Among the things I
enjoy seeing posted on Twitter are illustrator’s roughs for the projects they
are working on. I’ve always been curious to know how other illustrators develop
their work because everyone’s process of working is unique. These initial character
sketches and pencil outlines sometimes give you a hint of that process and
would have mostly gone unseen in the days before social media.
Recently my attention
has been drawn to posts that have included observational drawings, city scenes
or landscapes and even life drawing, all of which appear separate from work
projects and made out of studio time. These drawings are often accompanied by a
text or a title alluding to the illustrator being on holiday, travelling or
simply having a few minutes to spare in a coffee shop or killing time on a station
platform. Some of these drawings are superb!
 |
| Hannah Warren - Montenegro Sketch book and "Black Lake" |
I have always drawn (well
ever since I can remember anyway) and when I visit schools today I often tell
the children that I have been practicing my pencil skills since I was first
born. (I draw a baby version of myself to illustrate this). So when I studied
painting at art college it wasn’t a challenge for me when the tutors encouraged
the students to carry a sketchbook with them at all times because I already did
and still do today. So, when I’m travelling or going on holiday, my bags always
include drawing equipment and sketchbooks, which appear before swimming trunks and
passports on my packing list.
 |
| Garry Parsons - El Turbón, Spain |
On a recent trip to
Somerset with my seven-year-old son, we stopped on a hillside, got a blanket out
of the car and sketched the landscape together. My son confidently explained to
me that there was “no imagination needed” because it’s all there, right in front
of you – the hills, the farm, the trees and cattle – and “you don’t have to
make it up!”
 |
| Garry Parsons - Kilve Beach, Somerset. Guy Parker-Rees - Sussex Downs |
He was right, of
course, in some ways. Drawing on a
hillside, there are no deadlines, art directors, editors, sales team or authors
to consider. No one was going to suggest I use a different colour or change the
eyes on the cows from circles to dots. What
there is, though, is a quiet joy in just sitting and drawing what you see,
especially on a warm evening in a beautiful place with another artist, even if
they are just seven. But, despite having carried a sketchbook with me most of
my life and always feeling the urge to sit and draw, this was the first time
I’d really considered what it was that actually compels me to do it. And it’s a
curious question to ponder. I can come
up with many different answers, most of them valid in some way or other, but what
it really comes down to is feeling a sense of ease through drawing what you see.
It’s like a necessary nourishment that’s unique and personal.
 |
| Garry Parsons - Santa Cruz de la Serós and Luz-Saint-Sauveur. |
So after my son’s encouraged
revelation I made a mental note each time I spotted a landscape or holiday sketch
posted by an illustrator on Twitter to ask them the same question, what is it
that motivates them to continue drawing “out of studio hours” when probably, like me, they spend most of
their day drawing anyway.
Guy Parker-Rees told me: “I love drawing and painting landscapes when I have the time and I go
life drawing every week. Life drawing is the very best way of keeping that
loose connection between eye and hand. I love the freedom to let go and
experiment when doing my own work. No brief, no deadline, just enjoying
the process. I'm sure it always feeds back into my illustration work: it's a
way of trying things out, maybe using different media or techniques.
I think it's important to keep experimenting with different ways of working
in order to keep your style fresh and to make sure it keeps growing and
evolving.”
 |
| Guy Parker-Rees - 20 minute life drawing |
And the dexterous Hannah Warren told me:
“I draw to relax and to
think and to observe and to remember. Drawing for yourself is very different
and private and many things just stay in the number of small sketchbooks. It's
good to have something that’s just for you. Some things though, are used as a
basis for commissioned work, like an interesting person walking their dog,
someone smoking on a wall, a couple having an argument. I like to look a lot at
body language and how people just go about their lives. My work has so many
people in it because that’s what I’m most interested in. As for drawing “on
holiday” this is again to record a new place.”
 |
| Hannah Warren - Sketch |
I’ve seen some beautiful work worthy of high praise from many other
illustrators too, Adam Stower and Thomas Docherty to name a couple. Wonderful
artists with acutely refined drawing skills, the depth of which just might have
been concealed within the confines of picture book characters or a commercially
designed illustration job but glimpsed in these “out of studio” works.
So if you enjoy a good drawing, these are well worth looking out for on
your Twitter feed!
 |
| Garry Parsons - Roda de Isábena |
But now I’m left wondering if authors do this too? Do they sit on the beach
on holiday in Minehead conjuring poetry, psalms or haiku just for pleasure? I’m
curious!
***
Guy Parker-Rees is the award-winning illustrator of Giraffes Can't Dance which has sold over 215,000 copies. He is extensively published by Orchard, Walker and Little Tiger. Visit Guy's website HERE and follow him on twitter @Guyguyyug
Hannah Warren is an illustrator and bike lady who lives and works in South London and has recently worked for The New York Times and The Sunday Telegraph as well as in publishing. Hannah's work has also been animated for broadcast. Visit Hannah's website HERE and follow her on Twitter @_hannah_warren_
Garry Parsons is an award winning illustrator of children's books including the best selling picture book "The Dinosaur That Pooped Christmas" by Tom Fletcher and Dougie Poynter. Visit Garry's website HERE and follow him on Twitter @ICanDrawDinos
10 comments:
A great post Garry. I used to take a sketch book with me on holiday in my student days, but not any more. Perhaps I should take it up again. And – to answer your final question – I don't write on holiday, but now my kids are older, perhaps that will change too.
Hi Garry, I am in awe of illustrators all the time because I can't draw at all. I love process too - both artists and writers. Thank you for posting this.
Now answering your question on writers - Yes I carry a notebook everywhere too and write little thoughts, snippets of words, phrases, stories. I was in Spain last week and ended up writing half a story, two short poems and a load of ideas.
But mostly when I see scenery, I am more interested in it as a novice photographer. I think it takes months before the visit, the trip seeps into become words.
Love those sketches.
Yup, I almost can't NOT write notes down of ideas or word combinations when I'm not officially working. I'd love to dare to try little bits of drawing, not to be shared at all, but haven't yet, at 58, recovered from getting the message from adults when I was a child that I 'couldn't' draw. I love your pictures.
I'm liking the idea of a writer's "sketchbook" Chitra, and that the urge to write is still there when you are away on holiday. I'm still enjoying wondering what drives the creative process! Thank you for your comments.
Thanks Jonathan. Yes, always carry a sketchbook!
Thank you, and well worth looking at Adam Stower and Thomas Docherty too. And what I love about Guy's sketches are how familiar the feel of them is to his picture books.
I love that you can't help but write stuff down Pippa.
Do try some drawing though, why not, no need to show anyone!
Adored your blog post, Garry. I'm a novice in art and the times I've gone out and about with a sketch book have slightly freaked me out because I hate people staring and trying to see what I'm drawing and I don't want to show them if they ask - I'm pathetic! However, writing is less obvious, and when I'm out I'll note down ideas and wordings that resonate, especially for poetry, and although I used to have a tiny notebooks, nowadays the phrases are often saved to my phone, along with a photo.
Thank you Paeony. I think I've become hardened to people looking over my shoulder at what I'm drawing through all the school visits and events I've drawn publicly at. But still, these drawings are more personal so an unexpected audience can be off putting.
I have tried drawing using apps on my phone but I'm going to leave that to Hockney!
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