All my sketchbooks in one place… Well, not all of them, but how about 32 Sketchbook Page Turners?
Yes, this sketchbook is pictured next to an actual US stamp. Yes, this sketchbook is this small… tiny actually! Based on the cover image, can you find the book in the travel suitcase shown here? Comment below! 😉
In Paris on Friday June 28th & Saturday, June 29th, 2019
In London at the Other Art Fair from Thursday, July 4 – Sunday, July 7 2019.
I have been a part of the sketchbook skool community since 2014! What an honor to be interviewed for a student spotlight recently! Thank you SBS for ALL you do to help others to nurture their creativity. (more…)
This video is a page turner video of the May 2019 Sketchbook of Suzanne Gibbs. This month I focused on drawing people in public places.
I wonder who will comment or see the fly that flew by to take a look while I was filming! 🙂
A shout out to Sketchbook Skool for developing an online course called People Drawing People. The class was great and filmed in ways I have not seen anywhere else online. I was 100% inspired by the lessons in this course.
Please note: I do not get any kickbacks or money for giving a great company a shout out! I am simply sharing gratitude.
The work is challenging me in new ways. Instead of painting spontaneously and with great emotion, I am slowing down. Creating tons of drawings in my sketchbook leads to many more ideas than I could ever execute. Spending at least a half hour early every morning morning—before coffee, before the sun wakes up—writing in a notebook I sift out and capture what I wish to say visually.
Below is a video of one of many full sketchbook of faces and character studies.
Each larger painting begins with a fully realized smaller study. Using collage, I cut up security envelopes and assemble them into abstract faces. This satisfies my fascination of how we use pattern to obliterate information.
After sizing up the study to fit the new format on a cradled wood panel of 14 x 11 inches, I begin to lay down the paint on the new larger size.
Seeing the work larger has me thinking of so many new ideas. I now have more visual problems to solve, based on what I want the painting to communicate.
Somehow the idea of a zipped mouth came to me. Maybe during a brisk cold morning walk? Anyways, once the idea came I knew that the execution needed to be flawless. The paint I use and the message I want to communicate has no room for “do overs” or layering of paint to make it right. I want the work to BE just so and correct on my first try. This required drawing studies of zippers, over and over again.
When the pieces are fully complete, I include a great deal of detail on every piece. With that comes the need for just the right sized brush!
I add details over the flat surfaces of paint. I have skipped discussing my color choices in this blog post for brevity sake.
The final work made me feel really excited about this new direction. I have since completed 4 more pieces that I will unveil soon. And this morning I began a sixth in the series.
In Nothing To Say, I have combined faces or characters, household objects, and flat areas of color juxtaposed with painted patterns. The deliberate creation of detailed patterns represent repetitive labor that goes under-appreciated and often unpaid.
My inspiration came from the insides of security envelopes—a product made as protection for the contents within. However, in actuality they obliterate the message, and usually the contents are related to financial affairs.
The zipped mouth alludes to the unheard voices of the unnoticed many. And, once again, I am finding I do have something to say.
Recently I had to move out of my studio. While doing so I found two sketchbooks that I had started, but never finished. Determined to not let the pages go to waste, I began filling the back half of the sketchbook(s). Shared here is one of the two books.
In the beginning I found that a few pages were not as complete as I wished so I went ahead and drew on top of what I had created in 2017 and then also moved forward and filled the book.
Filling an older book is not nearly as much fun as taking out a new book to fill and imagine the rules and possibilities for the pages. However, I did find that by following through on the idea of filling what had not been filled I was forced to look back at my work. With that came some self evaluation. A good step in a solid studio practice.
The pages did get filled, but the more important part was the lesson I taught myself.
Keeping promises can be tough when there is no boss, no one clamoring for the work, and what I promised to myself felt dull once I started. Still, I did the work. So, without further explanation I bring to you my March 2019 plus previous work from 2017, sketchbook page turner!
As always, if you like the work and even if you don’t feel free to comment. Let’s have a dialogue about keeping studio promises!
My March 2019 sketchbook is a different size than February’s book. Due to travel, I worked in a smaller sketchbook that I could carry in my bag.
Represented in these pages are drawings made in several locations. Dinner guests in Eugene, Oregon. Railroad museum in Portland, Oregon. Lunch in Arcata, California. And I even stopped in the Redwood National Forest in Del Norte California to draw elk in the wild.
Interested in more sketchbook pages? Please visit my blog (and use the search feature to find sketchbooks). You may prefer to visit my YouTube Channel. When and if you do, please hit like or subscribe to follow the work as I make it, thanks.
A page by page view of how I fill my sketchbook at Suzanne Gibbs Art. This month inviting you to my continued process of drawing characters towards a new project.
This is the second of two sketchbooks that I filled in February in preparation for a new project idea.
For those of you who have followed my work you’ll have already noticed that I have been drawing whimsical characters for a long time. Mostly, these drawings have remained in my sketchbooks, for years. They have also landed on any paper surface that happens to be under my pen and even on sidewalks with chalk when my children were small. This effort is what I call doodle characters under development.
To see a few of my past character drawings go here. Recently, I’ve been told that these characters need to lose the name: Doodle.
I do not fully agree with this definition for my work. Because of this I am forced to reconsider the meaning of my doodle characters and my continued use of the word doodle. Through making the characters I give them life. Once they exist, they have a visual voice.
The voice I wish for them to portray is to invite curiosity through whimsy. The characters are non-judgemental, full of life, emotional, and as much as possible I make them while being very present in the present moment. They may at first appear childish—but always contain deeper adult meanings.
I am wildly excited to share this new/old work in new ways! Especially since I have mentally re-framed what my doodle work has meant to me over the years.
While I make them and redraw them and paint them and collage them I think about how I will share their voice—which is ultimately, my voice. I have considered making t-shirts, cards, patterns, and yes, even fine art with them in the central role. All these avenues for showing the work can and will happen in the future. Still, I wonder, how will I complete the loop of the conversation that my art can and does ask for if viewers do not have access to the work in real life, right now?
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A page by page view of how I fill my sketchbook at Suzanne Gibbs Art. This month inviting you to my process of working my way into a new project.
This is the first of two sketchbooks that I filled in February in preparation for a new project idea.