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Jeffrey Smith
Sketchbook
Teaching Sketchbook Drawing from Life
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This is my 2014, teaching / sketchbook drawing from life portfolio. Some of these drawing are in a sketchbook, some in a sketchpad, using a variety of tools such as pen and ink, brush and ink, watercolor pencil, FW acrylic inks, watercolor, and digital media. All of these drawings are from life. Some were done on location in places like Union Station, Chinatown, The Fairfax Farmer's Market, and Zorthian's Ranch and others were drawn in the classroom. Many thanks to the fantastic art models who are the subject of these drawings.






















Teaching: Sketchbook Reportage 2
posted:
Jennifer in Chinatown, Los Angeles
The following sketchbook book drawings are an addendum to the first series of sketchbook drawings I posted on Drawger, September 19th, 2008. I began the semester with the idea of making each location drawing a "Crime Scene."  The art model would either lay on the ground, or sit in a chair as if he or she had been wounded.  I asked the students to then combine their drawing of the art model with another drawing that recorded a view of the surrounding architecture.  In the case of my first drawing in this series, Jennifer is lying on the ground, and the background is an upside down view of a store front in Chinatown, Los Angeles.
These sketchbook drawings are inspired by the many crime scene illustrations I've done over the last 25 years.

Crime scene illustration assignments began for me around 1984 when a red-hot art director at Texas Monthly Magazine called with 6 full pages for an assignment titled, “Love and Death in Silicon Prairie.”  His name was Fred Woodward.  Since then, these assignments have never stopped. Along with portrait and fiction assignments, re-creation, and crime scenes are my favorite kind of work.  Some of the clients who have commissioned me for this work are G.Q., Rolling Stone, World Monitor Magazine, New York Magazine, Parenting Magazine, Sports Illustrated Magazine, Newsweek, Time, The Washington Post Magazine, The New York Times, The Los Angeles Times Magazine and Forbes Magazine. 

 
 
Marissa in Union Station, Los Angeles.
Yuko at Philippes, Los Angeles.
Scott and Rajiv at Scotts Tattoo Studio, Los Angeles
Marissa in Union Station 2, Los Angeles
Marla, L.A.Central Market, Los Angeles.
Petra at L.A.Central Market, Los Angeles.
Sarah at The Farmer's Market, Fairfax District, Los Angeles.
Student, Farmer's Market, Fairfax District, Los Angeles.
Teaching;Sketchbook Reportage
posted:
Jennifer in Old Town, Pasadena
Sketchbook Drawings.

John Cheever could not have written the 548 unless he knew mid-town Manhattan,
was familiar with Grand Central Station, had ridden trains on the Hudson River line, knew the sumptuary laws of people in the Northeastern United States, the particular habits of commuters riding trains in that part of the country, and had read the bible.  In other words, he had to “see” it to “write” it, and then some.
An illustrator who attempts to make pictures that describe scenes from a story has roughly the same problem.  Doubly difficult is the fact that the illustrator is often asked to illustrate something that someone else wrote, about something that he might not have seen, and against a deadline that would make young girls cry and young men faint! The room starts spinning when you add to this the life long pursuit of pictorial ideas, abstract design, drawing concepts and painting technique necessary for distinctive illustration. Ah, the good life!
The greatest “modus operandi” a narrative illustrator has, and the measure of his/her mojo, is drawing.  Drawing is the ability to record life on a visceral level.  I learned to appreciate this point of view as a young illustrator in New York.  But that’s another story.
The point of this post is to offer up a series of sketchbook drawings, made from real life,
Albeit slightly “set-up.”  These drawings were created in 4 hours, and each drawing is approximately 10”W X 14”H.  I drew these drawings while teaching at the Art Center College of Design. The hope is that, through drawing, the student will become better able to see, more appreciative of the human condition, and more sensitive to stories, both visual and literary.  This is not illustration, not by a long shot.  There is no refinement here, nothing but naked.  This is an attempt to see life, and to organize and edit what I see, while flying by the seat of my pants.
The subject of these drawings is an art model and a Los Angeles location such as Union Station, Philippe’s Restaurant, The Farmer’s Market on Fairfax, and the Santa Monica Pier.  Many of the locations were settings for some great fiction stories, and Noir films.
There is a handful of great New York illustrators I have known and studied with, and American fiction writers, and Noir filmmakers I have never known, who are my inspiration for this idea.

 
Jennifer in Pasadena, California
Rajiv at The Farmer's Market on Fairfax.
George at The Farmers Market
Scott in his tattoo studio
Toni in Chinatown
Sarah with her pants down
Yuko at The Farmer's Market
Rajiv at Los Angeles County Museum of Art
Earl at the Los Angeles County Museum of Art.
Detail of Earl at the Los Angeles County Museum of Art
Louise at Clifton's Cafeteria, Downtown Los Angeles
Marissa in Union Station, Downtown Los Angeles
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