Sketches - Sandcastles etc

Here are two more sketches from the sketching class. No real theme here, just some interesting examples of different types of subjects.

The first is a sandcastle that Hugh Thompson had built previously. I tried something a little different with this one. More just a recording of shadows. Differing depths of shadow generating the form. There were very few (read "one") materials to render so it fell on a different technique to get it across.



The second is just another house from the west side of Cambridge.

Sketches - 25 Wentworth

Another from the sketching class. I am actually quite proud of this one. To me, it is the most successful to date. The perspective is correct. It is set nicely in the landscape around it. There is sufficient detail to understand most of the materials and elements.

Sketches - People and Hockney

From a previous post, you can see how Hockney, with a few lines and gestures, can create a compelling sketch of another person. I had tried to do something similar with the 25 Second Sketches. I was a little bored one day during sketching class. Maybe "bored" isn't the right word; distracted may be better. I was distracted one day and thinking about the Hockney sketches that I had been looking at. I was a little envious of the ease by which he seems to be able to sketch people. As a result, I thought maybe, instead of just trying it with buildings, I should see what I could do with people. Below are 3 sketches of people who were around me (and unaware that I was sketching them).

Sketches - O'Donovan House

More from the sketching class:

25 Second Sketch - Collection 2

These are the second grouping of sketches from the "25 second" idea. They are drawn under the same guidelines are the previous set so I won't go into the explanation again. As per many peoples comments, these are posted in chronological order. Starting from the bottom of the set, up.

There is, however, one change to criteria for this set. From now on, all of these sketches will be done with one line. The lifting of the pen was always a moment of indecision; a pause in the process. This allows the mind to better filter to the hand.








These are the second grouping of sketches from the "25 second" idea.

25 Second Sketch - Collection 1

I had been thinking about this project recently, after looking into the sketches of Hockney (there is an image in an earlier post). His sketches of people seemed so loose and off-hand, yet they still carried a definite impression of the subject. I started doing the same thing with people around me; really quick, free-form images. Normally without their knowledge, I would take 30 seconds and quickly sketch out what I was seeing. I will post some of those once I get that sketchbook back. Could the same thing be done with buildings? I didn't see why not.

Staying within the confines of previously used numbers, I would give myself 25 seconds to sketch out a building. To see what was recorded, what were the major elements were and what the eye immediately identified. It is very much about the connection between the eye, the mind and the hand. How fast can you process certain information and then record or translate (transcribe might be a better word).

This is the first collection to date; House - Cambridge. I hope to come up with a better name than that, but that is what it is called for now.