The Urban Sketching Handbook - Reportage and Documentary Drawing - Tips and Techniques For Drawing On Location PDF

THE URBAN
SKETCHING
HANDBOOK
REPORTAGE AND DOCUMENTARY DRAWING
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F39_Job No: 07-61282 Title: RP - Urban Sketching Handbook
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THE URBAN
SKETCHING
HANDBOOK
REPORTAGE AND DOCUMENTARY DRAWING

Tips and Techniques for Drawing on Location
VERONICA
LAWLOR
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About This Series
With just a few simple art tools and a small sketchbook, you too can become
an urban sketcher—someone who goes out and captures his or her city
or neighborhood through drawings. As you work you may find yourself
drawn to reportage—a kind of visual journalism—through your sketches.
But whether you are a beginner or someone who has been drawing on
location for a while, you may find that there are so many different things
happening in your neighborhood that you don’t quite know how to decide
what to cover with your drawings. Or conversely, you might feel like there
is nothing special enough to capture in your sketchbook.
This book, part of the Urban Sketching Handbook series, is a guide on how
to find sketch-worthy events and situations, both large and small. Through
key ideas and examples, the Urban Sketching Handbook: Reportage and
Documentary Drawing will give you points of departure for creating reportage
drawings of your surroundings, while at the same time improving your skills
of drawing and observation.
Amsterdam Windmill
Pen and ink with brush
12" x 9" / 30.5 x 23 cm

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CONTENTS
About This Series 04

Introduction 07
KEYS
I Observation ................................................................ 09
II Storytelling ................................................................. 21
III Drama ....................................................................... 33
IV Ritual ........................................................................ 45
V History ....................................................................... 57
VI Documentary ............................................................. 67
GALLERIES
I Advocacy ..................................................................... 81
II Portraits ........................................................................ 91
III Landscapes and Panoramics ....................................... 97
IV Mood and Emotion..................................................... 105
Challenges 110
Contributors 111
Acknowledgments 112
About the Author 112

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6 | Reportage and Documentary Drawing
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Ã This drawing of a corner near Fisherman’s Wharf in San San Francisco Corner
Francisco combines many descriptive elements of the city: the Pen and ink on paper
iconic cable cars and Victorian architecture, the urban bustle of 9" x 12" / 23 x 30.5 cm
people walking and riding bicycles, and the traffic signals, all on
a typical tree-lined hilly street.

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|7
INTRODUCTION
What exactly is reportage? The Oxford English Dictionary cites the origin of
the word as early seventeenth-century French; the Old French reporter means
“to carry back.” Carry back—this is a wonderful explanation of reportage,
especially as it relates to urban sketching. To do reportage illustration or
documentary drawing, then, means to go out into the world and carry back
what we experience behind our pen or brush. What artists will carry back is,
of course, determined not only by what places and situations confront them,
but also by what they feel passionate about while they are being confronted.
For some artists, the political world is their passion: These sketchers would
be most likely found in the midst of a demonstration, at the courthouse, or
at a national convention. For other artists, the carry back might be a more
ephemeral, emotional experience: a beautiful day at a garden, a child’s
birthday party, or a rainy afternoon spent people watching at a local café.
The possibilities are as varied as the artists. What really counts is the artist’s
intent. More than simply recording what our eyes see, reportage illustration,
sometimes called visual journalism, is also about what the mind and heart see
and take note of, and the story the artist wants to tell.
And how do you make those stories your own? By practicing intent: go to
a location and spend time making observations, and then draw what you’ve
observed. What would you want to tell someone about what you saw, heard,
felt? The more you think in terms of communicating with your urban sketches, the
more natural it will be for you to create reportage. The goal of this handbook is
to give you some tips and things to consider while drawing on location, as well
as some examples to inspire you.
Just as there are all types of written stories to be told, this issue of the Urban
Sketching Handbook series reminds the reader that there are all types of visual
stories to tell. And the next step is to go out and tell them!

SKETCH HERE!

|9
KEY I
OBSERVATION
The most important component of reportage and documentary
drawing is your observation. Spend some time in a place, and
really look around. What is happening that is interesting to you?
Think about the large and the small view, the iconic and the lesser-
known parts of a place. Observe the architecture, the people,
the patterns, the colors, and the movement. What is the overall
impression you get? This is what you want to record and bring back
to show others. Every place has its own feeling or vibe; it’s there if
you take the time to find it.
Traveling is a great excuse to practice reportage drawing—you
explore a place so much more when you are drawing it. But you
can practice these same kinds of observational skills closer to home.
You might be surprised by what is sitting right in your own backyard.
A quick thumbnail
of a favorite bridge.
Golden Gate Bridge
Watercolor
4" x 3¼" / 10.2 x 8.5 cm

Ã
dr
Ba
the
tak
wh
lan
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Ink
8”
Â
lim
An
Landmarks Ã Don’t hesitate to include cla
When traveling as an artist, be sure to observe and people in your drawings in
of landmarks, to indicate vie
document the landmarks or major tourist attractions scale. New York City’s Times
of a location. Every place has them, and they can TO
Square was teeming with
M
anchor your reportage. Plus, the local residents characters to draw.
Bla
are proud of their monuments, so this shows some Times Square 3 an
Pen and ink, colored pencil, W
respect for their home. Don’t neglect to document and pastel on paper 14
the landmarks of your own hometown either. 9" x 12" / 23.5 x 30.5 cm 10

Key I: Observation | 11
Ã Tia Boon Sim’s energetic

drawing of Wat Pho in
Bangkok breathes life into
the architecture. Feel free to
take some artistic liberties
when drawing well-known
landmarks; this gives the
drawing your personal touch.
TIA BOON SIM
Wat Pho
Ink and watercolor on paper
8” x 16” | 20.3 x 40.6 cm
Â Landmarks are not just

limited to man-made structures.
An extreme viewpoint of a
classic can be interesting, as
in Tommy Kane’s bird’s-eye
view of Machu Picchu.
es
TOMMY KANE Tip
Machu Picchu
If you’re not sure what the landmarks are, ask the local
Black Uni-ball pen, watercolors,
and Prismacolor pencils on
people. Legend has it that the illustrator Ronald Searle used
Windsor Newton, Cotman to visit the local postcard shop of any place he visited to
140 lb. watercolor block find out the main points of interest to draw.
10" x 14" / 25.4 x 35.6 cm

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Ev
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m
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O
a
Ã It helps to find people engaged in an activity, like the men that ISABEL FIADEIRO
Isabel Fiadeiro drew playing checkers. This gives you time to move Checker Players at Medina
around and draw from several points of view. Notice the languid Pen and watercolor on paper
postures of the players; this is clearly a relaxing activity and part of 8½" x 6" / 21.6 x 15 cm
the daily social life of the Medina neighborhood of Nouakchott.
Á It's not always necessary

to take the front view, as
illustrated by Suhita Shirodkar’s
interesting angle on this
farmstand. The produce is as
important to this reportage
illustration as the people.
SUHITA SHIRODKAR
Farmers’ Market Bounty
Watercolor, pen and ink
7” x 9” / 17.8 x 23 cm

Everyday Life Ä Food markets can be a

Observing and drawing small scenes of daily good place to discover the
daily life of a neighborhood,
life can be just as interesting as working with the as evidenced by the different
major landmarks of a place. Go to public places people moving in and out
of this vegetable market in
where people interact, or visit characteristic San Francisco’s Chinatown
neighborhoods to see what’s going on. district. Draw in one place
Observing these little slices of life can become for a while, to observe the
comings and goings.
a big part of the overall story.
Vegetable Market
in Chinatown
Pen and watercolor and oil
crayon on Canson paper
14" x 11" / 35.6 x 28 cm
Workshop
On your next family vacation, take an afternoon alone to

draw. Visit the local food market of the town you are visiting,
and document not only the people and place, but also
what kind of food is being bought and sold.
r’s
as
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Á Don’t hesitate to observe

one person for a while, as Inma
Serrano did with this little girl
doing her homework. Making
more than one drawing of a
person can reveal a lot.
INMA SERRANO
Homework
Liquid Vallejo red watercolor,
Pentel brush pen, Uni Pin 0.2 mm
in a Stillman & Birn sketchbook
10" x 16" / 25.4 x 40.6 cm
Ä Notice how these men are

sleeping, trying to make the
most of the cramped space of
a third class car in an Indone-
sian train. Body language can
tell so much of the story.
DHAR CEDHARR
Third-Class Passenger Train
Kenko Hi-TECH-H Gel Pen #0.28
and Cotman watercolors on
Moleskine
7" x 5" / 18 x 12.7 cm
P
Pe
of
th
th
ki
re
th
so
yo

ma
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People Watching Ã Note who is talking in

People are perhaps the most important ingredient this scene, and who has
everyone’s attention. See
of any observation of place. How do they occupy whether you can guess
the space? What is their body language? How do the gist of the conversation
they interact with each other? Do they have certain when drawing a group like
kinds of facial expressions? Clothing? How do they this. Small details of body
language matter, too: Look
relate to their children, their older people? All of at the moving foot of the
these things can vary from one location to another, younger woman in the center
so you need to get a bit curious about the people of the bench. Perhaps she is
you are drawing. bored by the gossip.
Dominican Matriarchs
Pen and sepia and black ink
with wash on Canson paper
14" x 11" / 35.6 x 28 cm

Iconic Scenes
There are certain
places that are just
known for certain
things. It may seem like
a stereotype, but if you
were to think of your
biggest association
with a place, chances
are what you think of
would qualify as an
“iconic scene.” An
icon is an image that
symbolizes something,
and these kinds of
scenes can give a
snapshot of a cultural
norm, attitude, or
typical event.
Â Fall in Venice brings the

season of acqua alta, or the
floods in the city. Margaret
Hurst aptly captures the
crowds of people walking
on thin boardwalks through
the watery streets. Look for
situations that combine the
unusual with the everyday.
MARGARET HURST
Acqua Alta in Venice
Pen and ink with wash
13" x 9½" / 33 x 24 cm

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Á Men work in the tannery

to prepare the skins for
scraping. It’s a good idea
to show an overall view
of something as well as a
closer view for more specific
information, as Evan does
with these two drawings.
EVAN TURK
Leather Tannery:
Scraping Skins
Watercolor, colored graphite,
sepia pen and ink
7" x 5" / 17.8 x 12.7 cm
Ä Evan Turk braved the sometimes not-so-pleasant odors of

a rooftop leather tannery to document this traditional craft of
Morocco. Men work in giant vats set into building rooftops, scraping,
treating, and dyeing the animal skins amid noxious chemicals.
EVAN TURK
Leather Tannery in Fes
Watercolor, colored graphite, sepia pen and ink
14" x 11" / 35.6 x 28 cm
U
W
en
th
do
un
pe
th

Unique to Place Ã Pachinko is an arcade

While some things may not qualify as well-known game that’s like a cross
between a slot and a pinball
enough to be iconic, they are still quite unique to
machine. It is popular in
the places where they happen—and well worth Tokyo, where it is played by
documenting! Again, if you’re not sure what is black-suited businessmen all
unique to a place, it helps to ask the local over the city. These two men
were so absorbed in their
people—they are usually happy to point you in game that they never even
the right direction. noticed me drawing them.
Pachinko
Pen and brush
9" x 7" / 23 x 17.8 cm

SKETCH HERE!

| 21
KEY II
STORYTELLING
When we use the word storytelling, we tend to think of blockbuster
Hollywood movies or epic Victorian novels. We don’t tend to think
about our day at the market, or doing the laundry, or walking the
dog. But, really, what makes a good story? Interesting people,
situations, a little humor, and perhaps some theatrics will give you a
good start. Do you find facts interesting, or are you more involved
with emotions? What about your opinions on things?
The truth is, stories are all around us, if we start paying attention.
If you were to call your best friend tonight and tell him or her about
your day, what events would you talk about? And how would you
describe them? Those are your stories. And if you start drawing them
too, then you’re well on your way to storytelling with your art.
A group of friends enjoy coffee

and conversation in the Tuileries
Gardens, Paris.
Women in the Tuileries
Fountain pen, brush pen, and graphite
13¾" x 8¼" / 35 x 21 cm

LAPIN
Cadillac
Uni Pin 0.1mm and watercolor
on old accounting paper
8¼" x 6" / 21 x 15 cm
Ã French illustrator Lapin always includes a vintage car some- LAPIN

where in his sketchbook. While drawing this old Cadillac during Willie
a visit to Portland, Oregon, he began chatting with its owner, Uni Pin 0.1mm and watercolor
Willie. He then drew a portrait of this Korean war veteran and on old accounting paper
barbershop proprietor, turning the drawing of the old Cadillac 8¼" x 6" / 21 x 15 cm
into a story. Following up with people like this can create a
whole world of reportage. Don’t be afraid to say hello!
Lo
W
do
kn
a
qu
en
an

Key II: Storytelling | 23
Look for Stories Ã I met “Papito” at the

When your are out on location drawing, mercado in Santo Domingo.
Between my few words of
don’t hesitate to talk to people: You never Spanish and his few words
know what stories they have to tell. Develop of English, he was able to
a sense of curiosity and a habit of asking tell me all about his botanica,
questions. Following up with a chance and why people buy his
products: “for love, and
encounter made on site may lead you into for luck.”
an entire series of work. Papito
Colored ink and pencil on paper
12" x 9" / 30.5 x 23 cm
Tip
Not everyone will like the way you see them. If people
don’t like your drawing of them, tell them it’s simply your
interpretation, smile, and move on.

Context Counts
Context can be a very important part of storytelling
through drawing. Case in point: A kiss generally implies some
kind of narrative, but where it takes place can definitely change
the storyline. I was happy to come across this couple kissing behind
N
Notre Dame cathedral in Paris, the city of love. Think how the
Pe
meaning of the story in this drawing would change if the couple wa
were in the middle of the desert, or in a crowded train. 12

Tip
Make a few drawings of the overall environment, just to

place your story. If you pay attention not only to the action
Notre Dame Kiss but also to where it is happening, your stories will have
Pen and sepia ink with greater depth. It’s like telling a joke: the more specific the
wash on paper details, the bigger the laugh.
12" x 9" / 30.5 x 23 cm

a
Smaller Stories Ä Notice how artist

Stories are happening all around us, if we become Melanie Reim uses body
language to show people
attuned to looking for them. Think about the daily lost in their own private
conversations you have with friends and family. world, in the midst of a
Anything worth talking about is worth drawing. It’s crowded shoe sale.
like writing a letter to someone with your pictures. MELANIE REIM
Shoe Sale Frenzy
Pelikan cartridge pen and
Pentel brush marker
9½" x 7¾" / 24 x 19.7 cm
MELANIE REIM
Shoe Sale Frenzy—Again!
Pelikan cartridge pen and Pentel
brush marker
9½" x 7¾" / 24 x 19.7 cm

Á South African artist

Cathy Gatland follows the
everyday life of her town
by drawing a group of
young men taking down
a eucalyptus tree.
CATHY GATLAND
End of a Eucalyptus
11¾" x 8¼" / 29.8 x 21 cm each
Pilot pen and watercolor
Tip
Keep a very small

sketchbook and a pen
with you all the time, so
you can jot down these
types of daily stories as
they arise.

People at Work
From the factory to the artisan’s studio, there are
plenty of stories to be found in the workplace.
People will often be happy to show you their world,
and may even allow you to document their working
process. Be sure to pay attention to people’s hands
when doing a reportage like this: They are the most
essential of tools!
Ä Metalsmithing such as MARC TARO HOLMES

this is intricate work done by Goldsmith Marin Marino
hand, something the artist in the Studio
makes clear in his focus on Ballpoint, brush pen, and watercolor
hands in the drawing. 8½ " x 11" / 21.6 x 28 cm

Á Notice how the artist

surrounds the workers with
boxes, alluding to the over-
whelming atmosphere
of a factory.
ORLING DOMINGUEZ
Dominican Workers in the
Free Trade Zone
China markers and ink
8½" x 11" / 21.6 x 28 cm
Tip
When documenting work

such as this, it helps to create
several smaller drawings
that follow the process from
start to finish. You can then
choose the most compelling
one for your story, or put
several together for a
montage effect.
Á Scientists work to discover

an AIDS vaccine: So far,
they have unfortunately not
been successful.
Scientist, VaxGen
Pen and ink
11¾" x 8¾" / 29.8 x 22.4 cm


Telling a Story Over Time

Sometimes it’s nice to follow a story over time with
your drawings, as illustrator Gabi Campanario
does in his documentation of Captain Brent
Bierbaum and the crew of the Arctic Titan, loading
up the tugboat for their 1,400-mile (2,253 km)
journey to Alaska from Seattle.
Willing to become more involved with multiple
drawings over the course of a day or even a
few weeks can lead to a richer, more in-depth
reportage experience. You become a part of
what’s going on.
Workshop
Choose a location,
and spend a full day
documenting it with your
drawings. This doesn’t
have to be a particularly
important place, just a
place where people
GABI CAMPANARIO come and go. See what
Arctic Titan, series kind of narrative sequence
Lamy Safari fountain pen with you can develop from it.
black Noodler’s ink, Uni-ball
Vision pen, ballpoint, watercolor
11" x 14" / 28 x 35.6 cm each

SKETCH HERE!

| 33
KEY III
DRAMA
The word drama has been getting a bad rap lately. As in, “Don’t
bring me all of your drama,” or “Oh, he (she) just loves to create
drama!” I blame reality television for the disparagement of
something that we all need a little bit of in art, as well as in life.
Drama adds the excitement, the emotion, and the spice to any
series of reportage drawings. And who wants bland drawings?
In this chapter we’ll talk about how to contain the excitement of
a sporting event or live performance on your page, and I’ll suggest
some situations you can seek out to amp up the drama factor of
your work. So what creates that “drama factor”? It’s any number
of things—color choices, texture, marks, line quality, scale—all of
the expressions of the drawing language can be put to good use
in creating the high emotion of an event. Or even of a quiet street
corner. It’s all in how you see it.
The vibrant colors in this

drawing of a local band
performing in New Orleans
reflect the pulse of the music
and the sway of the dancers.
A Night on Frenchman Street
Graphite and oil pastel
16½" x 12" / 42 x 30.5 cm

Behind the Scenes
When visiting a theater for a
show or concert, it’s always
interesting to figure out what’s
going on behind the scenes.
And if you can get back there
to make some drawings, even
better! Especially for a series of
reportage drawings, knowing
what came before always
makes the after so much
more interesting.
Á The artist gives us

an intimate view of the
puppeteers controlling the
onstage action from high in
the rafters. Although it may
take away a little of the
fantasy, it is an interesting
point of view!
THOMAS
THORSPECKEN Ã
Puppeteers (sketch of to
Cinderella rehearsal) pe
Ink and watercolor sta
5" x 15¾" / 12.7 x 40 cm in

Key III: Drama | 35
of
Ã Illustrator Don Low was elated to receive special permission DON LOW
to go behind the scenes of a local Hokkien opera. He drew the Getting Ready
performers putting on their elaborate costumes and traditional Hero fountain pen with watercolor
stage makeup before drawing their performance at a temple 8" x 5" / 20.5 x 13.5 cm each
in Singapore.

M
W
pe
m
w
dr
Ã Artist Greg Betza

captures the forward
movement and dynamism
of the hockey players in this
drawing from the New York
stadium series.
GREG BETZA
Stadium Series 2014: Teams
Caran d’Ache crayon and
China marker
14" x 11" / 35.6 x 28 cm
Tip
If you’re going to draw

something going by as
quickly as a race, it helps
to draw the background
first in preparation.

Key III: Drama | 37
Main Point of Action Ä Drawing the Tour de

When covering a sporting event or theatrical France bicycle race as it
flows down the Champs-
performance, it’s very important not to miss the Élysées can be quite a
main point of the action! See if you can sum up challenging, as well as
why everyone is attending the event in a single exhilarating, experience.
drawing—think of it as a reportage “tweet!” Besides doing it myself, I’ve
brought my most advanced
students there to try their
hand at it, with great results!
Tour de France
Pen and ink with
water-soluble crayon
17" x 11" / 43.2 x 28 cm

Ä
To
on
ho
to
gr
my
To
Pe
17
Secondary Action Ã It’s interesting to see how

Of course, when drawing sporting or theatrical the body language of the
events, it’s important to pay attention to the crowd crowd mimics that of the
hockey players: dynamic!
as well—this is the secondary action of your
reportage. As you can see with these two drawings GREG BETZA
Stadium Series 2014: Fans
of the same events from the previous spread,
Caran d’Ache crayon and
sometimes these “secondary” pieces can create China marker
just as much excitement. 14" x 11" / 35.6 x 28 cm

Key III: Drama | 39
Ä To get a good view of the

Tip
Tour de France, I had to be
on the Champs-Élysées several Notice how the artists create
hours before the race was due depth by focusing on the
to come by. This gave me a closest figures and keeping
great opportunity to draw the background as simple
my fellow spectators. shapes and marks.
Tour de France Spectators
Pen and ink with water-soluble crayon
17" x 11" / 43.2 x 28 cm

Exaggeration and Theatrics Conductor and Musician

One of the keys to a good piece of drama is Fountain pen and brush
9" x 6½" / 23 x 16.5 cm
exaggeration. Take a few liberties with your
drawings. Don’t hesitate to use distortion: make
things bigger, smaller, shorter, or taller than they
actually are. You can blur the drawing to show
motion, put something into super sharp focus to
show stillness, or use transparency and repetition
for effect. Think about movie special effects—why
can’t you do the same in your drawing?
This enhancement is sometimes called “gilding
the lily”—you don’t change the truth, but you don’t
hesitate to push it a little bit either. This kind of
theatricality hooks the audience and gives them
your graphic point of view.
Ã The contrast of high-brow music and almost slapstick body

language was an interesting idea for me to play with while
drawing a choral performance at New York’s famous Carnegie Ã
Hall. I loved the frantic motion of the conductor’s hands, the Diva the
quite baroque beehive hairdo of the harpsichordist, and the rigid Fountain pen wh
posture of the diva! 6" x 9¾" / 15 x 24.8 cm wa

Key III: Drama | 41
Ã On a stage in the middle of the desert, the quick spinning of KUMI MATSUKAWA
the dancer with the electrically lit costume created a glowing Spinning Tannoura Dancer
whirlwind. The artist took advantage of the quickness of the Watercolor
watercolor medium to create that feeling on paper. 5½" x 9" / 14 x 23 cm

Color, Graphics, and Emotion Ä The softness of the line

The colors you choose, the feeling of your line, and and color create a sensitive
portrait of this student practic-
the textures you make with your marks or paint—all ing on the saxophone during
of these things can influence the mood of your a music class in the artist’s
drawing. Very much like a jazz musician, you have city of Cádiz, Spain.
to improvise. INMA SERRANO
The drawings shown here of a saxophone David Playing Saxo
player make the point: The choices you make while Liquid Vallejo watercolor, Pentel
brush pen and Uni Pin 0.2 mm
drawing on location will have a strong effect on 6" x 9" / 15 x 23 cm
what you bring home. It’s always interesting to see
the different interpretations that come from the hand
of different artists.
Ä Notice how the artist uses

an abundance of marks and
scribbles in the saxophone to
indicate the excitement of the
music as well as the flying
fingers of the musician.
DESPINA GEORGIADIS
Jazz at Lincoln Center
Fountain pen
9" x 12" / 23 x 30.5 cm

Key III: Drama | 43
Á The dark paper and

strong color create a high
e
sense of seriousness and
c-
drama in this drawing of a
g
saxophone solo.
GREG BETZA
Jazz at Lincoln Center
Caran d’Ache crayon on
black paper
8¼" x 115/8" / 21 x 29.5 cm
Á The gritty texture of this

drawing reflects the feeling of a
jazz musician playing his heart
out in a downtown NYC park.
JASON DAS
Giuseppi Logan, Tompkins
Square Park
Ink and watercolor on the back
of a sheet of stamps
3½" x 5" / 9 x 12.7 cm
Workshop
The next time you have

an opportunity to draw a
musical performance, take
a variety of materials with
you. See whether you can
utilize the different mediums
to graphically describe the
changes in the music.

SKETCH HERE!

| 45
KEY IV
RITUAL
Joseph Campbell famously said that a ritual was an enactment of
a myth. As such, rituals can take on extra importance in the midst
of making a series of reportage drawings. What better way to talk
about a religion, a culture, a society, or even a family than through
its rituals?
In this chapter we’ll take a look at some different types of rituals
that you might want to consider documenting as a reportage artist.
It always pays to do a little bit of research before beginning this
kind of location work, as you’ll be prepared and know in advance
what to look for in the situation. That being said, you also have to be
prepared and ready to draw the unexpected.
The faithful dip their hands into

the holy water, a ritual of the
Catholic faith, at St. Peter’s
Basilica in Vatican City.
Holy Water, St. Peter’s Basilica
Pen and ink
8" x 8" / 20.3 x 20.3 cm

Religious Ritual Â Diwali, the festival of lights,

Religion, the formal organization of the spiritual, is is celebrated by Hindus all
over the world. A five-day
an often highly complex and ritualized aspect of event, it commemorates the
society. When documenting religious rituals, it is triumph of good over evil.
important to remember that the event is sacred to Murray Dewhurst captured
the participants, so keep a respectful attitude while these Diwali drummers
celebrating in New Zealand.
you draw.
MURRAY DEWHURST
Auckland Diwali Drummers
Staedtler pigment liner
and watercolor
11¾" x 8¼" / 29.8 x 21 cm
Ä
Te
pla
pr
cra
Ã The religious festival of Semana Santa (Holy Week) marks Semana Santa
the last week before Easter in the Catholic tradition of Spain. Fountain pen
Worshippers in hooded robes from churches all around the city 11½" x 83/8" / 29.2 x 21.2 cm
travel to the cathedral carrying massively heavy statues on their
backs. It is an amazingly serious spectacle, filled with trumpets,
incense, and candles.

(Text) 44_08-AC74164 DTP: 229 Page: 46
Key IV: Ritual | 47
hts,
d.
Ä Illustrator Evan Turk documents the only surviving wall of the EVAN TURK
Temple of Jerusalem. Called the “Western Wall,” it is a sacred Prayers at the Western Wall
place for Jews worldwide. Tradition holds that if you write a Ink, brush/bamboo pen,
prayer or request to God on a piece of paper and put it into a watercolor, gold oil pastel
crack in the wall, it will come true. 15" x 11" / 38 x 28 cm
8/15 1:02 pm 61282 - Urban Sketching Handbook_Int.indd 47 23/7/15 10:26 am

Á Eduardo Salavisa
captures the sounds of drums
and the scale of the puppets
at this annual festival in Viana
do Castelo, a small town in
northern Portugal.
EDUARDO SALAVISA
Our Lady of Agony Festivities
in Viana do Castelo,
Portugal: Puppets and Drums
Pen and watercolor
4¼" x 61/8" / 11 x 15.5 cm
C
C
C
ov
Â Illustrator Miguel Herranz
draws a lively float from the m
annual Festa de Gràcia, w
a neighborhood festival sk
of Barcelona. cu
MIGUEL HERRANZ
El Drac de Gràcia
Lamy fountain pen with Noodler’s
ink and watercolor
11" x 8½" / 28 x 21.6 cm
Á The artist documents

the “cowrunning,” marking
the start of Carnival in the
Netherlands. Two men under
a paper and wood cow race
with others to win points.
RENE FIJTEN
Kowrenne (Cowrunning)
Pen and watercolor with waterbrush
in Moleskine sketchbook
8¼" x 5" / 21 x 12.7 cm

Key IV: Ritual | 49
Á The traditional Venetian

ms carnival mask allowed room
ts above the mouth, so the
na reveler would have no
trouble eating.
Venetian Carnival
Ink and cut paper with gold
es and black paint
12" x 9" / 30.5 x 23 cm
ms
Cultural Festivals Tip

Carnival, which occurs before the beginning of the
If you decide to draw at
Christian Lent, is a cultural festival celebrated all a carnival celebration, be
over the world. Carnival is typically full of parades, forewarned: things can get a
masks, stilt walkers, and puppets, depending on little out of control! Go with
where you are. Here are some examples of urban the flow, and see where the
drawing takes you.
sketches done of carnivals and other spirited
cultural festivals.
Á The Carnival tradition

crossed the Atlantic with the
slave trade: Today, Carnival
er is celebrated in many
ce Caribbean islands, complete
with the African-derived
stilt walkers, called “
mocko jumbies.”
ush MARGARET HURST

Carribbean Mocko Jumbies
Green ink and colored pencil
7" x 7" / 17.8 x 17.8 cm

Â
Da
the
Ire
or
Iris
Br
ma
W
Fo
an
14
Ã The night before Papa Smurf

Thanksgiving in NYC is when Watercolor, ink, brush marker,
the balloon floats are inflated and colored pencil
for the big Macy’s parade the 12" x 9" / 30.5 x 23 cm
next day. What used to be a
small affair, with local kids
selling hot chocolate on West
81st Street, has now become
a major tourist attraction.
Parades
Nobody loves a good parade more than I do.
Since I live in New York City, a town full of cultural
and religious diversity, I have many opportunities to
satiate my desire to draw them. From the smallest
outer borough parade to the grand spectacles
of Broadway, each one has its own charm.

Key IV: Ritual | 51
Â I’ve heard that St. Patrick’s

Day is a bigger holiday in
the United States than it is in
Ireland, where the tradition
originates. Looking at all the
Irish faces marching down
Broadway on March 17th
makes me believe it.
Wearin’ of the Green
Fountain pen, charcoal pencil,
and pastel
14" x 11" / 35.6 x 28 cm
Ä I’ve often drawn the Lunar The Lunar New Year Parade,
New Year parade and Flushing, Queens
festivities in Manhattan, but Fountain pen, watercolor,
this year I enjoyed the colored pencil, and marker
smaller, more intimate 14" x 9¾" / 35.6 x 25 cm
parade in Queens: more
residents and fewer tourists.

Rituals Around Food Ä The Japanese culture has

Our need for and love of food is something that a highly evolved and intricate
ceremony around the serving
binds all humanity together. Every culture has of tea. Here, illustrator Mike
specific rituals around food preparation and Daikubara catches one mo-
enjoyment, making this a great place to start if you ment of the ritual.
are documenting a country and its traditions. MIKE DAIKUBARA
Japanese Tea Ceremony
Fountain pen and watercolor
with a water brush
9¾" x 7" / 24.8 x 17.8 cm

Key IV: Ritual | 53
s
Workshop
ate
ng The next time you are
e enjoying a food-related
- ritual, take a few minutes
to make some drawings
before you dig in.
Á The British custom of

high tea often involves
highly decorative china,
as depicted here by this
tea-loving Australian artist
in a tea café in Greenwich
Village, NYC.
LIZ STEEL
Tea and Sympathy
Lamy fountain pen, watercolor,
and white gel pen
6" x 8¼" / 15 x 21 cm
Á The tradition of a
Thanksgiving pie is as
American as, well, apple pie.
Here the artist highlights the
delicious offerings of friends
and family gathered at the
dinner table.
GAIL WONG
Thanksgiving Spread
Hero calligraphy pen
with Noodler’s black ink
and watercolor
16" x 5" / 40.6 x 12.7 cm

Family Rituals and Life Passages Ä Illustrator Eddie Peña

From birth to death, how each family recognizes documents his wife Rosie
giving birth to their daughter.
and celebrates the major events of life is worthy
of a reportage drawing. These very personal EDDIE PEÑA
moments are also reflective of cultural and Birth
Fountain pen
religious traditions, and transcend their uniqueness
7" x 7½" / 17.8 x 19 cm
to speak to a larger audience.
Ã
mo
of
DO
Pr
He
wa
10
Â
a
we
in
we
Cu
Dip
13
Tip
When drawing a family ritual, try to remain objective so you

can see it from a more expansive perspective. Alternatively,
you might get extremely personal. Either way, the drawing will
create an interesting slice of your family’s life and history.

Key IV: Ritual | 55
r.
Ã Don Low draws Buddhist

monks praying at the funeral
of his beloved grandmother.
DON LOW
Prayer Rite
Hero fountain pen and
watercolor wash
103/8" x 5¾" / 26.5 x 14.5 cm
Â The cutting of the cake is

a strong tradition in American
weddings, as evidenced
in this drawing done at the
wedding of Brianne and Joe.
Cutting the Cake
Dip pen and ink with wash
13" x 11" / 33 x 28 cm

SKETCH HERE!

| 57
KEY V
HISTORY
We can learn so much through the study of history. And what
is reportage drawing if not a way of studying? By bringing our
sketchbooks to historic sites and re-creations of historic events, we
can start to bring life to the past, evaluating what once was and
encouraging others to do the same.
These next pages are dedicated to location drawing of historic
locales, artifacts, and ideas. By immersing ourselves in the places
and ideas of history with a modern artist’s eye, we can help keep it
alive for future generations.
Once a year, New York’s MTA runs

a vintage subway train between
Queens Plaza and Second Ave.
The event brings out musicians and
dancers from all over the city, dressed
in style like it’s 1935. It’s a lot of fun to
draw reenacments like this.
Vintage Train, City of New York
Pen and ink with pastel
12" x 9" / 30.5 x 23 cm

Traditions That Live On

Sometimes the traditions of the past are still alive
today: what a wonderful chance to draw history
in motion and preserve what once was at the
same time. Human knowledge is one of our
greatest resources.
Â The blacksmith’s craft, AUDREY HAWKINS

while not as ubiquitous as Shipsmiths
in the days of the horse and Marker, pastel, and colored pencil
carriage, is nevertheless still 36" x 12" / 91.4 x 30.5 cm
practiced. Here the artist
shows a “smithy” hard at
work; the warm colors
create an almost mythological
impression of this old art form.
Ä David Boxley is an artist who learned the traditional carving Ä

of his tribe, the Tsimshians, by studying pieces preserved in to
museum collections. He is bringing it back now as a living Th
and vibrant art form. Here he works on a commission for the pr
National Museum of the American Indian in Washington, D.C.
Tsimshian Carvers
Fountain pen with graphite pencil
9" x 7" / 23 x 17.8 cm

Key V: History | 59
Ä Illustrator Lynne Chapman took time during a visit to Kerala LYNNE CHAPMAN
to document a woman hard at work at the spinning wheel. Anitha Spinning: Pinerayi
This traditional craft of India is still practical, and very much Weavers in Kerala, India
practiced, today. 7" x 5" / 17.8 x 12.7 cm
3B pencil, Inktense watercolor pencils

Ã
Historic Locations Re
Sometimes just drawing the places where historic Ink
events occurred can spur a story in your work. 9"
And just maybe you’ll be lucky and catch a
reenactment, as Fred Lynch did during his reportage
of the path of Paul Revere through the Boston,
Massachusetts, region.
Ã FRED LYNCH
Bloodbath
Ink wash with pen
11½" x 8½" / 29.2 x 21.6 cm
Á FRED LYNCH
Royal Mansion
Ink wash with pen
10" x 7" / 25.4 x 17.8 cm

Ã FRED LYNCH Ä FRED LYNCH
Reenactment Hancock House
Ink wash with pen Ink wash with pen
9" x 6" / 23 x 15 cm 11½" x 8 3/8" / 29.2 x 21 cm

Li
Th
liv
m
to
“M
th
ul
Ã Artist Susan Buroker made

this moving portrait of Tom
Dugan, a World War II vet-
eran, during an interview she
did with him for an ongoing
oral history project about the
American soldiers who served
aboard the USS Intrepid.
SUSAN BUROKER
Thomas (Tom) Dugan,
USS Intrepid, Plank Owner
Graphite
13" x 18" / 33 x 45.7 cm

Key V: History | 63
Living History
There are times when people have become
living symbols of the history they themselves
made. Such people are important to document,
to keep their stories and experiences alive.
“Memorial Day in the States: Remembering Ä The American Legion

Honor Guard celebrates
those in the armed forces who made the American veterans.
ultimate sacrifice.” — Cathy Johnson CATHY JOHNSON
Memorial Day 2011
Ink and watercolor
14½" x 7½" / 36.8 x 19 cm

Life to Artifacts
If preserving an artifact is important for history,
creating reportage drawings of it is a way for
artists to educate future generations by giving that
artifact life! Mystic Seaport in Mystic Connecticut
undertook the restoration and sailing of the
Charles W. Morgan whaleship, and the artists of
Dalvero Academy documented the process from
start to finish.
Ä The Morgan sits in the Â Early in the morning on

shipyard for her restoration. her way to Boston, the sails
on the Morgan are unfurled.
LAURA VILA RAWSON
The Shipyard Unfurl the sails!
Fountain pen with brush Pen and ink, brush, wash,
6¾" x 8¼" / 17.2 x 21 cm light pastel
11" x 28" / 28 x 71 cm
Ã
at
thi
the
Tip
When drawing a
historical artifact, look for
the “living” aspects. In the
case of the Morgan, the
cracks and imperfections
of the wood brought the
ship to life.

Key V: History | 65
Ã The Morgan arrives The Morgan Arrives Ä The old ship’s knees are
at the first port of her in New London removed and preserved, to
thirty-eighth voyage, ready for Pen and ink, drybrush, be replaced with new wood.
the bending on of the sails. watercolor, pastel
14" x 11" / 35.6 x 28 cm
TODD RAWSON
Ship’s Knees
Pen, charcoal, and pastel
43/8" x 23/8" / 11 x 6 cm

SKETCH HERE!

| 67
KEY VI
DOCUMENTARY
Documenting events as they take place can be an exhilarating
experience. You are in the moment, carried along with the emotion,
and putting things down on your page as they happen. Whether
the event is a joyous celebration or a tragic circumstance, drawing it
fixes the memory, both for yourself and for your audience.
As a form of collective memory making, documentary drawings
can be some of the most rewarding you will ever do as a reportage
artist. And those drawings may even become a part of history. Artists
can make an important contribution to the world when they choose
to be witnesses to life through their work.
Egyptian-Americans rally
in 2011 in New York City,
calling for the resignation of
President Mubarak.
Egyptian Solidarity Rally, NYC
Charcoal and pastel
14" x 11" / 35.6 x 28 cm

Political Events
From the sad to the joyous, and everything in
between, political events tend to be momentous
occasions, and playgrounds for urban sketchers!
Ã
ca
cro
Ja
D.
tio
DO
Ina
Ink
14
Tip Ã South Africans celebrate CATHY GATLAND DO

the life of Nelson Mandela Hamba Kahle Madiba Ina
Even if you can’t get right on the day of his death, Pr
Pentel
Pentel pocket
pocket brush
brush pen
pen with
with felt-tip
felt-tip
up on the action, you can outside of his family home markers
markers and
and water
water brush
brush Pe
still document the crowd’s in Houghton. 8¼"
8¼" xx 11¾"
11¾" // 21
21 xx 29.8
29.8 cm
cm 14
reaction to it.

(Text) 44_08-AC74164 DTP: 229 Page: 68
Key VI: Documentary | 69
Ã Artist Dominick Santise

captures the excitement of the
crowd gathered on a cold
January day in Washington,
D.C., to witness the inaugura-
tion of President Obama.
DOMINICK SANTISE
Inauguration 2013, The Speech
Ink, litho crayon, and pencil
14" x 11" / 35.6 x 28 cm
DOMINICK SANTISE
Inauguration 2013,
ip
tip Pre-Appearance Cheer
Pen, ink, litho crayon, and pencil
14" x 11" / 35.6 x 28 cm

D
G
sig
or
do
w
Ã In Barcelona, women
protest a proposed
anti-abortion law.
MIGUEL HERRANZ
Brave Women
Fountain pen, liquid watercolors,
and white Posca marker
11" x 8½" / 28 x 21.6 cm
Â Melanie Reim documents

New Yorkers protesting the
war in Iraq.
MELANIE REIM
Wake Up America!
Pelikan cartridge pen
16" x 12" / 40.6 x 30.5 cm

Demonstrations
Groups of people marching, shouting, carrying
signs, and wearing slogans in support of one cause,
or denouncing another—what an exciting thing to
document! Drawing a demonstration is one more
way that you can join in and support the crowd.

Â
of
urg
TE
Ha
O
Pe
17
Ä
thr
us
TE
Hu
Pe
17
Ã Courtroom artist Ted Courtroom Reportage

Michalowski makes good The American tradition of not allowing cameras
use of the hand gestures and
body language of the lawyer
into courtrooms has created an entire area of work
and defendant to show the for reportage aritsts—courtroom reporting. To work
intensity of the relationship. in this form of reportage you need to have a quick
TED MICHALOWSKI hand and be a great student of body language,
Hugo Selenski Trial, 2015 to get that story on the paper under pressure.
Brush pen
17" x 14" / 43.2 x 35.6 cm
Tip
“The work demands complete,
If your local town or city immediate dedication to drawing the
courthouse will allow you to key figures with urgency. There is no
sit and draw, it’s a wonderful
place to study people and later.” —Ted Michalowski
body language.

Â The exaggerated gestures

of the lawyer help define the
urgency of the argument.
TED MICHALOWSKI
Hazleton Illegal Immigration
Ordinance Trial 2008
Pen and ink, watercolor
17" x 14" / 43.2 x 35.6 cm
Ä The body language of all

three men in this drawing tells
us much about their roles.
TED MICHALOWSKI
Hugo Selenski Trial 2006
Pen and ink, water-soluble crayon
17" x 14" / 43.2 x 35.6 cm

Á
bo
JU
Ba
Fo
ma
17
Ä
Br
Cl
JU
Ba
Fo
ma
17
Ä A few of the players

in action.
JULIA SVERCHUK
Barclays Players
Watercolor, water-soluble crayons,
and charcoal pencil
14" x 11" / 35.6 x 28 cm

Á “Tickets? Tickets? Any- The Whole Event

body selling extra tickets?” When covering an event in the documentary style,
JULIA SVERCHUK you want to walk someone through it. Artist Julia
Barclays Outside Sverchuk takes us to a basketball game in Brooklyn,
Fountain pen, brush and ink, from the outside of the stadium to the bird’s-eye
marker
17" x 11" / 43.2 x 28 cm view of the inside to the players.
It’s good to think of yourself as a reporter in
Ä A bird’s-eye view of the these kinds of situations, and ask yourself who, what,
Brooklyn Nets versus the LA where, when, why, and how. Answer those questions
Clippers basketball game. with your drawing, and you’ve covered it all!
JULIA SVERCHUK
Barclays Inside
Fountain pen, brush and ink,
marker
17" x 11" / 43.2 x 28 cm

Â
the
bla
yo
Da
Gr
8"
Ã The Red Cross offererd Ä Con Edison, the local

blankets, diapers, and a hot utility, set up power strips
meal to lower income in the lobby of their offices
New Yorkers. for public use.
Red Cross on Avenue D Charging Phones
Graphite pencil and marker Graphite pencil and marker
11¾" x 8" / 29.8 x 20.3 cm 11¾" x 8" / 29.8 x 20.3 cm
Ã
wa
he
W
Gr
21
S
t
p
p

Â Twenty-third Street was

the demarcation line for the
blackout; even in daylight
you could see the difference.
Darkened Flatiron Building
Graphite pencil and marker
8" x 11¾" / 20.3 x 29.8 cm
Ã A woman carries Journalistic

water in buckets back to Some events go beyond the single person to affect
her apartment.
an entire community. Hurricane Sandy battered
Woman with Water
New York City in the fall of 2012, throwing
Graphite pencil and fine line marker
21/5" x 3¾" / 5.7 x 9.6 cm
downtown Manhattan into a weeklong blackout.
As a native New Yorker and longtime city resident,
I decided to document the events from my own
Tip point of view, rather than trying for a more
Small moments such as objective position.
this can bring out the
personal aspects of a
public event.

Á A few days after Ti

September 11, 2001, a In
Muslim imam held a press
conference in Union Square
pe
Park, calling for peace. th
Press Conference
Graphite pencil
12" x 9" / 30.5 x 23 cm
Ä Israeli artist Marina

Grechanik documents the
everyday reality of life in a
country in the midst of war.
MARINA GRECHANIK
Alert in the Country Club
Graphite pencil
7½" x 6¾" / 19 x 17 cm

(Text) 44_08-AC74164 DTP: 229 Page: 78
Key I: Composition | 79
Times of Conflict Ä Rob Sketcherman docu-

In times of conflict, it can be hard to pick up a mented the umbrella revolu-
tion: the political freedom
e
pencil and draw, but bearing witness to events like protests in Hong Kong during
these is an important task for artists. the fall of 2014. The protest-
ers used yellow umbrellas to
protect themselves from tear
gas used by the riot police
as a way of restoring order.
Tensions Mount
Digital sketch on iPad using Procreate
20" x 14.65" / 50.8 x 37.2 cm

/15 12:45 pm 61282 - Urban Sketching Handbook_Int.indd 79 6/8/15 12:45 pm

| 81
GALLERY I
ADVOCACY
You can talk your talk, but can you walk your walk? Using your
reportage to bring attention to a cause that matters to you can be
one of the most rewarding things you will do as an artist. It allows
you to use your talents to direct an audience toward an injustice you
want to right, a cause you want to celebrate, or an event that you
don’t want to go unnoticed. Your empathy and sympathy translated
into action—that’s the power of reportage! Hopefully your drawings
will spur others to action as well.
If your work invites the attention of even only one other person,
you can know that you’ve contributed to the world with your art, and
what a worthwhile thing to do. Just maybe, you can get others to do
the same.
Cloud recalls the events of

Hurrican Katrina from his
home, the devastated Ninth
Ward of New Orleans.
Cloud Remembers Hurricane
Katrina, 9th Ward,
New Orleans
Graphite
13½" x 9½" / 34.3 x 24 cm

Specific Groups Á
Drawing a specific group of people can bring so
pin
attention to their issues or concerns in a very fo
personal way. br
M
M
Pe
5¼
“It was a sight to behold: All of these sisters, united by a single “P

cause for today. And the pink kept coming.” —Melanie Reim a

Gallery I: Advocacy | 83
Á The artist captures the Ä The strong rainbow colors

solidarity of the women in depict the excitement of the
pink, united to raise money gay pride parade and the
for research into a cure for portrait gives a face to the
breast cancer. cause of gay rights.
MELANIE REIM EVAN TURK
Marching Pink Gay Pride Seattle
Pen and ink with gouache China marker, pen, pastel,
5¼" x 8" / 13.3 x 20.3 cm and watercolor
17" x 14" / 43.2 x 35.6 cm
“Pride parades bring out all facets of the gay community

and make them visible.” —Evan Turk

Community
Sometimes the problems closest to home are the
ones that most easily escape our attention.
Ä A utility worker marks an “The empty houses seemed to be alive,

abandoned house with an
XXX in the Ninth Ward of and I felt compelled to draw them.”
New Orleans, after
Hurricane Katrina —Veronica Lawlor
XXX, No Power
Pen and ink, watercolor,
colored pencil, pastel
13¾" x 10" / 34.7 x 25.4 cm
Ã
ho
the
A
Th
Ch
Gr
11

Ã The artists draws a “Even though things seemed rough,
homeless man living on
the streets of London. he was the most delightful person to
ADEBANJI ALADE talk to.” —Adebanji Alade
The Face of Homelessness,
Charing Cross Road
Graphite and charcoal
11" x 8½" / 28 x 21.6 cm

Humanitarian Ä Artist Olivier Kugler tells OLIVIER KUGLER “I

the story of the Burkina Menao Refugee Camp,
By reaching out beyond
Faso refugees for the Burkina Faso ve
our borders as artists, Guardian newspaper. Mixed media (digital and pencil) te
we can put a spotlight 19" x 11 ¾" / 48.5 x 29.8 cm
on forgotten people.

Gallery I: Advocacy | 87
“In the camp, it was very, very hot . . . there was no shade. I was
very grateful when Yehia Ag Heytal invited us into his tent to have
) tea with him and his family.” —Olivier Kugler

Animals and the Environment

Sometimes those who can’t speak need
the loudest supporters.
Ä Natalie skims the water

for humpback whale skin
samples after a whale
breaches.
Natalie Skims the Surface
for Whale Skin
Pen and ink with brush,
watercolor, and graphite
12½" x 6" / 31.8 x 15 cm
“I
in
le
he

(Text) 44_08-AC74164 DTP: 229 Page: 88
“I am awe-inspired by the work of Nan Hauser and her team
in Rarotonga. True environmentalists, they are working to
learn more to preserve the humpback whales and our ocean
heritage.” —Veronica Lawlor
Ã Nan Hauser, whale Nan Watching

researcher and environmental the Humpbacks
crusader, watches for Pen and ink with watercolor
humpback whales from 10" x 7¾" / 25.4 x 19.7 cm
the island of Rarotonga in
the South Pacific.


| 91
GALLERY II
PORTRAITS
A portrait is more than a likeness; according to the dictionary, it is
also a description of a person. A description implies a way to speak
about someone’s mood, energy, and character. A portrait done as
part of a reportage should tell you something about the situation
the person exists in and perhaps how they relate to the situation.
Graphics play a role in the explanation of a person, too—does the
person feel soft and fuzzy, like a runny watercolor or a smudgy
pastel? Or does the person feel sharp and pointed, like a razor-
point pen or a hard charcoal line?
And, oh yes, the person should be recognizable as well! So
don’t forget to look at the structure of the face and the shape of the
eyes. Drawing hands and body language in a portrait helps, too.
Have fun!
A portrait of the performer

“Lucky Lefty,” done at the
Society of Illustrators in NYC.
Lucky Lefty
Ink and pastel
10¾" x 12¼" / 27.4 x 31 cm

Context Ä The slow pace and

Sometimes the context of a portrait can tell us sensitive shading of this
portrait convey the slower
as much about the sitter as the features of his or
pace of life in Oman.
her face.
SAMANTHA ZAZA
Fishmonger at the Muttrah
Fish Souq
Pencil and watercolor
“I sketched portraits of the Muttrah Fish 9¼" x 11¾" / 23.5 x 29.8 cm
Souq’s fishmongers, and feasted on some

of the most delicious fish I’ve ever had.”
—Samantha Zaza

Gallery II: Portraits | 93
“Pope John Paul II was so frail, and at

the same time possessed such strength.”
—Veronica Lawlor
Ã The expressionistic
treatment of the color
surrounding the Pope and the
Vatican guard indicate the
aura of energy surrounding
the leader of the Catholic
faith at an official audience.
Portrait of Pope John Paul II
Charcoal and oil pastel
10" x 105/8" / 25.4 x 27 cm

“I
fo
p
Gr
G
The
the
Th
meth
the
m
“I had a very short time with this vendor from India, but with this hel
th
drawing, my memory stays vivid. I liked capturing his face with som
he
cha
so
well-defined features.”
ch
—Kumi Matsukawa

Gallery | 95
“I love the challenge of working quickly. A graphite stick is great

for speed, giving a bold, expressive mark. Its thickness also
prevents me from getting too fussy.” —Lynne Chapman
Graphics Á The fluidness of the Ã The high energy of the

paint gives sensitivity to marks and forward direction
Graphics
The feel of the line, of this portrait give this
Kumi’s portrait of a spice
the
Thekind
feelofofmarks, the
the line, seller in Dubai. woman a lot of vigorous
medium
the kindused—all
of marks,ofthe character, not to mention
KUMI MATSUKAWA describing the textures of
these
medium choices can of
used—all A Vendor in the Spice Souk the fake fur!
help
thesetellchoices
the viewer
can in Dubai
something
help tell theabout the
viewer Watercolor LYNNE CHAPMAN
Fake Fur Coat
character
somethingofabout
the sitter.
the 6" x 9" / 15 x 23 cm
6B graphite stick
character of the sitter. 5¾" x 5" / 14.5 x 12.7 cm


| 97
GALLERY III
LANDSCAPES AND
PANORAMICS
The surroundings of an event or the mood of a place—a lot of
information can by conveyed by the landscape of a reportage
series. It’s good to get an overall view.
And sometimes, the landscape can become the story. Think of
all the changes that happen in a landscape in the course of a day,
or a year—the weather, the seasons, the movement of water, wind,
earth, and fire. All of these elements coming together can affect us in
so many ways. It turns out that by documenting our surroundings, we
can tell the stories of our lives.
A beautiful spring day

in the park.
Central Park on May 1
Ink and watercolor
12½" x 8½" /31.8 x 21.6 cm

Evocative Landscapes Ã The small size of the

An evocative landscape can set the stage and add two little figures adds to the
overwhelming feeling of fog
an emotional component to your reportage. in New Jersey.
DESPINA GEORGIADIS
“The fog was remarkable... my family Foggy Adventure
and I took a walk through the park to Ink with wash
7¼" x 2¾" / 18.3 x 7.2 cm
take advantage of this rare sight.”
—Despina Georgiadis
Â The long shadows in

this piece create a magical
forest setting.
SHARI BLAUKOPF
Angell Woods
Watercolor
11" x 7½" / 28 x 19 cm

(Text) 44_08-AC74164 DTP: 229 Page: 98
Gallery III: Landscapes and Panoramics | 99

Panoramics
A panoramic can really open up your perspective!
“The liveliness of Main Street makes it one of my favorite subjects

to draw. I thought a panoramic approach would best capture the
volume and diversity of people on this busy thoroughfare.”
—Jennifer Kiamzon

Gallery III: Landscapes and Panoramics | 101
Ã A crush of tourists in JENNIFER KIAMZON

Disney World makes for an Main Street USA,
exciting panoramic drawing. Disney World
Don’t shy away from a crowd Pen and ink
when documenting situations 28.5" x 17" / 72 x 43 cm
like this—embrace it!

The Seasons
Just as poets can use the seasons to evoke feelings, so can visual artists.
Ã Flaming orange trees set Ä The luminous use of Â The starkness of winter is
the mood of a fall afternoon. watercolor creates the shimmery created in this rich painting of
light of a hot summer day. a snow-covered tree trunk.
MICHELE BEDIGIAN
Dawn at the Edge of the Forest SHIHO NAKAZA SHARI BLAUKOPF
Pastels, oil-based crayon, Grand Park, Downtown Tree House Car
water-based crayon Los Angeles Watercolor
16" x 10" / 40.6 x 25.4 cm Ballpoint pen, watercolor, 11" x 15" / 28 x 38 cm
white correction pen
8" x 5½" / 20.3 x 14 cm
“I
ha
so
—

s
of
“I wanted to convey the soft winter light and the textures of snow—
hard-edged and sharp on the tree in the foreground, and then
softer and more muted as you move back through the sketch.”
—Shari Blaukopf


| 105
GALLERY IV
MOOD AND EMOTION
We often say that we get overtaken by our mood or “lost in
emotion.” What an important, and yet intangible, element to
include with a reportage.
Whether it be joyous, melancholy, or something in between,
the mood of a person, place, or situation is extremely important,
as is how we use our talents and our materials to capture that mood.
What mediums we choose and how we combine them can be
very important, and our editing and sense of picture design bring
it all together.
Remember, what affects you emotionally will affect someone
else in a similar way. Or in a completely different way. Either way,
putting it out there causes the energy of the emotion to ripple out
through our art to the world beyond our page. And isn’t that part
of why we draw?
The captain and first mate

look into the fog during
the thirty-eighth voyage of
the Charles W. Morgan.
Fog on the Morgan
Fountain pen and pastel
10 5/8" x 7 3/8" / 27 x 18.8 cm

Li
Be
“I
th
it

Gallery IV: Mood and Emotion | 107
Light
Beautiful light can create otherworldy visions.
Ã The intense color

and light of India.
OMAR JARAMILLO
“I work with a very minimalist line style . . . Gateway of India, Mumbai
the transparency of the watercolor makes Sepia Faber Castell Pitt pen and
white gel pen with watercolor
it interesting.” —Omar Jaramillo 17" x 11" / 43.2 x 28 cm

“We had some cava, and five glasses Em

later I drew this.” —Swasky So
“T
is
ex
—
Á
a
SW
O
Liq
5½

Gallery IV: Mood and Emotion | 109
Emotionally Charged
Sometimes the emotions of the artist become the subject of the reportage.
“This is Naqshe-Jahan Square; the weather

is cold. Two old men are talking. I’ve tried to
express the coldness of this environment.”
—Behzad Bagheri
Á A wonderful depiction of Ã BEHZAD BAGHERI

a night of enjoyment. Black and White Winter
SWASKY Charcoal and pencil
One Night at the Molino 7½" x 11" / 19 x 28 cm
Liquid watercolor and ballpoint pen

5½" x 8½" / 14 x 21.6 cm

CHALLENGES
See the possibilities in documenting your own daily life. Here are some to try: Ala
Lon
ad
1.  Draw during breakfast—what are you 12.  Draw portraits of people you know Ba
eating, who is at the table with you? with strong personalities, and describe Isfa
2.  Draw during your commute to work. those personalities through your line be
quality, textures, and color choices.
3.  Draw the buying and selling at a Be
local store or craft fair. 13.  Draw someone hard at work: Ne
Describe what the person is doing Stu
4.  Draw the place where you eat your in three consecutive sketches.
lunch: What’s going on there? Be
14.  Draw someone cooking food, Ne
5.  Draw out your window in the and then eating it. gre
afternoon: What’s happening in
the neighborhood? 15.  Draw an exercise class and Bla
describe the different paces of the Mo
6.  Draw your kids playing in the park participants—fast, slow, etc. bla
or backyard.
16.  Draw a musical performance:
7.  Draw a conversation next to Use your line and markings to
Bo
you at a café. Sin
describe the feeling of the music. tias
8.  Hang out on a busy corner and 17.  Attend an art opening or other reception,
draw the people going by. and draw the scene at the party.
Bu
Ne
9.  Draw at your local pub, from a 18.  Draw an interaction between a sbu
bartender’s point of view. child and an adult.
10.  Draw at a cocktail party: Ca
19.  Story page: Without starting over, Se
Who is flirting with whom? take your sketchbook to a place ga
11.  Draw up one side of a street and with a lot of activity, and see how
down the other: What are the Ch
many little stories you can fit onto one
Sh
stories you find? page in two hours. Little stories could lyn
include a dog barking, a couple
kissing, a child running, etc. Ce
Ch
Jak
ced
com
Da
Bo
da
Da
Ne
jas
De
Au
au

| 111
CONTRIBUTORS
Alade, Adebanji 85 Dominguez, Orling 29 Kugler, Olivier 86 Shirodkar, Suhita 12
London, UK Santo Domingo, London, UK San José, US
adebanjialade.co.uk Dominican Republic olivierkugler.com sketchaway.wordpress.com
drawingbythepound.com
Bagheri, Behzad 109 Lapin 22 Steel, Liz 53
Isfahan, Iran Fiadeiro, Isabel 12 Barcelona, Spain Sydney, Australia
behzadbagheri.blogspot.com Nouakchott, Mauritania lesillustrationsdelapin.com lizsteel.com
mauritania-isabel.blogspot.com
Bedigian, Michele 102 Low, Don 35, 55 Sverchuk, Julia 74, 75
New York, US Fijten, Rene 48 Singapore New York, US
Studio1482.com/michele Maastricht, Netherlands www.donlow-illustration.com juliasverchuk.com
renefijten.nl
Betza, Greg 36, 38, 43 Lynch, Fred 60, 61 Swasky 109
New Jersey, US Gatland, Cathy 27, 68 Boston, US Barcelona, Spain
gregbetza.com Johannesburg, South Africa fredlynch.com swasky.es
asketchintime.blogspot.com
Blaukopf, Shari 98, 102 Matsukawa, Kumi 41, 95 Taro Holmes, Marc 28
Montreal, Canada Georgiadis, Despina 42, 98 Tokyo, Japan Montreal, Canada
blaukopfwatercolours.com New Jersey, US flickr.com/photos/macchann citizensketcher.wordpress.com
studio1482.com/despina
Boon Sim, Tia 11 Michalowski, Ted 72, 73 Thorspecken, Thomas 34
Singapore Grechanik, Marina 78 Scranton, US Orlando, US
tiastudio.blogspot.com Tel-Avia, Israel tedmichalowski.com analogartistdigitalworld.com
Marinagrechanik.blogspot.
Buroker, Susan 62 co.il Nakaza, Shiho 102 Turk, Evan 18, 47, 83
New York, US Los Angeles, US New York, US
sburokerstudio.com Hawkins, Audrey 58 shihonakaza.com evanturk.com
New York, US
Campanario, Gabi 31 audreyhawkinsnyc.com Peña, Eddie 54 Vila Rawson, Laura 64
Seattle, Washington New York, US New York, US
gabicampanario.com Herranz, Miguel 48, 70 studio1482.com/eddie lauravila.com
Barcelona, Spain
Chapman, Lynne 59, 95 miguel-herranz.com Rawson, Todd 65 Wong, Gail 53
Sheffield, UK New York, US Seattle, US
lynnechapman.co.uk Hurst, Margaret 16, 49 toddrawson.com glwsketchworks.blogspot.com
New York, US
Cedharr,Dhar
Chedar, Dhar 14 studio1482.com/margaret Reim, Melanie 26, 70, 83 Zaza, Samantha 92
Jakarta, Indonesia New York, US Istanbul, Turkey
cedharrsketchbook.blogspot. Jaramillo, Omar 107 sketchbookseduction. szaza.com
com Berlin, Germany blogspot.com
omar-paint.blogspot.com
Daikubara, Mike 52 Salavisa, Eduardo 48
Boston, US Johnson, Cathy 63 Lisbon, Portugal
daikubara.com Kansas City, US diario-grafico.blogspot.com
cathyjohnson.info
Das, Jason 43 Santise, Dominick 69
New York, US Kane, Tommy 11 Beacon, US
jasondas.com New York, US studio1482.com/dominick
tommykane.com
Dewhurst, Murray 46 Sketcherman, Rob 79
Auckland, New Zealand Kiamzon, Jennifer 101 sketcherman.com
aucklandsketchbook.com San Francisco, US
jenniferkiamzon.com Serrano, Inma 14, 42
Seville, Spain
dibujosypegoletes.blog
spot.com

ACKNOWLEDGMENTS
I would like to thank all of the artists who generously allowed their work
to be reproduced on these pages: Your enthusiasm for the project is much
appreciated! And thank you to Gabi Campanario, for creating this wonderful
Urban Sketchers community.
Many thanks also go to my insightful and sensitive editor and friend, Mary
Ann Hall, who is such a pleasure to work with; and to Neil, my husband and
greatest supporter. Finally, I would like to acknowledge Patty Lawlor, who was
always so proud and happy to see me do the work that I love. Miss you, sister.
ABOUT THE AUTHOR

Veronica Lawlor is an artist and illustrator whose reportage drawings have led
her around the world, completing campaigns for a diverse group of clients.
Her work has been exhibited internationally, and her reportage illustration is
part of the permanent collection of the Newseum in Washington, D.C. In 2011,
she was honored as the North American nominee for the Canson Prix, and her
work was presented at the Louvre in Paris. The president of Studio 1482, and a
correspondent for the Urban Sketchers international sketch blog, Veronica is on
the faculty of Pratt Institute and Parsons The New School for Design, and is a
cofounder of the Dalvero Academy.


The Urban Sketching Handbook - Reportage and Documentary Drawing - Tips and Techniques For Drawing On Location PDF

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THE URBAN

REPORTAGE AND DOCUMENTARY DRAWING

61282 - Urban Sketching Handbook_Int.indd 1 23/7/15 10:25 am

First published in the United States of America in 2016 by

All rights reserved. No part of this book may be reproduced in any

Digital edition published in 2016

Library of Congress Cataloging-in-Publication Data available

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REPORTAGE AND DOCUMENTARY DRAWING

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About This Series 04

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Ã Tia Boon Sim’s energetic

Â Landmarks are not just

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Á It's not always necessary

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Everyday Life Ä Food markets can be a

On your next family vacation, take an afternoon alone to

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Á Don’t hesitate to observe

Ä Notice how these men are

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People Watching Ã Note who is talking in

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Â Fall in Venice brings the

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Á Men work in the tannery

Ä Evan Turk braved the sometimes not-so-pleasant odors of

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Unique to Place Ã Pachinko is an arcade

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A group of friends enjoy coffee

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Ã French illustrator Lapin always includes a vintage car some- LAPIN

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Look for Stories Ã I met “Papito” at the

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Make a few drawings of the overall environment, just to

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26 | Reportage and Documentary Drawing

Smaller Stories Ä Notice how artist

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Á South African artist

Keep a very small

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Ä Metalsmithing such as MARC TARO HOLMES

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Á Notice how the artist

When documenting work

Á Scientists work to discover

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Telling a Story Over Time