I am going to run a one day oil painting workshop on 16th May 2015 in Fairford. The idea is that participants, with or without experience with oil paint, will go home at the end of the day with a finished 6" x 8" painting.
If you don’t already follow the Urban
Sketchers Blog, go there (after you’ve finished reading this post, of course)
and add this blog to your RSS feeds. The blog hosts a vibrant community of
urban sketchers, which are also featured in the book.
Just browsing the book and looking at sketches
by various artists, with different styles and techniques, makes already this
The author, in the introduction, set-out
“In this handbook, I lay out keys to help
make your experience of drawing architecture and city spaces fun and rewarding.
These keys—composition, depth, scale, contrast, line, and creativity — are my
own gold standards. I put a premium on composition and getting proportions
And the book delivers on this promise.
The style is pleasant and very clear. Here
is, as an example, a good quote on composition:
well-composed scene has a sense of balance and completeness. Every piece seems
to fall in the right place. Move one and the harmony gets lost.”
The tips are down-to-earth and always practical. Gabriel Campanario has a good way
to deal with busy cityscapes where finding the horizon is difficult: “Forget the word horizon and just identify
your eye level the line where your eyes rest when you look perfectly straight
I also liked his take on adding people to
people to create a sense of scale. The height of a person is something everyone
can relate to. Add at least one passerby to every sketch. Without that
individual, it may too hard to know how big the setting really is.”
This book is a quick read, but has a lot of
substance. The author gives you practical advice in a concise way.
Beginners will have everything they need to
get started and more experienced sketcher will still enjoy this well written and
beautifully illustrated book. The collection of different styles will renew
your appetite for urban sketching and may stir you in new directions.
Another feature that will delight
practicing artists is that, for each sketch, the author specifies the titles
and dimensions, but also lists the material the artist used and approximate time spent on the sketch.
“Appreciation of sculpture
depends upon the ability to respond to form in three dimensions. That is
perhaps why sculpture has been described as the most difficult of all arts;
certainly it is more difficult than the arts; certainly it is more difficult
than the arts which involve appreciation of flat forms, shape in only two
dimensions. Many more people are "form-blind" than colour-blind. ”
Moore, in “Notes on sculpture” (“Writings and Conversations” – Edited by Alan
Three Motives Against Wall, Number 1, 1958 - Bronze by Henry Moore
Abbey Garden - Malmesbury - Watercolour (37 cm x 30 cm) by Benoit Philippe
Last summer, we were lucky to be invited by friends to their wedding. The ceremony and reception took place at the Abbey House Gardens (Wiltshire, UK). I took many photographs and will paint more scenes from this garden.