sketchbooks that I filled studying with the brilliant teacher Michael O'Keefe at his studio in Richardson, Texas. I was surprised at how these sketches moved me, and how the lessons I'd learned came flooding back. I thought some would be worthwhile sharing--smudges and all--and hope you enjoy them for what they are—evidence of that imperfect search for the truth of the moment.