Sunday, 29 March 2015

A Sunny SketchCrawl in Manchester


Last weekend, we had another SketchCrawl day, but this time it was a bit different. 


Simone Ridyard (in the centre of the photo) is my counterpart in Manchester Urban Sketchers. She set up a street-sketching day with the Society of Architectural Illustration. It seemed like too good an opportunity to miss, so sketchers from both the Usk Yorkshire and Birmingham Urban Sketchers groups also joined in.

The event didn't kick off until 11am, but I got a slightly early train and so managed to squeeze in an extra sketch at the beginning of the day. 


The Palace Hotel, just round the corner from Oxford Road Station, is a stunning colour, especially with the sun on its red bricks. Better still, you can get a great view of it from the warmth and comfort of the Corner House cafe, on the opposite side of the road. I passed a very relaxed 45 minutes with a sketch-buddy, then we had to hot-foot it across town to the meeting place for the official start. 

A group of 20 or so people were milling about when we got there: some familiar faces, some people I had so far only met on Facebook, some new introductions. After the hellos, we split into two groups, with half of us drawing the buildings visible from Bridge Street and the others venturing down to Chapel Wharf. The modern architecture provided an exciting interplay of shapes, especially with the sweep of this suspension bridge:


I sat myself in the sun but, unfortunately, my spot quickly got swallowed up by the shade of a tall building behind me. Once out of the sunshine, is was FREEZING but I couldn't move until I had finished my painting. Just five minutes before I stopped, the sun taunted me by working it's way back round. Typical. I was very pleased with the results though, so it was worth the pain. 


I had decided to take one of my new concertina books for a trial run. You might remember that I made a test book, to perfect the technique, so I sketched in that throughout Saturday, running my sketches together. I love that the concertina format lets me keep unfolding new pages, so I can add more space as I go along. Everything worked a treat, so that's good news after all my cutting and folding and sticking (although I had a major water-bottle leak in my bag, which was nearly a disaster).

Everyone regrouped before lunch, to share the work so far, because some people had to head off. That's when we took the photo at the top. Then it was reward-time. We were too big a group to eat as one, but I went with 10 people for lunch at a fantastic Greek self-service restaurant. We were all too busy scoffing to sketch. Gorgeous food (and cheap too!).


The afternoon's sketch-venue was the area around Albert Square. I have wanted to sketch the Town Hall for a while, but until recently it has been surrounded by builder's barriers. It's a monster of a building, so I tackled one tiny section, being very careful this time to pick a truly sunny spot.

At 4pm, we regrouped again at a pub, where we looked through each other's sketches and got the chance to chat to some of the people from other groups. It was all too short unfortunately, as I had to dash for a train home. 


It was still sunny though and there is one section of the journey across the Pennines to Sheffield, which is especially lovely in good weather. It's only visible for a very short time, so I had my sketchbook ready - this time a ready-made, mini Moleskin concertina, just A6. 

A thoroughly lovely day. Thanks so much to Simone for organising things.

Thursday, 26 March 2015

An Itch to Scratch


Look what I was sent this week:



The lovely Missus B emailed to ask permission from myself and Damian Harvey. I'm not sure that she actually needed it, but it was lovely to be asked and even lovelier to listen to her reading our book. 

If you have children of the right age (or just like to have a story read to you - I know I do...) then take a look.

Tuesday, 24 March 2015

Back to My 'Urban Sketching People' Book


Now the mural artwork is done (phew) and I have got my concertina sketchbooks sorted, I have cleared my schedule to concentrate purely on my 'sketching people' book. 

If you have been following the project, you will remember that I have a handful of spreads which are more or less finished - the ones we did as samples, to get the US edition signed up, including this painting before you draw spread:


Then, at the start of the year, I sent off a good chunk of the text, along with all the images that will go with it (just photos of my sketchbook pages for now). My publisher has been working on it while I have been doing other things. About two thirds of what I submitted has now been set into very rough spreads and sent back with some suggestions for changes. I had an long phone call with my editor, where we went through everything in fine detail and I scribbled notes all over the spreads:


It's not too bad at all actually. All the text is intact without changes, it's pretty much all suggestions for either squeezing in more images or adding step-by-step breakdowns here and there. 

The publisher also sent out a call for other sketchers to submit work for possible inclusion and I have sheets and sheets of gorgeous guest work to choose from. That's going to make things easier. So far, I have been trying to collect potential guest images by trawling Flickr and saving things into Pinterest.


I have mostly addressed the changes now. I just have some captions and annotations to write, to go with the added images, but I'm waiting until my suggestions have been given the green light before I do that. 

For now, I have moved on and begun writing a new section of the book. This one looks in detail at how to draw specific parts of the body. We did sketching the eyes as one of the sample spreads. I took a couple of days to get my head back into things, after such a lengthy pause, but I am motoring nicely now and have already written 'feet', 'hair' and 'ears'. Still got mouths, hands and noses to do. Better get on...

Friday, 20 March 2015

Concertina Sketchbooks: the Clever Details


I have now finished my 35 sketchbooks, ready for my residency at Manchester's Morgan Centre. I don't know if anyone out there is going to have a go at making the books for themselves, but in case you are, here's the final stage of the process.


The cover is more or less done, but two things are missing - we need the card insert, to hold the paper concertinas we created in place, and we need a way of fastening the book closed, because the paper will try to escape and inevitably unravel itself in the most inconvenient places you can imagine.

The insert is very straight forward. I bought a pack of A4 black card from WH Smith, 240g, which was perfect. The insert width needs to be approx 10mm narrower than your back cover board. The height, needs an excess of 30 - 40mm to fold over, both top and bottom. The centre between the folds should measure 5mm more than your concertina-paper height (which should also be about 10mm less than the height of the book cover). Score the excess and fold (gently, rather than tightly):


Test that this does in fact sit neatly into your back cover (I made lots of measuring errors during the course of making the books - it's best to double-check everything).

I tried using double-sided tape to stick the insert into the book at first. I figured that it would be less messy than PVA when trying to position the folded card, but it started to peel up after just a couple of hours, so I went back to PVA. 


I glued the top flap first, positioned it (folded under) on the inside back cover - 5mm from the top and outside edge - then put it under a couple of books to dry (squeeze out and wipe any excess glue first!)

I did the bottom flap once the top was secure. One trick: I was aware of the potential for excess glue to squeeze out underneath at this stage, unseen, and accidentally glue the insert shut, so I slipped a strip of waste card in between, before pressing the glued flap down. 


Again, put books on top to dry, or it springs up.

The end of the concertina-paper can now be slipped under the card and slipped out again when you want to replace your paper. Ingeniously simple solution for refills. I can't take the credit I'm afraid: my clever friend Lucie Golton designed it.


Many people use ribbon to fasten books. I didn't want to drill holes in the cover through, as it acts as a mini drawing board when I am using the book, so I wanted it unsullied. John came up with the Velcro system. I was going to buy Velcro tape, then discovered these nifty little guys:


Perfect. You pop one fuzzy spot onto the book, back and front, then attach the loopy halves onto a short strap, which I made from vinyl to match the spine. 


I just cut a piece of vinyl twice as wide as needed and 10mm longer each end, cut across the corners, then folded it in on itself, using PVA again. 

The beauty of the Velcro is that, when the book is in use, if the unfastened strap gets in the way, you can detach it and stick it back on at 90 degrees. You don't lose it, but it doesn't keep flapping and springing around the edges your paper.

If you found this project useful and want to check out other handy posts, try using the Hot Tips label on the right. I add the label to anything I think might be helpful to other people. It's a bit of a mix, with other ways of home-binding sketchbooks, but also tips for building up an illustration folio, how to do a school visit, create a 'Flat Plan' to plan out a book, or how to use  / where to buy particular art materials. All sorts.