62 Watercolor artist | JUNE 2020
W
henI wasinTuscanyforthreeweekslast
fall,teachingpleinairworkshops,thefinal
excursionofthetripwasa visittothebeau-
tifulItaliancityofSiena.Aftera morning
teachingsession,I gavetheparticipantsfree
timetoexploretheareaontheirownbeforemeetingback
atthepickuplocation.Everybodyhada differentplan—
fromshoppingortakinga walkingtour,tosketchingor
havinga leisurelylunchina café.
I decidedtostrikeoutonmyowntoseekouta back
street,perhapswhereI couldsitandsketchinconspicuously,
observingeverydaylifeinSiena.Afterwalkingaroundforan
hourorso,I foundtheperfectspot.Sittingthere,I wasable
towatchkidscominghomefromschool,girlsflirtingwith
boysandwomencarryinggroceries.EverythingI couldhope
for!I alsohada perfectviewofSantaMariaChurch,plus
Sketching
SienaSiena
SKETCHING ON LOCATION IS GOOD
FOR HONING YOUR ART SKILLS,
BUT IT’S ALSO A PRACTICE THAT
CAN ELEVATE YOUR EXPERIENCE
OF A PLACE. AN AFTERNOON SPENT
SKETCHING ON A SIDE STREET IN
SIENA, ITALY, BROUGHT HOME
THIS IDEA IN A POWERFUL WAY.
By Brenda Swenson
One Scene, Five Takes
When I sketch on location, the scene and events of the
day remain vivid for weeks, months, even years. The
practice helps the image become burned into my
heart and mind. Photos are a wonderful tool, but they
seldom capture the emotion of a scene in the same
way that a sketch can.
The sketches on
these pages depict
the same scene in
Siena—each one a bit
different. I’ve used a
reference photo (at
right) and my original
sketch, done on
location (above).
I’ve drawn from the
emotional experience
as a guide as well.
I plan to do a painting
eventually, but for
now I’m trying out
different surfaces.
As you can see,
I’m not done
exploring the multitude ofwaysI caninterpretthe
same scene. Exploring various approaches and
materials is a good way to stretch creative muscles
and grow in new directions.
My original
sketch of Siena
was created in
a 10x8-inch
Stillman & Birn
Beta series
sketchbook.