Handouts for my latest workshop class on the Reilly Method of drawing portraits.
This is the most intuitive way to draw portraits I have ever found. Based on relationships. When I learned it I used to get lost into the process of where to start, how to see. I created this sequence to un-complicate the thought process for anybody who learns it for the first time. So see it applied here’s a post and here another post
Tutorial on a 20 min sketch
I gave a workshop yesterday and prepared some handouts on my 20 min technique for urban renderings. Here below, is the process from beginning to end including the color wash.
There was a great attendance, I am quite happy. I presented using a sequence of panels and the second half of the time was to put all this to practice by the local Urban Sketchers Boston. It’s been two years and our group is growing. We are about 415 members to date and Christ Tritt and I run it every weekend, planning meetups and researching the local architecture to give an insight on the site prior to visit. Now with great weather, we can do more plein air workshops like this.
This demos were done in a 9″x12″ Stillman and Birn Zeta series notebook heavy stock for mixed media. The linework was done with a Lamy Safari EF. Some of the black brush strokes in the values study were done with a multiliner brush pen.
I wanted a support that could be smooth enough for fine linework, heavy ink brush strokes and take a few layered watercolor washes, so I decided to use the mixed media notebook.
One of the things I wanted to emphasize is the drying time between the watercolor wash layers. When you are working on a fast sketch, the wash has to be light so it can dry faster, most important, the base layer, as it covers about 80% of the paper (I do leave a lot of white untouched areas in the peripherals of the sketch to allow it to “breath” visually)
First layer is the lightest value of the local colors on every area, the subsequent layer is massing the main shadows, the third layer is the smaller darker areas, and the fourth layer is the accents that will enhance key areas to give it depth and good contrast.
I concentrate most of the pigment toward the horizon line and toward the center of the paper. I create interest in the focal point/area during the prior ink drawing process by doing more detail and making it visually heavy in those areas keeping the rest of the drawing very loose.
New PDF art – tutorials compendium “Living Creatures”
From the creators of “Pen and Ink” compendium previously shared here
Here at Sketching Workshop Facebook group community of 150 artists, we have been busy! creating our second publication PDF on “Living Creatures” a compendium of techniques by members of our Group. Eight authors from different countries:
Stacy Egan, Barbara Moore, Inge Leonora-den Ouden, Suzie Althens, Amanda Lee Conduct, Jane Pereira Siebert, Wes Douglas and Myself (with my tutorial on “Drawing Marine Life”)
This PDF will be release this coming Monday to social media, and will be under the the Wiki Commons collection with license for free sharing.
Our previous “Pen and Ink” publication has been incorporated in art classes in several local art schools and widely appreciated.
At Sketching Workshop our motto is:
“What is not given is lost”
HERE it is below!
A Collaborate Book Project -Sketching in Pen & Ink Tecniques
I am pleased to begin FREE distribution of this PDF that we, the Sketching Workshop Group have authored.
The SW group is a free association of urban / city sketchers across the world. 150 artists working mainly on architectural renderings, sharing mutual knowledge, and ongoing critiques of everyone’s work in a social friendly atmosphere. The group includes architects, and working artists.
This is our first collaborated project. We are eager to work together and share our tips and techniques across social media, including the Wiki Commons. Please feel free to redistribute. This is not intended for sale anywhere in the web.
This booklet has articles written by 8 authors, including myself. I also had the pleasure to do the final layout.
The work includes tips and techniques advise by working artists:
Jorge Royan -Buenos Aires, Argentina -Founder of the group.
Jennifer Lawson -Portalnd ME USA
Di Metcalf -Cape Town, South Africa
Doug Bodel -San Francisco, CA USA
Wesley E. Douglas -Chicago IL USA
Percy Acuña -Lima Peru
Jonatan Alcina Segura -Cáliz, Spain
and myself, Laura V. Sfiat -Boston, MA USA
Download HERE > PenInkFinal-Alpha
Boston Sketcher 