Church Statue – 23 July 2012

Church Statue on Wilshire, ink on paper in Sketchbook No. 62, 23 July 2012, about 8.5″x11″

More L.A. urban sketching for me. I don’t draw too much at night (only recent one I can remember is this Occupy L.A. sketch.) It tends to take quite a bit of time to drop in the deep blacks of a night scene… time-consuming but usually worth it. It goes just a bit faster with the brush pen. On my way home from seeing the new Batman movie, I stopped and worked for a few hours on this one.

The nearly-obligatory urban sketchers photo showing the sketch and the subject matter

It’s a statue out in front of Our Lady of the Angels church on Wilshire Boulevard in Los Angeles’ Koreatown. Update: though the inscription right above the parking sign says “Our Lady of the Angels”, my friends tell me that that’s not the church name – it’s Saint Basil’s Catholic Church. As I was drawing I was thinking of her as Our Lady of the $6 All Day Parking… though I am happy to see shared use of church parking lots… I don’t mean to make fun of it… other than that the parking sign is bigger than the “Our Lady Queen of Angels” sign.


3 responses to “Church Statue – 23 July 2012

  1. wow, that is great! um, how do you go about doing the shading with the brush pens? do you draw thin lines far apart and then fill in more or go over them again for darker spots?

    • Thanks! And I really love technique questions like this… that only a real sketcher would ask. On areas that I know are going to get pretty dark, I draw a lot of vertical lines first fairly quickly – fairly thick lines, not worrying too much about them, because I know I am going to darken.

      If you’re not used to drawing a lot of verticals, and you want them really regular – you can kind of guide your hand using your pinkie finger or the base of your palm – guiding along the edge of the page/book… but really it’s not that critical that the verticals are highly-consistent… it’s fine for them to be approximate – I mostly use that for the ones along the edge of the page.

      From there, I just keep going over the line areas until they get darker and darker. Sometimes I pause and look for areas within the dark field that stick out because they’re too light – then specifically fill those light columns in… but mostly I just go over and over and over stuff until it looks the way I want it. I think it gets interesting when it’s kinda overworked.

      If that doesn’t make sense, let me know… and I can try explain another way.

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