3 Years, 3 Sketchbooks 2019 . (Paragraphs) My way to fill up page 1: -Date your sketchbooks, it helps to track your progress -If you want to fill up but are afraid of messing up, leave and come back to it when you feel comfortable. . Back in 2018/19, I was still in my comfort zone, only drawing what I am familiar and good with. In the later half of the year, I decided to gather references and draw subjects I want to get better at. Tips: -Gather references ahead of sketching so you can get straight into it -Stick to a selection of supplies -Go easy on yourself . Europe trip journal entries Sometimes adding in entries help me loosen up my sketchbook . Start of the referenced phase Photographs I took from the trip . One of my favorite works in this sketchbook. Reference: Margiela by Mark Borthwick For me, finding references ahead of the time of sketching greatly improves my commitment and momentum. This applies to my materials as well. . I used a lot of different mediums in this sketchbook which you will see that my 2021 sketchbook lacks. Colors and textures will add interest that sometimes does make works more forgiving because there are many elements to take into consideration and divides the attention of the work. . These next spreads are heavily painted with gouache. All of these have relied on references. Reference: Marco Ovando (03.36) . I would go on to simplify my materials in my next sketchbook probably because of the break that i took and i wanted to ease myself back into sketching. Using complicated materials might stifle one’s momentum if you are unfamiliar with the medium. However, experimentation is always great for artists. (03:50) . Reference: Matt Damon (04:06) . My silhouettes are not very refined. However, it still looks like subjects. (04:31) . These were really fun to paint. A change in scenery is good for refreshing your creativity. (04:58) . Quick references sketches Single material Pen directly on paper Trains your eye and hand coordination Mistakes happen to everyone so go easy (05:35) . Quick references sketches Single Material Acryla gouache directly on paper Most of the time if I messed up. I would cover the page up with another completed sketch (06:15) . 2020 . Sometimes a bad art on the first pages could hinder your excitement to fill the rest of the sketchbook. There is no rule to fill a sketchbook, do what is comfortable for you. (07:02) . I find myself doing this often. Revisiting either similar or same references after some time and attempting them again. Sometimes they get better sometimes worst. ! Growth is never an upwards trajectory. ! (07:30) . You can see the lines running through to re-emphasize the structure. This was a more dynamic pose for me to draw hence apprehension was visible in my shaky linework. I do however enjoy the looseness of the sketch. (07:43) . Shaky lines and disproportioned. These could actually be a style but that was not my intention. I still do to today mess up proportions. I do recommend directly drawing your sketches with a pen. Even though the results might be sloppy in the beginning, it helps you to understand your skills better and allows you to gain confidence in your lines. (08:26) . These are easily achieved with 2 supplies. A black pen and a black marker. With no other elements to interfere, you will see the quality of your linework and know what to improve on. (08:55) . This kraft paper works beautifully with a white pencil. Gives the works an extra depth. (09:27) . Mistakes are inevitable. Try again next time. (09:46) . Black is a forgiving color. (10:02) . Dynamic poses are fun but are difficult to accurately depict. (10:09) . I really love the sketch on the right. I vary the tone by dipping my marker into the water to lower the value. Reference: Alexander Rodchenko. (10:17) . I enjoy the intensity of the print Two pens can create an impact. Choose materials that are versatile and easy to use. (10:35) . I love keeping markers that are slightly dry I like using them for fabrics Try to find ways to fully utilize your supplies I like the movement of the woman on the right. (11:07) . Fabriano classic artist journal This is my favorite sketchbook I find it very comfortable to work with. Initially, I struggled with the thickness of the book. However, it has grown on me. The white and kraft paper taking turns is very refreshing. I find it very versatile. The paper is thin yet it holds up well against most of the mediums I use. (11:18) . I found this pose slightly challenging. I like to block out areas with black to cover up shaky lines. This work seems slightly muddled since I worked the white marker while the black was still wet. (11:36) . I often revisit the same references. It is great to see an improvement or to re-create it using another medium. When you are lacking in ideas. You can always revisit your old sketchbooks to find works that re-spark your interest. This is one of my favorite works thus far. Reference: Denise Grunstein. (12:11) . I like to block out mistakes using black ink or paper. There are times that I do not want to give up on a sketch and I would salvage it by covering the areas that I messed up with black ink or paper. Towards the back, you will start seeing me use black squares. I found myself adding it sometimes where there isn’t a mistake The aesthetic grew on me. (12:45) . A great way to learn is by referencing not only photographs but works from great illustrators/artists. Learning their techniques also helps you to understand your supplies and what you create with them. The color combinations they use can also help you form a better aesthetic. References: Jean Paul Goude & Rene Gruau. (12:51) . These are some rough sketches of a horse. I still have trouble accurately depicting the movements of a horse. Practicing something over and over again by default allows you to improve. the longer you observe something the more you understand its form. (14:05) . One of my favorite spreads in the sketchbook. Reference: Josef Sudek & Erich Angenendt (14:17) . I like to leave the last page of my sketchbook empty as well. Reference: Drew Vickers (14:29) .
(cont) 2021 . My 2021 sketchbook will be rather monotonous. I took a break from sketching and to ease myself back into the routine, I used simple tools. I used a lot of ink and watercolors in this sketchbook. This sketchbook focuses on a lot of anatomy and silhouette. I used roughly the same tool to create these works. The introduction of a monotonous palette helps the viewer identify the elements better and is less distracting. Reference: Sarah Moon (15:07) . One of the first sketches using Art-graft’s water-soluble graphite. I have not formed a review since I do like to use and experiment with the supple for a while and understand its characteristics and the best way to use the material. Reference: Kate Moss (16:05) . A sketchbook does not need to follow any standards. Do what you like. You do not have to feel pressured to fill it up with strong conceptualized and well-executed works. It is just a vessel for you to improve, generate ideas, and have fun. I, myself do feel the urge to only have great art in it but I do make mistakes that are not documented as well. Reference: Michelle Behannah (16:18) . If you have been following me for a while, I always do these 101 Dalmatians backgrounds. It is a therapeutic practice for me, helps me get back into the zone of making art after a break. Sometimes I would switch up the colors to play around with the different moods. Reference: 101 Dalmatians (16:30) . I feel like I have grown to be more sensitive towards the linework and colors. Sometimes, I like to paint on tracing paper as it also brings a different touch to the work. Play with materials around you. Reference: Steven Meisel (17:04) . Mistakes happen at all skill levels and stages of creation. I rarely show my failures, the majority of people show works that are polished. But do know that we all still struggle as expectations grow and your ideations are never stagnant. Reference: Chanel No.5 (17:10) . I like to use water-based pens at times and add water to smudge the lines. This allows the medium to have its own input in your art. Sometimes it's successful and sometimes you have to try again. Reference: Prada (17:21) . I like to use traditional mediums over digital as I like the organic way materials work. The way ink and watercolors dry on paper are beautiful and I like thinking that supples also have a mind of their own. Reference: Bela Borsodi (17:27) . I still struggle with the side profile. It will be something that I will work on soon. Reference: Kate moss (17:33) . Adding water to dilute the ink of a marker creates a nice wash. An effective way to introduce more values with a single art supply. It saves you some money as you can use the supply a little longer. Reference: Herb Ritts & Erwin Wurm (18:00) . I think my silhouettes look more convincing. There is still room for improvement at all stages. Anytime you sketch, you are already making progress. Reference: Unknown & Olafur Eliasson (18:44) . I really like this painting. I find the silhouettes amusing. I am learning to convey emotions into my works. This might be the hardest thing to achieve as it is intangible. The architectural elements could be improved but overall I am satisfied. References: Boris Ignatovich (18:56) . For the piece on the left, I used the mental art brush and allow the water to rest organically. The result is a darkened spot at the tailbone. I attempted a similar pose in 2019. (18:59) . i like covering minor mistakes with a black cube. Could be drawn or cut from black paper. If you repeat it sometimes it becomes an accent in your work. Reference: Dmitry Maximov (19:36) . I am also currently learning to be more sensitive to the extra white space to make a piece come across as more balanced. Reference: Steven Meisel (20:10) . I really like this piece on the left. I feel like it makes sense and I am happy as I rarely draw arms swinging back. I like how the hair seems to be moving from the wind created by the jump. Reference: Elson for Prada (21:21) . The intention in this sketchbook was for me to improve on my anatomy to be more sensitive to where the lines meet and tonal values. I do think I achieved that. To some people, a lack of color might seem uninteresting, but I find it equal because your eyes start focusing on minute details and the balance with the white of the paper. reference: Robert Longo (21:57) . I find that I tend to get lazy towards the end of the sketchbook as I think I would start getting the mentality to just get it over and done with as I love starting new sketchbooks. I usually leave the last page empty as I do not feel necessary to fill it. Sometimes I would stick a loose work or I would write a reflection or quote/paragraph from an inspiration. I think it sums up the overall mentality I had while doing the sketchbook. Reference: Kristy Hume & Shalom Harlow (23:18) . End
3 Years, 3 Sketchbooks
2019
.
(Paragraphs)
My way to fill up page 1:
-Date your sketchbooks, it helps to track your progress
-If you want to fill up but are afraid of messing up, leave and come back to it when you feel comfortable.
.
Back in 2018/19, I was still in my comfort zone, only drawing what I am familiar and good with. In the later half of the year, I decided to gather references and draw subjects I want to get better at.
Tips:
-Gather references ahead of sketching so you can get straight into it
-Stick to a selection of supplies
-Go easy on yourself
.
Europe trip journal entries
Sometimes adding in entries help me loosen up my sketchbook
.
Start of the referenced phase
Photographs I took from the trip
.
One of my favorite works in this sketchbook.
Reference: Margiela by Mark Borthwick
For me, finding references ahead of the time of sketching greatly improves my commitment and momentum. This applies to my materials as well.
.
I used a lot of different mediums in this sketchbook which you will see that my 2021 sketchbook lacks.
Colors and textures will add interest that sometimes does make works more forgiving because there are many elements to take into consideration and divides the attention of the work.
.
These next spreads are heavily painted with gouache. All of these have relied on references. Reference: Marco Ovando (03.36)
.
I would go on to simplify my materials in my next sketchbook probably because of the break that i took and i wanted to ease myself back into sketching. Using complicated materials might stifle one’s momentum if you are unfamiliar with the medium. However, experimentation is always great for artists. (03:50)
.
Reference: Matt Damon (04:06)
.
My silhouettes are not very refined. However, it still looks like subjects. (04:31)
.
These were really fun to paint. A change in scenery is good for refreshing your creativity. (04:58)
.
Quick references sketches
Single material
Pen directly on paper
Trains your eye and hand coordination
Mistakes happen to everyone so go easy (05:35)
.
Quick references sketches
Single Material
Acryla gouache directly on paper
Most of the time if I messed up. I would cover the page up with another completed sketch (06:15)
.
2020
.
Sometimes a bad art on the first pages could hinder your excitement to fill the rest of the sketchbook. There is no rule to fill a sketchbook, do what is comfortable for you. (07:02)
.
I find myself doing this often. Revisiting either similar or same references after some time and attempting them again.
Sometimes they get better sometimes worst. ! Growth is never an upwards trajectory. ! (07:30)
.
You can see the lines running through to re-emphasize the structure. This was a more dynamic pose for me to draw hence apprehension was visible in my shaky linework. I do however enjoy the looseness of the sketch. (07:43)
.
Shaky lines and disproportioned. These could actually be a style but that was not my intention. I still do to today mess up proportions.
I do recommend directly drawing your sketches with a pen. Even though the results might be sloppy in the beginning, it helps you to understand your skills better and allows you to gain confidence in your lines. (08:26)
.
These are easily achieved with 2 supplies. A black pen and a black marker. With no other elements to interfere, you will see the quality of your linework and know what to improve on. (08:55)
.
This kraft paper works beautifully with a white pencil. Gives the works an extra depth. (09:27)
.
Mistakes are inevitable. Try again next time. (09:46)
.
Black is a forgiving color. (10:02)
.
Dynamic poses are fun but are difficult to accurately depict. (10:09)
.
I really love the sketch on the right. I vary the tone by dipping my marker into the water to lower the value. Reference: Alexander Rodchenko. (10:17)
.
I enjoy the intensity of the print
Two pens can create an impact. Choose materials that are versatile and easy to use. (10:35)
.
I love keeping markers that are slightly dry
I like using them for fabrics
Try to find ways to fully utilize your supplies
I like the movement of the woman on the right. (11:07)
.
Fabriano classic artist journal
This is my favorite sketchbook
I find it very comfortable to work with. Initially, I struggled with the thickness of the book. However, it has grown on me. The white and kraft paper taking turns is very refreshing. I find it very versatile. The paper is thin yet it holds up well against most of the mediums I use. (11:18)
.
I found this pose slightly challenging. I like to block out areas with black to cover up shaky lines. This work seems slightly muddled since I worked the white marker while the black was still wet. (11:36)
.
I often revisit the same references. It is great to see an improvement or to re-create it using another medium. When you are lacking in ideas. You can always revisit your old sketchbooks to find works that re-spark your interest.
This is one of my favorite works thus far. Reference: Denise Grunstein. (12:11)
.
I like to block out mistakes using black ink or paper. There are times that I do not want to give up on a sketch and I would salvage it by covering the areas that I messed up with black ink or paper. Towards the back, you will start seeing me use black squares. I found myself adding it sometimes where there isn’t a mistake The aesthetic grew on me. (12:45)
.
A great way to learn is by referencing not only photographs but works from great illustrators/artists. Learning their techniques also helps you to understand your supplies and what you create with them. The color combinations they use can also help you form a better aesthetic. References: Jean Paul Goude & Rene Gruau. (12:51)
.
These are some rough sketches of a horse. I still have trouble accurately depicting the movements of a horse. Practicing something over and over again by default allows you to improve. the longer you observe something the more you understand its form. (14:05)
.
One of my favorite spreads in the sketchbook. Reference: Josef Sudek & Erich Angenendt (14:17)
.
I like to leave the last page of my sketchbook empty as well. Reference: Drew Vickers (14:29)
.
I love your art so muchhhhhhhhhhh! 😭😭❤
Thank you, more coming soon!! 💜
(cont)
2021
.
My 2021 sketchbook will be rather monotonous. I took a break from sketching and to ease myself back into the routine, I used simple tools. I used a lot of ink and watercolors in this sketchbook. This sketchbook focuses on a lot of anatomy and silhouette. I used roughly the same tool to create these works. The introduction of a monotonous palette helps the viewer identify the elements better and is less distracting. Reference: Sarah Moon (15:07)
.
One of the first sketches using Art-graft’s water-soluble graphite. I have not formed a review since I do like to use and experiment with the supple for a while and understand its characteristics and the best way to use the material. Reference: Kate Moss (16:05)
.
A sketchbook does not need to follow any standards. Do what you like. You do not have to feel pressured to fill it up with strong conceptualized and well-executed works. It is just a vessel for you to improve, generate ideas, and have fun. I, myself do feel the urge to only have great art in it but I do make mistakes that are not documented as well. Reference: Michelle Behannah (16:18)
.
If you have been following me for a while, I always do these 101 Dalmatians backgrounds. It is a therapeutic practice for me, helps me get back into the zone of making art after a break.
Sometimes I would switch up the colors to play around with the different moods. Reference: 101 Dalmatians (16:30)
.
I feel like I have grown to be more sensitive towards the linework and colors. Sometimes, I like to paint on tracing paper as it also brings a different touch to the work. Play with materials around you. Reference: Steven Meisel (17:04)
.
Mistakes happen at all skill levels and stages of creation. I rarely show my failures, the majority of people show works that are polished. But do know that we all still struggle as expectations grow and your ideations are never stagnant. Reference: Chanel No.5 (17:10)
.
I like to use water-based pens at times and add water to smudge the lines. This allows the medium to have its own input in your art. Sometimes it's successful and sometimes you have to try again. Reference: Prada (17:21)
.
I like to use traditional mediums over digital as I like the organic way materials work. The way ink and watercolors dry on paper are beautiful and I like thinking that supples also have a mind of their own. Reference: Bela Borsodi (17:27)
.
I still struggle with the side profile. It will be something that I will work on soon. Reference: Kate moss (17:33)
.
Adding water to dilute the ink of a marker creates a nice wash. An effective way to introduce more values with a single art supply. It saves you some money as you can use the supply a little longer. Reference: Herb Ritts & Erwin Wurm (18:00)
.
I think my silhouettes look more convincing. There is still room for improvement at all stages. Anytime you sketch, you are already making progress. Reference: Unknown & Olafur Eliasson (18:44)
.
I really like this painting. I find the silhouettes amusing. I am learning to convey emotions into my works. This might be the hardest thing to achieve as it is intangible. The architectural elements could be improved but overall I am satisfied. References: Boris Ignatovich (18:56)
.
For the piece on the left, I used the mental art brush and allow the water to rest organically. The result is a darkened spot at the tailbone. I attempted a similar pose in 2019. (18:59)
.
i like covering minor mistakes with a black cube. Could be drawn or cut from black paper. If you repeat it sometimes it becomes an accent in your work. Reference: Dmitry Maximov (19:36)
.
I am also currently learning to be more sensitive to the extra white space to make a piece come across as more balanced. Reference: Steven Meisel (20:10)
.
I really like this piece on the left. I feel like it makes sense and I am happy as I rarely draw arms swinging back. I like how the hair seems to be moving from the wind created by the jump. Reference: Elson for Prada (21:21)
.
The intention in this sketchbook was for me to improve on my anatomy to be more sensitive to where the lines meet and tonal values. I do think I achieved that. To some people, a lack of color might seem uninteresting, but I find it equal because your eyes start focusing on minute details and the balance with the white of the paper. reference: Robert Longo (21:57)
.
I find that I tend to get lazy towards the end of the sketchbook as I think I would start getting the mentality to just get it over and done with as I love starting new sketchbooks. I usually leave the last page empty as I do not feel necessary to fill it. Sometimes I would stick a loose work or I would write a reflection or quote/paragraph from an inspiration. I think it sums up the overall mentality I had while doing the sketchbook. Reference: Kristy Hume & Shalom Harlow (23:18)
.
End