Sketchbook Confidential: Secrets from the private sketches of over 40 master artists

Sketchbook Confidential: Secrets from the private sketches of over 40 master artists

Pamela Wissman, Stefanie Laufersweiler

Language: English

Pages: 73

ISBN: 2:00182264

Format: PDF / Kindle (mobi) / ePub

Pulsing with ideas, energy and inspiration, Sketchbook Confidential offers a rare peek inside the personal sketchbooks of 40+ master artists. From colorful painted sketches to spontaneous napkin doodles, from the intensely personal to the purely whimsical, most of the work here was produced quickly and never intended for public view. It is honest and immediate, fresh and fearless.

In their own words, the artists share the intentions and inspirations behind their sketching. For some, it is a cherished, everyday habit—a way of wandering through the ideas in their mind, playing around with new subjects, or just having some anything-goes kind of fun. For others, sketching is a deliberate tool for problem-solving—working through a composition, capturing a moment's light or test-driving a color scheme.

As you turn the pages you'll be immersed in the creative processes of these individuals, arriving on the other side with a feeling of kinship and a renewed desire to boldly capture life in your own sketchbooks!

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a relatively broad-tipped marker. I deliberately do NOT try to do a beautiful sketch. The sketch is a tool to help me work out my composition, and I find that if I get caught up in trying to do a “good” sketch, I lose sight of my goal. And I lose the spontaneity and fluid strokes that are so important to help me express what I am experiencing. Sketching with fairly crude tools forces me to think in two dimensions and helps me to see what works and what doesn't work on the most basic

to create. And I think about how I can express my feelings and appreciation of the scene in front of me through my composition and communicate that to the viewer. Sketching a scene before painting it helps me distill it to its essence and then figure out how to communicate that essence in my painting. When I look at a scene, preparing to sketch it with a black marker, I am forced to look for the most fundamental building blocks of my composition — the light areas, the dark areas — and see how

copying photographs in National Geographic magazine and working from still life setups in my mother's studio. As a teen I found I could mimic any photo with ease but realized I needed to know more about the landscapes that interested me, so I began doing plein air sketches to support studio paintings. To this day, I use plein air work as a sketching tool to establish the sense of place that any good landscape painting requires. I normally sketch as a preliminary visualization tool for new

them to follow up with thirty hours of painting the finished image. When I'm sketching, it's always fun. Sketching is like meditation for an artist: If you're thinking too much, you'll never get a good idea. Joe Paquet The inspiration for many of Paquet's landscape paintings, it has been said, comes from “the people and places in the middle.” Industrial towns centered around factories and working-class neighborhoods are frequent subjects on his canvases — scenes familiar to Paquet,

chemically dyed colors,” says the artist, “these designs have begun to express power, movement and light.” I must do journaling or morning pages every morning to find out what's happening. This usually includes sketching. There are several projects, obligations and responsibilities that are competing in my subconscious for attention. When they take form on a page, they begin to prioritize and materialize. I also schedule drawing time, almost daily, to seriously nail down thoughts and ideas and

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