Here are three scenes from Seattle Center I drew during the monthly meeting of the Seattle Urban Sketchers group. The first is a quick study of the east entry to the former Armory, which is now known as the Center House.
The second is the interior of the Center House, which houses a large food court, entertainment stage, and a super-sized model train layout for the holidays.
The last is of Key Arena, former home of the Seattle Supersonics but still a successful venue for many sporting and cultural events.
Few drawings are executed in a single pass. When drawing on location, my process usually involves first blocking out the overall structure of a scene before refining the forms, making adjustments, and filling in the details. And for studio work, the process becomes a little more involved. For example, for a drawing of the interior of the new Starbucks Reserve Roastery and Tasting Room in the Capitol Hill neighborhood of Seattle, there were three phases in the process. The first is a very quick study of the possible viewpoint. The second is a rough pencil layout of the final view submitted for approval. And finally, the finished ink-line drawing.
Back in 2010, a number of videos were shot of me drawing scenes on the UW campus. Here is the sketch I did of Red Square with Suzzallo Library in the left background, Gerberding Hall to the right, and a table setting and Barnett Newman’s sculpture, Broken Obelisk, in the foreground. During a break in the rainy weather we’ve been having the last few days, I again went to draw Red Square, this time drawing a slightly different view with my iPad Mini and the Brushes app.
Drawing with my forefinger on a glass surface that is only 6.25 x 4.75 inches in area fosters the use of more gestural strokes and inhibits the drawing of fine details. Even though the strokes are only one pixel wide, I found myself suggesting rather than describing because I wasn’t willing to constantly zoom in and out and painstakingly work pixel by pixel. I’ve tried a number of styli but haven’t found one that is a reasonable substitute for the nib of a fountain pen due to the nature of the capacitive touchscreen display.
Still, the overall process of establishing perspective structure first before adding tones and details remains the same as when drawing with a pen on paper. I hope to show this when I export the data and convert the actions into a Quicktime movie.
During a brief visit to Dallas recently, I woke up early one morning and sketched this view of the city’s Main Street. To capture the feeling of a city in transition, this panorama takes in the high-rises of a typical downtown, including the Bank One Center by Philip Johnson and John Burgee (now the Comerica Bank Tower) on the right; one of the many older structures being torn down to make way for new projects in the middle; and the Laumeier Sculpture Park featuring the Eye, a 38-foot diameter sculpture by Tony Tasset. What surprised me was how roughly the sketch developed until I realized that the ink in my pen was not flowing as freely as it normally does because of the 43° weather.
In the community of urban sketchers, architects are sometimes viewed as practiced in drawing buildings but not as adept at drawing people. While my focus is usually on capturing architecture and spatial environments, the drawing of people is often required to give scale to spaces and animate the places I try to capture in my work. And when drawing portraits, sometimes I am lucky enough to capture the personality of an individual with just a few well-placed strokes. At other times, I struggle and make people look younger or older than they really are.
The human face and body are difficult to draw, much more difficult than drawing architecture. Except for the cartoonists who are able to distort salient characteristics to emphasize the personality being caricatured, most of us can easily fall prey to mistakes in proportion and unintentionally distort our subjects. Still, drawing people is often necessary and always a challenge to draw. Good practice subjects are classical sculptures because they don’t move around as you try to draw them.
Last Sunday, I attended a book signing by Gabi Campanario at Elliott Bay Books in the Capitol Hill neighborhood of Seattle. In addition to The Art of Urban Sketching, the event featured two more of Gabi’s recent publications. The first is Seattle Sketcher, based on Gabi’s exhibit at the Museum of Science and Industry highlighting his five years of work documenting the people, places, and events in the Pacific Northwest for the Seattle Times. The second is the first in a series of more focused urban sketching handbooks, Architecture and Cityscapes: Tips and Techniques for Drawing on Location. Both are highly recommended.
During the cool, gray days of Seattle’s fall season, we have to find interesting indoor places to draw. Yesterday afternoon, I chose Fremont Brewing’s Urban Beer Garden. The combination of an informal atmosphere and a large variety of artisanal brews makes this a great place to spend some time on a rainy day. And when the sun’s out, especially in the summertime, the space spills outward with long tables and communal seating. Fremont Brewing will soon be moving to a larger brewing facility closer to Ballard but will retain this space as a lab and experimental brewery.
This is a view of the converted industrial space that I drew while enjoying a pint of FB’s Cowiche Canyon Fresh Hop pale ale. I first sketched in a rough outline of the major forms and elements and then overlaid the people before filling in some of the details. I’m realizing more and more that my views are tending to be panoramic in nature just as my taste in camera lenses leans toward the wide angle rather than the telephoto.
A few weeks back, I had posted this view of the Fremont Public Library. While it shows the architectural appearance of the structure, it says little about where it is—its context. The structure could be in many different places. There is nothing in the drawing to suggest where it is located.
During a break in the rainy weather on Friday, I stopped to draw this view. While it doesn’t capture the frontal appearance of the library, it does show a bit more of how the it is situated in the city of Seattle. In the background, you can see the Aurora Bridge. To the right foreground is the A.B. Ernst Park, and on the righthand edge is the profile of the building to the north. The bottom line is that it is often difficult, if not impossible, for any single drawing to tell the story of a place.
Yesterday at the monthly meeting of the Seattle Urban Sketchers group, I drew this view while sitting in the corner park at East Pine and Broadway in the Capitol Hill neighborhood of Seattle, looking toward the Broadway Performance Hall and Seattle Central Community College. This scene attracted me because of the way the trees in the park filtered the view of the buildings beyond. I began by first drawing the building forms and then worked from back to front, adding elements such as the fencing, the ground terracing, and the sculpture by Charles Smith. I then drew the tree trunks and foliage. Finally, I went back to fill in the details and texture that I could see through the trees.
I think that it’s okay in a sketch like this to draw over previously drawn elements and even be a little messy as long as the lines are lightly drawn. It’s when we add details and darken certain lines that we should pay attention to which elements overlap others. I believe the resulting transparency of the drawing helps convey the depth of the space.
Here are a few sketches I did when attending another stimulating Design Communication Association conference held at Southern Polytechnic State University in Marietta, Georgia. The first are views from Marietta town square; the second is of SPSU’s architecture building; and the third was done during a tour of the High Museum of Art in Atlanta, showing Richard Meier’s building but not Renzo Piano’s addition that creates a piazza beyond.