(Urban Sketching Handbooks 13) Mario Linhares - The Urban Sketching Handbook Panoramas and Vertical Vistas - Techniques For Drawing On Location From Unexpected Perspectives-Quarry Books (2021)

THE URBAN
SKETCHING
HANDBOOK
PANORAMAS AND VERTICAL VISTAS

Techniques for Drawing on Location from
Unexpected Perspectives
MÁRIO
LINHARES
© 2021 Quarto Publishing Group USA Inc.
Text and author’s own images © 2021 Mário Linhares
First Published in 2021 by Quarry Books, an imprint of The Quarto Group,

100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA.
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10 9 8 7 6 5 4 3 2 1
ISBN: 978-0-7603-7070-4
Digital edition published in 2021

eISBN: 978-0-7603-7071-1
Library of Congress Control Number: 2021937621
Cover Image: Mário Linhares

Page Layout: Barefoot Art Graphic Design
Printed in China
Previous page: MÁRIO LINHARES

MÁRIO LINHARES San Giorgio Maggiore seen from
Santa Maria del Fiore Cathedral, Florence, Italy Giardini Della Biennale, Venice, Italy
8.5" x 13.6" | 21.5 x 34.5 cm; pen and watercolor; 8.3" x 16.5" | 21 x 42 cm; pen and
Laloran sketchbook. watercolor; Laloran sketchbook.
DEDICATION
To all travelers who like
to open horizons through drawing.
MÁRIO LINHARES
San Giorgio Maggiore seen from
Giardini Della Biennale, Venice, Italy
8.3" x 16.5" | 21 x 42 cm; pen and
watercolor; Laloran sketchbook.
Title: 337107 - Urban Sketching Handbook_Panoramas and V

About This Series
The Urban Sketching Handbook series takes you to places around the globe
through the eyes and art of urban sketchers. Each book offers a bounty of
lessons, tips, and techniques for sketching on location for everyone venturing
to pick up a pencil and capture their world.
Architecture and Cityscapes by Gabriel Campanario

People and Motion by Gabriel Campanario
Reportage and Documentary Drawing by Veronica Lawlor
Understanding Perspective by Stephanie Bower
The Urban Sketching Art Pack by Gabriel Campanario, Stephanie Bower,
and Veronica Lawlor
Working with Color by Shari Blaukopf
101 Sketching Tips by Stephanie Bower
Drawing with a Tablet by Uma Kelkar
Techniques for Beginners by Suhita Shirodkar
Drawing Expressive People by Róisín Curé
The Complete Urban Sketching Companion
by Gabriel Campanario, Stephanie Bower,
and Shari Blaukopf
Panoramas and Vertical Vistas by Mário Linhares
Â MÁRIO LINHARES
São Julião da Barra Fort, Oeiras, Portugal
7.9" x 11.8" | 20 x 30 cm; Chinese ink; Laloran sketchbook.
CONTENTS
ok series takes you to places around the globe
an sketchers. Each book offers a bounty of
sketching on location for everyone venturing About This Series 4
their world. Introduction 7
Gabriel Campanario
Campanario
rawing by Veronica Lawlor KEYS
tephanie Bower I First Things First .......................................................... 11
y Gabriel Campanario, Stephanie Bower, II Learning from the Masters ....................................... 17
III Panorama Views ......................................................... 22
aukopf
IV Vertical Vistas ......................................................... 53
e Bower
V Architecture ............................................................. 73
Kelkar
VI Taking It Further .......................................................... 82
Contributors 110
by Mário Linhares Acknowledgments 112
About the Author 112

|7
INTRODUCTION
A WALK THROUGH THE BOOK
Art Materials The art supplies are not so important. Why? Because even
with simple materials, you can create impressive drawings. We just need to
know what we’re doing, why we’re doing it, and how to practice, practice,
practice.
A Visual Perception Focusing our attention on visual perception is
important to understand why we sketch the way we do. Our vision is much more
dynamic than we think. We constantly move our eyes to see the whole picture,
and that’s crucial to create a panorama or a vertical drawing.
Learning from the Masters One rookie mistake is to think we’re the first
ones doing what we do. The first step to create new things is to analyze and learn
from past artists to see what worked and what didn’t. Developing something that
was left unfinished to inspire our daily routines can be an amazing starting point
for a creative project.
Panorama Views The root pan, meaning all, dates back to ancient Greek
culture, so it’s possible to find artistic examples throughout the centuries. However,
in this chapter, you will learn contemporary ways to understand and create unique
panoramic drawings.
Vertical Vistas We tend to look straight ahead, but looking up and down
will enrich our vision of both the world and our drawings. Dealing with vertical
views such as huge skyscrapers seen from ground level will be some of the key
learning moments of this chapter.
Architecture Instead of talking about perspective, we will be focusing our
attention on different ways to create panoramas and vertical drawings. How?
Make quick stops while walking around instead of only sitting and sketching.
Jump to page 73 if you’re curious about this!
Taking It Further Art is a never-ending task, so this book could be endless.
However, it has to end on page 112, and the best way to do it is by offering
ideas to create new panoramas and vertical drawings in the final chapter. With
that, this remains an open-ended book, offering new author names to search for
and drawing subjects to think about. The ultimate challenge for you is:
what panorama and vertical drawing is still there to be made?
Á MÁRIO LINHARES
Tejo River and Almada City, Lisbon, Portugal
11.8" x 8.7" | 30 x 22 cm; watercolor; Laloran sketchbook.
T
8 | Panoramas and Vertical Vistas
Ã Art supplies can make a lot of difference for good or bad. Why? Well,
sometimes, if you have a really expensive brush or watercolor pigment, that can
discourage you to start working because that valuable tool cannot be wasted.
Save those amazing tools that will allow you to create beautiful strokes, washes,
or textured watercolor shapes, and use them when you meet an urban sketcher
instructor or friend. Using your expensive supplies will vanquish all your fears,
and you will enjoy every bit of the process. Until then, use regular materials like a
rollerball pen or an old watercolor set you might have. To improve your drawing
skill, the most important thing is practice!
MÁRIO LINHARES
Simple Art Supplies
4.7" x 10.6" | 12 x 27 cm; pen and watercolor; Laloran sketchbook.
Â The typical houses in the foreground lead the eyes from left to
right until we see the village’s palace and its two famous chimneys.
The castle in the background, placed on a higher level, reminds
us of the layers of history our territory has. Even in a rectangular
drawing like this, we can have both panorama and vertical vistas.
MÁRIO LINHARES
The Village and the Castle, Sintra, Portugal
11.4" x 13.1" | 29 x 33.5 cm; pen; Laloran sketchbook.
Introduction | 9
Lamy pen
Chinese brush
Watercolor brush
Water brush
until we see t
astle in t
the layer
ing like this, w
Village and t
x 13.
T
| 11
KEY I
FIRST THINGS FIRST
In order to sketch a panoramic vista on a sheet of paper, we
first need to understand how we look at the world to build an
understanding of what we’re seeing. You will not believe how
dynamic that process is!
Combining Looking and Seeing

We See Less than We Think
We See More than We Realize
Ã Looking at this landscape
in Florence, every single detail
was so far away that the
landscape as a whole was
more important than a specific
building, tree, or agricultural
field. I was so far away that
the full landscape worked as
a detail.
MÁRIO LINHARES
View from Fiesole to Florence,
Á There were several vertical mirrors fixed to the ground Florence, Italy
at Calouste Gulbenkian Garden, so I took advantage of 9.4" x 18.7" | 24 x 47.5 cm; pen
that to sketch my slightly distorted figure. and watercolor; Laloran sketchbook.
MÁRIO LINHARES
At the Mirror, Lisbon, Portugal
7" x 4.1" | 17 x 10.5 cm; pen and watercolor; Laloran sketchbook.
T
COMBINING LOOKING AND SEEING

We can’t see the full picture when we focus on one spot. When
we look at a specific point, we see it clearly; however, everything
is blurred around it. That happens because of the way our vision
works. Only a specific part of our retina has a big concentration
of photoreceptor cells: the fovea, which has all the cone cells and
allows us to see the colors.
lens
retina
cornea
fovea
light
optic nerve
iris
We see because there’s light captured inside our eyes. The retina
(largest area) corresponds to what we see, while the fovea (smallest
zone) allows us to look at something in particular. ects our eyes
hose tw
trait. So, we
e have a general ide

e that we see every detail.
m and lift the thumb. Tha
t resolution size we ca
o move your eyes. Incredi
xample to show o
ed only in watercolor, without deta
hat I was looking at
ercolor and pen; Laloran sketchbook.

Key I: First Things First | 13
COLUMBANO
BORDALO PINHEIRO
Self-portrait, Lisbon,
Portugal, 1929
3' x 2.3' | 92 x 69 cm; oil on
canvas.
Museu Nacional de Arte
Contemporânea (National
Contemporary Art Museum).
Ã In this unfinished painting, Columbano directs our eyes
only to the face and hand. As a painter, focusing on those two
elements seems like the best option for a self-portrait. So, we
may wonder: Is this painting really unfinished?
WE SEE LESS THAN WE THINK

We can say this because we have a general idea about the full picture,
but we tend to believe that we see every detail. However, try this
exercise: Extend your arm and lift the thumb. That width of the area you
are looking at is the highest resolution size we can see. So, if you want to
see more, you’ll have to move your eyes. Incredible, right?
Á This sketch of the Pantheon is a good example to show our visual perception.
The full picture was captured only in watercolor, without detail, representing the way
we see, and on the top of it is a column that I was looking at.
MÁRIO LINHARES
Pantheon, Rome
13.8" x 7.9" | 35 x 20 cm; watercolor and pen; Laloran sketchbook.
T
WE SEE MORE THAN WE REALIZE Besides the beautiful atmosphere that Turner
Building up a drawing, step by step, stroke by stroke, helps to almost feel the Venice frost, he highlights three po
understand how fragmented our vision is. We need to move our eyes 1. the boats and materials on the foreground
to complete the full picture by adding piece after piece. When the see singers and guitar players.
drawing is finished, we see it as a whole, which is different from the 2. some houses on the middle ground and m
real scene in front of us because a drawing is smaller than reality. This the left.
combination was used by several artists. Look at this brilliant example 3. the Basilica in the background, farther awa
by the well-known British artist Joseph Mallord William Turner. with the background.
Key I: First Things First | 15
Besides the beautiful atmosphere that Turner creates, allowing us to

almost feel the Venice frost, he highlights three points to look at:
1. the boats and materials on the foreground where we can also
see singers and guitar players.
2. some houses on the middle ground and more detailed ones on
the left.
3. the Basilica in the background, farther away and almost merged
with the background.
Á JOSEPH MALLORD
WILLIAM TURNER
The Dogana and Santa Maria
della Salute, Venice, Italy, 1843
2' x 3.1' | 62 x 93 cm; oil on canvas.

Ä Visiting the roots of knowledge is

always important to learn from the past.
For that purpose, Florence is a must-go
destination.
MÁRIO LINHARES
Via dei Servi, Florence, Italy
5.9" x 3.1" | 15 x 8 cm; brown and black ink;
Laloran sketchbook.
| 17
KEY II
LEARNING FROM
THE MASTERS
Now that we understand a bit more how dynamic our vision is, in this
chapter, we will learn from the masters and see how they have created
panorama and vertical views.
In this chapter, we will travel in time, visiting the roots of the word
panorama and presenting some of the most interesting images created
throughout the centuries.
Asian Panoramas
European Approach
Ã Panorama is a compound word made from two Greek words:

pan (all) and horama (sight), meaning “complete view,” Panorama
was used for the first time by the Irish artist Robert Baker late in the
eighteenth century. However, panorama paintings are older than that.
Some examples from the first century were discovered in murals in
Pompeii, Italy.
MÁRIO LINHARES
The Roots, Brescia, Italy
7.9" x 6.3" | 20 x 16 cm; black pen; Laloran sketchbook.
T
Key II: Learning from the Masters | 19
Ã This long panorama drawing aims to show the commerce along the Bian Canal in the
city Bianjing (now Kaifeng). A beautiful reportage piece of the daily life at that time, this is
one of the most important panorama drawings. There are a few copies around the world.
For this book, I invited Ketta Linhares to create a new one. Cool, right?
KETTA LINHARES, AFTER ZHANG ZEDUAN
Along the River During the Qingming Festival, Palace Museum, Beijing, 1085–1145
0.8' x 15.3' | 25.5 x 465 cm; ink and color; silk handscroll.
ASIAN PANORAMAS
In Asia, a handscroll was perfect to represent a story of one specific
place and its life force, like the example above, which is a copy
of the central portion from the original Along the River During the
Qingming Festival by the famous Chinese artist Zhang Zeduan.
T
Ã This drawing was made combining small sheets of squared paper numbered from three EUROPEAN PANORAMA APPROACH
to twenty-one. Some art critics claim that van Wittel used a camera obscura to trace the Because the whole book wouldn’t be enough to
drawing, but one thing is clear: He was on a boat in the middle of the Grand Canal in
Venice while working on this piece! highlight three European exam fer som
personal research. Besides Caspar van Wittel, P
CASPAR VAN WITTEL
Santa Maria della Salute and the Entrance to the Grand Cana, Venice, Italy, c. 1695 Crivelli, please check the Divine Comedy drawin
1.2' x 3.7' | 36.1 x 112 cm; pen, ink, pencil, watercolor; squared paper. Botticelli; the triptych (paneled painting) The Gar
by Hieronymus Bosch; the beautiful trompe-l’œil
in the vault of Santa Maria del Carmine church,
panorama structure created by Robert Baker; an
landscape paintings from Caspar David Friedrich
Â This painting combines personal
experience (Bruegel visited
Rome ten years earlier, so the
influences from the Colosseum
are evident) with the theme of the
work (mankind speaking only one
language and trying to reach the
sky). Therefore, the painting can
show a different panorama view (a
panoptic view with a central point)
combined with the vertical vista.
PIETER BRUEGEL THE ELDER
The (Great) Tower of Babel c. 1563
3.7' x 5.1' | 114 x 155 cm; oil;
wood panel.
Key II: Learning from the Masters | 21
EUROPEAN PANORAMA APPROACH

Because the whole book wouldn’t be enough to cover this topic, let’s
highlight three European examples and offer some other names for
personal research. Besides Caspar van Wittel, Pieter Bruegel, and Carlo
Crivelli, please check the Divine Comedy drawings made by Sandro
Botticelli; the triptych (paneled painting) The Garden of Earthly Delights
by Hieronymus Bosch; the beautiful trompe-l’œil work by Domenico Stagi
in the vault of Santa Maria del Carmine church, Florence; the immersive
panorama structure created by Robert Baker; and, of course, the romantic
landscape paintings from Caspar David Friedrich.
Á It may not look like it at first, but this

painting is full of movement. It’s possible
to see exterior and interior action while a
discrete diagonal of light links the earth to
the sky.
KETTA LINHARES,
AFTER CARLO CRIVELLI
The Annunciation, with St. Emidius, 1486
6.8' x 4.8' | 207 x 146.7 cm; egg and oil; canvas.
T
4
22 | Panoramas and Vertical Vistas Key III: Panorama Views | 24
KEY III
PANORAMA VIEWS
In this chapter, we will touch on the core of this book. How do you start
a panorama drawing? We will see multiple examples and possibilities to
approach a panorama. These two drawings in this spread are showing
exactly that: While Lapin’s work shows how you can sit in one spot
and spend hours sketching what’s in front of you, the example from the
bottom shows a compilation drawn over the span of two days in London. Ã “After six hours, I managed to represent the 180-degree panorama
view of Palais des Prince Évèques, a very complicated cloister where Ä Two days in London with different drawing rhythms… It all started in the Natural
Throughout this chapter, we’ll talk about: every column is different and full of ornamentation. This is a clear History Museum with the dinosaur at the entrance. Then, I drew the Palace of
example of cylindrical perspective.” Westminster and the Tower Bridge and finally, the amazing view from the Sky
Garden looking down to the city. In the end, this kind of collage approach shows
Left to Right Starting with the Foreground LAPIN
exactly the time I’ve spent with each drawing to create this long panorama.
Right to Left Less is More Liège, le Palais des Princes Évèques, Liège, Belgium
7.1" x 31.5" | 18 x 80 cm; fineliner; old accounting book. MÁRIO LINHARES
Starting with a Vertical Line Finishing the Composition London Views, London
Starting with the Background 6.9" x 29.5" | 17.5 x 75 cm; black and brown pen, watercolor; Laloran sketchbook.
337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_022-024.indd 22 30/4/21 3:52 PM

Title: 337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas
Text Page: 22-24
4
KEY III
PANORAMA VIEWS
In this chapter, we will touch on the core of this book. How do you start
a panorama drawing? We will see multiple examples and possibilities to
approach a panorama. These two drawings in this spread are showing
exactly that: While Lapin’s work shows how you can sit in one spot
and spend hours sketching what’s in front of you, the example from the
bottom shows a compilation drawn over the span of two days in London. Ã “After six hours, I managed to represent the 180-degree panorama
view of Palais des Prince Évèques, a very complicated cloister where Ä Two days in London with different drawing rhythms… It all started in the Natural
Throughout this chapter, we’ll talk about: every column is different and full of ornamentation. This is a clear History Museum with the dinosaur at the entrance. Then, I drew the Palace of
example of cylindrical perspective.” Westminster and the Tower Bridge and finally, the amazing view from the Sky
Garden looking down to the city. In the end, this kind of collage approach shows
Left to Right Starting with the Foreground LAPIN
exactly the time I’ve spent with each drawing to create this long panorama.
Right to Left Less is More Liège, le Palais des Princes Évèques, Liège, Belgium
7.1" x 31.5" | 18 x 80 cm; fineliner; old accounting book. MÁRIO LINHARES
Starting with a Vertical Line Finishing the Composition London Views, London
Starting with the Background 6.9" x 29.5" | 17.5 x 75 cm; black and brown pen, watercolor; Laloran sketchbook.

Text Page: 22-24
LEFT TO RIGHT RIGHT TO LEFT

If you’re a right-handed person, try starting If you’re a left-handed person, starting on the right
a panorama drawing on the left. Why? is the best option to keep the process visible. That
This way your right hand and arm will never way you can see everything you’re doing.
cover the process.
Â This drawing was made like a scanner: it

started on the left with the Marina Bay Sands
hotel, continued with the ArtScience Museum
(the skyscrapers in the background), and finished
on the right with the Esplanade Theatres.
MÁRIO LINHARES
Marina Bay, Singapore
7.9" x 29.5" | 20 x 75 cm; Chinese ink; watercolor paper.
Â Simonetta Capecchi discovered and shared with me
this beautiful spot in Venice: the top floor of the Hilton
hotel. Once in Venice, you have to visit this spot!
MÁRIO LINHARES
Venice, Italy, Venice, Italy
Â “When commissioned to do a view of

the city, I found two to three slightly different
vantage points to move between to sketch a
scene that would stitch this view together. A
variety of natural-looking digital brushes and
scans of textures were layered to make the sea,
and that contrasts nicely with the city panorama
in only simple line work.”
ROB SKETCHERMAN
View of Hong Kong Harbor, Hong Kong (China)
6000 x 1500 px; Apple Pencil; Procreate.
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27/5/21 3:32 PM
AM
Text Page: 25-28
LEFT TO RIGHT RIGHT TO LEFT

If you’re a right-handed person, try starting If you’re a left-handed person, starting on the right
a panorama drawing on the left. Why? is the best option to keep the process visible. That
This way your right hand and arm will never way you can see everything you’re doing.
cover the process.
Â This drawing was made like a scanner: it

started on the left with the Marina Bay Sands
hotel, continued with the ArtScience Museum
(the skyscrapers in the background), and finished
on the right with the Esplanade Theatres.
MÁRIO LINHARES
Marina Bay, Singapore
Â Simonetta Capecchi discovered and shared with me
this beautiful spot in Venice: the top floor of the Hilton
hotel. Once in Venice, you have to visit this spot!
MÁRIO LINHARES
Venice, Italy, Venice, Italy
Â “When commissioned to do a view of

the city, I found two to three slightly different
vantage points to move between to sketch a
scene that would stitch this view together. A
variety of natural-looking digital brushes and
scans of textures were layered to make the sea,
and that contrasts nicely with the city panorama
in only simple line work.”
ROB SKETCHERMAN
View of Hong Kong Harbor, Hong Kong (China)
6000 x 1500 px; Apple Pencil; Procreate.
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30/4/21 11:12
3:32 PM
AM
Text Page: 25-28
Ä MÁRIO LINHARES
View from the Public Library, Singapore
STARTING WITH A VERTICAL LINE

If the panorama is about a city view or a specific element of
architecture, starting with a vertical line is one of the best options to
scale your drawing. That way, with just one line, you will define the
entire scale with space for the sky, the buildings, and the ground.
Ã MÁRIO LINHARES
View of Venice from Giudecca, Giudecca, Italy
Á MÁRIO LINHARES
Manchester, UK, Manchester, England
6.7" x 18.9" | 17 x 48 cm; pen and watercolor;
Laloran sketchbook.

Text Page: 29-31
Ä MÁRIO LINHARES
View from the Public Library, Singapore
STARTING WITH A VERTICAL LINE

If the panorama is about a city view or a specific element of
architecture, starting with a vertical line is one of the best options to
scale your drawing. That way, with just one line, you will define the
entire scale with space for the sky, the buildings, and the ground.
Ã MÁRIO LINHARES
View of Venice from Giudecca, Giudecca, Italy
Á MÁRIO LINHARES
Manchester, UK, Manchester, England
6.7" x 18.9" | 17 x 48 cm; pen and watercolor;
Laloran sketchbook.

Text Page: 29-31
Â In these examples, we can

clearly see the first layer in a
soft gray watercolor while the
line drawing focuses
on what’s farther.
MÁRIO LINHARES
São Roque Church’s Attic,
Lisbon, Portugal
8.3" x 12.8" | 21 x 32.5 cm;
Chinese ink; Laloran sketchbook.
Â MÁRIO LINHARES
São Roque Church’s View,
Lisbon, Portugal
8.3" x 12.8" | 21 x 32.5 cm; Chinese
ink; Laloran sketchbook.
STARTING WITH THE BACKGROUND

If a definitive stroke on the paper petrifies your hand, starting the o separate th
ample that sh
drawing with a watercolor wash could be a great option, even but the fore
if it’s blurred; it will help you visualize the main proportions of the fe
composition. After drying, try to add a line in only one zone of the JOÃO CATARINO
drawing so the two techniques can live together without clashing. Vacations at the Transparent House, Arrifana Beach, Portuga
6.1" x 9.1" | 15.5 x 23 cm; watercolor, 0.5 mm pen; handmade sketchb
Key III: Panorama Views | 33
Ä Another way to start with the background is to separate the

themes. João Catarino’s drawing is a perfect example that shows
the background with watercolor as a final piece, but the foreground
is added as linework on the top of it, and they combine perfectly.
JOÃO CATARINO
Vacations at the Transparent House, Arrifana Beach, Portugal
6.1" x 9.1" | 15.5 x 23 cm; watercolor, 0.5 mm pen; handmade sketchbook.
T
Ä MÁRIO LINHARES
Acropolis, Esposende, Portugal
7.9" x 28" | 20 x 71 cm; watercolor and ink; Laloran sketchbook.
Á These two drawings represent the left (top)

and right (bottom) views of the Municipal Pier.
Godàs also used different materials for each
view. She explains: “Because of the natural
elements on the left (sky, islands, mountains)
I used watercolor, colored pencils, and some
details in gouache. For the right side, I used the
Pitt oil pencils and a few other colored pencils.
With that, I wanted to describe an urban area
with lots of buildings. My advice: Try to explore
all types of (expressive) languages with different
drawing materials because it can help us to
resolve better the emotions of the environment.”
MARU GODÀS
San Francisco Municipal Pier,
San Francisco, USA
27.6" x 12.6" | 70 x 32 cm; watercolor, gouache,
ochre and green colored pencils, Pitt oil black
pencil, graphite pencil; handmade sketchbook
(Schoellershammer matte paper).
T
STARTING WITH THE FOREGROUND

When in front of a huge panorama view, you may wonder, “How do I
start?” Try looking at what’s closest to you. What’s exactly behind that
portion is partially covered by the forms in the foreground. So, if we start our
drawing with what’s close, the whole composition will work like a puzzle,
so your eyes will be catching pieces that fit into each other. When starting
Ä
with the foreground, you will be drawing in a detailed way moving toward April 25 Celebrations, Lisbon, Portugal
the background, even if you have to come back to the front sometimes. 8.3" x 28.3" | 21 x 72 cm; 0.3 mm Uni Pin pen; Laloran
sketchbook.
Á MÁRIO LINHARES
View from Piazzale Michelangelo,
Florence, Italy
7.1" x 24" | 18 x 61 cm; 0.3 mm Uni Pin pen;
Laloran sketchbook.
Tip
What’s farther is smaller, and what’s
closer is bigger. Look at the war
tanks. In real life, they are similar in
size, but from this perspective the one
Ä MÁRIO LINHARES in the foreground looks bigger.
April 25 Celebrations, Lisbon, Portugal
8.3" x 28.3" | 21 x 72 cm; 0.3 mm Uni Pin pen; Laloran
sketchbook.
T
Ã Sometimes, the panorama views are unexpected. This bird blind is located at a JOÃO CATARINO
beautiful natural park in Olhão, Portugal. It’s a really good example of a panorama Ria Formosa, Olhão, Portugal
because of its high contrast between the darkness of the interior and the greenery of the 8.5" x 5.9" | 21.5 x 15 cm; watercolor and Pentel paint
exterior. Look around, and don’t miss any unexpected panorama views! brush; handmade sketchbook.
JOÃO CATARINO
Ria Formosa, Olhão, Portugal
8.5" x 5.9" | 21.5 x 15 cm; watercolor and Pentel paint
brush; handmade sketchbook.
T
Ã MÁRIO LINHARES
It Was Always There, But We Were Blind
to It, Ourém, Portugal
3.9" x 13.8" | 10 x 35 cm; 0.1 mm Uni Pin pen,
Ã MÁRIO LINHARES
Model, Lisbon, Portugal
9.8" x 7.9" | 25 x 20 cm; Chinese ink
with dip pen; Laloran sketchbook.
t
LESS IS MORE
This famous motto immortalized by Ludwig Mies van der Rohe applies
w not only to architecture or design but to drawing as well. Sometimes,
the best way to tell a story of a place, city, object, or person is to
sketch only the essentials and give space to our brain to fulfill the rest
of the story, to complete the puzzle by trying to see what the empty
space is trying to show.
Á I took the bus in the

morning and went off
searching for the famous
building designed by Alvaro
Siza Vieira. Traveling alone
in a dangerous city, I arrived
at the building, but it was
closed. The design of the
architecture was so simple
that I decided to keep the
drawing as simple as I
could. Less is always more.
MÁRIO LINHARES
Iberê Camargo Foundation,
Porto Alegre, Brazil
4.7" x 11.4" | 12 x 29 cm;
0.1 mm Uni Pin pen, gray pen;
Laloran sketchbook.
T
Â Nuno Branco, Sj, a Jesuit priest, did this drawing just

before his departure to Bolivia. We don’t know exactly if
he decided to leave the empty spaces because of a lack
of time or if it was optional but, sometimes, less time also
means better decisions!
NUNO BRANCO, Sj
View of Coimbra, Coimbra, Portugal
0.7' x 6.6' | 20 x 200 cm; black pen; wood.
Fewer Colors
Imagine yourself only with a piece of paper
and a pen with black ink. Less is more
regarding compositions, and it could be with
less color as well. Fewer colors mean more
contrast. The empty white page represents
maximum light, and our drawing turns off that
immense light slowly, line by line, stroke by
stroke. So, how much light do we want or
need to turn off?
Â Foz Côa is one of the most important places

on Earth regarding rock engravings. Discovered
by chance during the construction of a dam, the
place revealed rock drawings dated from 22000
BC. Foz Côa is must-go for any person who loves
drawing, and the museum is gorgeous.
MÁRIO LINHARES
Foz Côa Landscape and Museum,
Vila Nova de Foz Côa, Portugal
9.6" x 30.1" | 24.5 x 76.5 cm; 0.3 mm Uni Pin pen;
watercolor paper.

Text Page: 42-44
Â Nuno Branco, Sj, a Jesuit priest, did this drawing just

before his departure to Bolivia. We don’t know exactly if
he decided to leave the empty spaces because of a lack
of time or if it was optional but, sometimes, less time also
means better decisions!
NUNO BRANCO, Sj
View of Coimbra, Coimbra, Portugal
0.7' x 6.6' | 20 x 200 cm; black pen; wood.
Fewer Colors
Imagine yourself only with a piece of paper
and a pen with black ink. Less is more
regarding compositions, and it could be with
less color as well. Fewer colors mean more
contrast. The empty white page represents
maximum light, and our drawing turns off that
immense light slowly, line by line, stroke by
stroke. So, how much light do we want or
need to turn off?
Â Foz Côa is one of the most important places

on Earth regarding rock engravings. Discovered
by chance during the construction of a dam, the
place revealed rock drawings dated from 22000
BC. Foz Côa is must-go for any person who loves
drawing, and the museum is gorgeous.
MÁRIO LINHARES
Foz Côa Landscape and Museum,
Vila Nova de Foz Côa, Portugal
9.6" x 30.1" | 24.5 x 76.5 cm; 0.3 mm Uni Pin pen;
watercolor paper.

Text Page: 42-44
Á Finishing the Composition: black will always be

the new black!
CH’NG KIAH KIEAN
Aerial View of Kaohsiung (collection of Hotel Dua),
Kaohsiung, Taiwan Province of China
1.2' x 4.6' | 38 x 140 cm; dry twig and Chinese ink with
watercolor wash; Saunders Waterford 300 gsm cold press
paper.
Ä MÁRIO LINHARES
Porto View, Gaia, Portugal
7.9" x 28.1" | 20 x 71.5 cm; 0.3 mm Uni Pin pen;
Laloran sketchbook.
Á MÁRIO LINHARES
7.9" x 28.1" | 20 x 71.5 cm; watercolor and ink;
Laloran sketchbook.

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_045-048.indd 45 27/5/21 11:16 AM
Text Page: 45-48
Á Finishing the Composition: black will always be

the new black!
CH’NG KIAH KIEAN
Aerial View of Kaohsiung (collection of Hotel Dua),
Kaohsiung, Taiwan Province of China
1.2' x 4.6' | 38 x 140 cm; dry twig and Chinese ink with
watercolor wash; Saunders Waterford 300 gsm cold press
paper.
Ä MÁRIO LINHARES
Porto View, Gaia, Portugal
7.9" x 28.1" | 20 x 71.5 cm; 0.3 mm Uni Pin pen;
Laloran sketchbook.
Á MÁRIO LINHARES
7.9" x 28.1" | 20 x 71.5 cm; watercolor and ink;
Laloran sketchbook.

Text Page: 45-48
Á It was too cold in Tokyo during

February to sketch outdoors, so I
decided to combine portions of views
from different places, drawn only
with pen.
MÁRIO LINHARES
Panorama View, Tokyo
6.3" x 24.4" | 16 x 62 cm; 0.3 mm black
and grey pens, red stamp; Harmonium
Laloran sketchbook.
Á This square in Venice holds a beautiful

FINISHING THE COMPOSITION sculpture by Andrea del Verrocchio, the master Knowing when and where
of apprentice Leonardo da Vinci. Once there, I
Adding black to the darker areas is, probably, the classic wanted to capture the square, but when I started
we should stop drawing
way to finish a composition. That will give a sense of depth to sketch the architecture, the architecture became is part of a long learning
and volume to your drawing. However, if you’re still not more important. My only option to highlight the process, and sometimes
happy with the composition, try adding just one color. In sculpture was to do only the outline, contrasting it we learn by overworking a
with the rest of the scene.
Asia, adding a red stamp and the signature is also part of drawing. When we realize
wrapping the drawing up into one piece. MÁRIO LINHARES this, it’s too late, so we should
Campo di S.S. Giovanni e Paolo, Venice, Italy
stop ourselves a couple
8.3" x 16.5" | 21 x 42 cm; 0.3 mm sepia pen; Laloran
sketchbook. minutes before.
Á MÁRIO LINHARES
Free Electrons Cohort,
Lisbon, Portugal
6.9" x 56.9" | 17.5 x 144.5
cm; ink, watercolor; Harmonium
Laloran sketchbook.

Text Page: 49-51
Á It was too cold in Tokyo during

February to sketch outdoors, so I
decided to combine portions of views
from different places, drawn only
with pen.
MÁRIO LINHARES
Panorama View, Tokyo
6.3" x 24.4" | 16 x 62 cm; 0.3 mm black
and grey pens, red stamp; Harmonium
Laloran sketchbook.
Á This square in Venice holds a beautiful

FINISHING THE COMPOSITION sculpture by Andrea del Verrocchio, the master Knowing when and where
of apprentice Leonardo da Vinci. Once there, I
Adding black to the darker areas is, probably, the classic wanted to capture the square, but when I started
we should stop drawing
way to finish a composition. That will give a sense of depth to sketch the architecture, the architecture became is part of a long learning
and volume to your drawing. However, if you’re still not more important. My only option to highlight the process, and sometimes
happy with the composition, try adding just one color. In sculpture was to do only the outline, contrasting it we learn by overworking a
with the rest of the scene.
Asia, adding a red stamp and the signature is also part of drawing. When we realize
wrapping the drawing up into one piece. MÁRIO LINHARES this, it’s too late, so we should
Campo di S.S. Giovanni e Paolo, Venice, Italy
stop ourselves a couple
8.3" x 16.5" | 21 x 42 cm; 0.3 mm sepia pen; Laloran
sketchbook. minutes before.
Á MÁRIO LINHARES
Free Electrons Cohort,
Lisbon, Portugal
6.9" x 56.9" | 17.5 x 144.5
cm; ink, watercolor; Harmonium
Laloran sketchbook.

Text Page: 49-51
| 53
KEY IV
VERTICAL VISTAS
While we were thinking horizontally in the previous chapter, the
vertical element was always present. If you flip back through
the pages quickly, pay attention to the drawings showing the
ground and the sky, and move your eyes vertically. In fact, any
drawing allows a vertical vista. However, in this chapter we will
focus our attention to the vertical aspect of a drawing and how to
emphasize it. To do that, we will talk about:
Visual Vertigo
Floor to Ceiling
Vertical Nature
MÁRIO LINHARES
A Man Thinking,
Lisbon, Portugal
Á A sketch made during the Cylindrical Perspective
Workshop led by Gérard Michel and Florian Afflerbach 8.3" x 11.6" | 21 x 27.5 cm; pen;
at the Urban Sketchers (USk) Symposium, Lisbon. handmade sketchbook.
JOÃO MORENO
Rua Augusta Arch, Lisbon, Portugal
11.4" x 7.9" | 29 x 20 cm; graphite, black Uni-ball pen, white Uni-
posca pen, watercolor; Laloran sketchbook.
T
VISUAL VERTIGO
How can we talk about creating a visual impression of vertigo in
drawings and not mention Alfred Hitchcock’s 1958 film Vertigo? If
you’ve seen that exciting visual thriller, the butterflies in your stomach
will never leave!
Sketching? One thing we can do is accentuate the sense of scale
when looking up or down. For example, if we’re seated in a theater’s
highest balcony, we would get an angled view of the stage, and the
vertigo sensation wouldn’t be so strong. But if we look down from
the railing at the top of a steep staircase or multistory building, we’ll
immediately understand the power of Hitchcock’s famous visual effect.
Another way to create a sense of movement within a still image
is to combine very different points of view, perhaps by combining
one that’s extremely vertical with a standard horizontal. Leaving
some unfinished lines to extend from one sketch into another can
help combine the various views into a single composition, creating
a dynamic illusion.
Key IV: Vertical Vistas | 55
Ã We don’t need to get close Visual Vertigo: Tips

to a cliff to sketch from an
unusual point of view. If we’re Try starting your sketch looking straight at the horizon line
looking down at a figure from and slowly bring your lines close to you. Build your sketch
even a slight elevation, their deliberately, stroke by stroke, without rushing.
head will appear larger than To avoid feeling dizzy as you seek to create this visual
their feet, and in a drawing, effect in a drawing, find a comfortable place to sit where
they’ll look farther away than you only have to move your eyes and not your head.
expected.
MÁRIO LINHARES
Woman (left) and Girl (right)
at Cova da Moura, Lisbon
surroundings, Portugal
9.9" x 3.9" | 20 x 10 cm; 0.3 mm
Uni Pin pen, watercolor; Laloran
sketchbook.
Â MÁRIO LINHARES
Palau De La Música Orfeó
Català, Barcelona, Spain
4.7" x 5.9" | 12 x 15 cm; 0.3 mm Uni
Pin pen; Laloran sketchbook.
Á MÁRIO LINHARES
Convento de Cristo,
Tomar, Portugal
9.8" x 10.6" | 25 x 27 cm; fountain
pen with black ink; Laloran sketchbook.
T
Ã “Invited by Gérard Michel to Liège, Belgium, to participate to a four-day

sketching marathon, I joined the crew on a rooftop to sketch the old houses
of the historical center. In the drawing, I applied a spherical perspective to be
able to represent both the houses below and the buddies on my side.”
LAPIN
Liège, Les Toits, Liège, Belgium
5.9" x 16.5" | 15 x 42 cm; fineliner, watercolor, colored pencils, white Gelly Roll pen;
old accounting book.
Á Nosedive view of the

central area and spiral
of the Guggenheim
Museum.
NORBERTO
DORANTES
I Saw the Guggenheim,
New York, USA
7.9" x 7.9" | 20 x 20 cm;
Lamy pen; paper.
Á “In my early days

using the iPad to sketch,
I often drew lines first,
then added color and
texture on layers below.
This gritty scene meant
employing a variety of
Á Nosedive view of the textured brushes to build
central area and spiral up subtle coloration even
of the Guggenheim though the palette is
Museum. limited.”
NORBERTO ROB SKETCHERMAN
DORANTES Tree House
I Saw the Guggenheim, 4000 x 2930 px; iPad Air
New York, USA (first generation), Wacom
7.9" x 7.9" | 20 x 20 cm; Intuos Stylus (first generation);
Lamy pen; paper. Procreate.
T
Ã Look at the shadows and BENOÎT GUILLAUME

how they help see movement Rue du Baignoir, Soir de Ramadan, Marseille, France
and volume! 1.3' x 1' | 40 x 30 cm; ink; paper.
NOÎT GUILLAUME
du Baignoir, Soir de Ramadan, Marseille, France
x 1' | 40 x 30 cm; ink; paper.
T
FLOOR TO CEILING
Imagine yourself walking in New York, Singapore, Chicago, or any
other city where the architecture is extraordinarily tall. Up close, we
see the ground floor and walls, but when looking up, the building
can seem endless. But don’t worry! In order to create a nice vertical
drawing, you won’t need to travel to those expensive cities. Get up
close to the subject you want to sketch, and don’t forget to include
the floor, the sky, and some people to add scale.
Ä MÁRIO LINHARES
Ler Devagar Book Shop, Lisbon, Portugal
13.8" x 9.8" | 35 x 25 cm; Ecoline liquid, pen; Laloran sketchbook.
Â View from under 25

de Abril bridge over the
Tagus River in Lisbon.
Adding pedestrians to
the foreground helps to
scale the drawing.
FILIPE PINTO
25 de Abril Bridge,
Lisbon, Portugal
6" x 8.5" | 14.2 x 21.6 cm;
0.4 mm Sakura Pigma pen,
watercolor; Flying Tiger
sketchbook.
Â “It’s important to
keep the eye level in
the drawing, so that
even when I distort the
perspective and other
things in the drawing,
everything works well
together.”
FERNANDA LAMELAS
Millennium Park, Chicago, USA
8.3" x 16.5" | 21 x 42 cm; pen, watercolor; Laloran sketchbook.
Â “Whenever possible,
I try to get up close to
my subjects regardless of
whether they are buildings
or people. I also try to
look for angles that allow
me to show the structure
of the subject and how
it occupies space. In
this case, I sat on a low,
portable chair to get an
acute vantage point.”
RAJESH DHAWAN
Ethnographic Museum
of the National Museum,
Prague, Czech Republic
8.3" x 11.4" | 21 x 29 cm;
fountain pen, brush, ink, water;
Strathmore 400 Series A4
sketchbook.
T
62 | Panoramas and Vertical Vistas Key IV: Vertical Vistas | 64
Although panorama
sketchbooks are often
used horizontally,
Â “Sketch made at the when used vertically
beach while a firefighter they change our visual
squad’s helicopter was mindset. Immediately we
constantly going back and understand the lack of
forth. I wanted to capture width and the potential
what was happening in in looking straight on and
front of me but without vertical. In this example,
losing the opportunity João Catarino beautifully
to sketch something that Ã “This was one of my first attempts at curvilinear
combines line and shape
was out of my visual perspective, which helped exaggerate and convey
with different intensities,
perception: the fires.” the feel of looking up at a multi-storied building in
telling the story of the
close quarters.”
JOSÉ LOURO place in a dynamic way.
São João da Caparica ROB SKETCHERMAN
Á JOÃO CATARINO
Beach, Trafaria, Portugal Tai Ping Shan Street, Hong Kong (China)
Ar.co Class, 2008,
25.4" x 11" | 64.5 x 28 cm; Lisbon, Portugal 4000 x 2930px; iPad Air (first generation), Wacom Intuos
black felt tip pen; sketchbook. Stylus (first generation); Procreate.
8.1" x 5.1" | 20.5 x 13 cm;
watercolor wash, permanent
ink, bleach; Moleskine
sketchbook.

Text Page: 62-64
Although panorama
sketchbooks are often
used horizontally,
Â “Sketch made at the when used vertically
beach while a firefighter they change our visual
squad’s helicopter was mindset. Immediately we
constantly going back and understand the lack of
forth. I wanted to capture width and the potential
what was happening in in looking straight on and
front of me but without vertical. In this example,
losing the opportunity João Catarino beautifully
to sketch something that Ã “This was one of my first attempts at curvilinear
combines line and shape
was out of my visual perspective, which helped exaggerate and convey
with different intensities,
perception: the fires.” the feel of looking up at a multi-storied building in
telling the story of the
close quarters.”
JOSÉ LOURO place in a dynamic way.
São João da Caparica ROB SKETCHERMAN
Á JOÃO CATARINO
Beach, Trafaria, Portugal Tai Ping Shan Street, Hong Kong (China)
Ar.co Class, 2008,
25.4" x 11" | 64.5 x 28 cm; Lisbon, Portugal 4000 x 2930px; iPad Air (first generation), Wacom Intuos
black felt tip pen; sketchbook. Stylus (first generation); Procreate.
8.1" x 5.1" | 20.5 x 13 cm;
watercolor wash, permanent
ink, bleach; Moleskine
sketchbook.

Text Page: 62-64
337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_065-068.indd 65

Text
Ã “In Naples, social stratification is displayed vertically in this Ã “One morning, we met this girl that was supposed to
house: Poor people live at low levels and richer ones on top. be at school but was instead taking care of her little cousin.
This building’s staircase has two entrances, one on the ground ‘You scared me,’ she said. ‘I thought you were social assistants.
floor and one on the rooftop on an upper street, connecting You know, I was late this morning, and I lost the school bus...’
two neighborhoods. The lady on the balcony offers to open this Her T-shirt read, ‘seeking charming prince.’ School drop-out rate
passage to me. Public and private spaces overlap here.” is high in Napoli.”
Montecalvario, Naples, Italy All images : SIMO CAPECCHI
Stella, Naples, Italy
19.7" x 9.8" | 50 x 25 cm; Lamy fountain pen with waterproof ink,
watercolors (black and ultramarine blue only); 100% cotton 300 gsm
Canson watercolor paper.
Á “I am drawn to spontaneous and illegal architecture

that creates weird and unpredictable compositions. An
ancient lighthouse is still recognizable under a more
recent building; it lost the sea panorama, now trapped
behind other higher buildings.”
Santa Lucia, Naples, Italy
Simo’s notes:
“Drawing in busy and narrow streets of ancient
Napoli is not easy. You have to watch out for
motorcycles. Nevertheless, I like to stay in those

streets for some time (thirty to sixty minutes) and
report what happens. Each of these drawings with
a text attached are part of an unfinished project, a
collection of vertical views as not-so-touristic guide to
the city. Opposite to panoramas, vertical views allow
me to go deeper and explore the soul of the city
with its hills and staircases. Plus, drawing on a large
format, a vertical shape is easier to hold standing.”
Page: 65-68

30/4/21 4:11 PM
30/4/21 4:12 PM

Text
Ã “In Naples, social stratification is displayed vertically in this Ã “One morning, we met this girl that was supposed to
house: Poor people live at low levels and richer ones on top. be at school but was instead taking care of her little cousin.
This building’s staircase has two entrances, one on the ground ‘You scared me,’ she said. ‘I thought you were social assistants.
floor and one on the rooftop on an upper street, connecting You know, I was late this morning, and I lost the school bus...’
two neighborhoods. The lady on the balcony offers to open this Her T-shirt read, ‘seeking charming prince.’ School drop-out rate
passage to me. Public and private spaces overlap here.” is high in Napoli.”
Montecalvario, Naples, Italy All images : SIMO CAPECCHI
Stella, Naples, Italy
19.7" x 9.8" | 50 x 25 cm; Lamy fountain pen with waterproof ink,
watercolors (black and ultramarine blue only); 100% cotton 300 gsm
Canson watercolor paper.
Á “I am drawn to spontaneous and illegal architecture

that creates weird and unpredictable compositions. An
ancient lighthouse is still recognizable under a more
recent building; it lost the sea panorama, now trapped
behind other higher buildings.”
Santa Lucia, Naples, Italy
Simo’s notes:
“Drawing in busy and narrow streets of ancient
Napoli is not easy. You have to watch out for
motorcycles. Nevertheless, I like to stay in those

streets for some time (thirty to sixty minutes) and
report what happens. Each of these drawings with
a text attached are part of an unfinished project, a
collection of vertical views as not-so-touristic guide to
the city. Opposite to panoramas, vertical views allow
me to go deeper and explore the soul of the city
with its hills and staircases. Plus, drawing on a large
format, a vertical shape is easier to hold standing.”
Page: 65-68

30/4/21 4:11 PM
30/4/21 4:12 PM
VERTICAL NATURE Á “I was most interested Á “Look up and discover

in how there seemed to new angles and approaches
Trees are vertical by nature, so we can learn a lot from them. be layers of trees from this to sketch common subjects,
Look at these examples and try the advice given by each author. viewpoint, with the closest find the strongest element
ones being extremely (in this case the tree trunk),
tall and the distant ones and work your way around it
appearing to be very while using strong contrast to
small. So, it was a study get a more dramatic effect.”
of these trees at varying
distances, and how light WILLIAM CORDERO
and silhouette, in addition HIDALGO
to color, really define their Llama del Bosque
forms. I used the pencil (“Spathodea campanulata”),
just briefly, to organize or Costa Rica
lay out the pages, and 8.3" x 5.1" | 21 x 13 cm; black ink
repeatedly held the book pen; Moleskine sketchbook (200
gsm ivory-colored paper).
up to help in this part of
the process by visualizing
everything on the blank
paper. Then, it was simply
a matter of developing
the washes while keeping
in mind the necessary
juxtapositions of light
and dark.”
MATTHEW BREHM
Villa Doria-Pamphili, Rome
23.4" x 8.3" | 59.4 x 21 cm;
5H pencil, M. Graham
watercolors, #8 round sable
brush; Hahnemuhle A4
watercolor sketchbook. Á “This pergola, designed
by the architect Antoni Gaudí
in the middle of a bamboo
garden, is located in the
Pedralbes Palace park in
Barcelona. It is a very quiet
and secluded place. Here, I
tried to reflect the impression
generated by the proportions
in this space and the vertical
Ã “To convey how tall this tree was and how it towered over me, I rhythm texture created by the
dramatized the sense of perspective in sketching it. I also played up the bamboo wall.”
different textures of the bark, the leaves, and the vegetation around the tree to MARU GODÀS
highlight all the textures, all using different marks made with the same pen, a Ramon in Gaudí’s Bamboo
fude nib pen. When you sketch, go beyond making a copy. Let your viewer Garden, Barcelona, Spain
know what caught your attention. Don’t just replicate something—celebrate it.”
8.3" x 11.7" | 21 x 29.7 cm;
SUHITA SHIRODKAR watercolor, Pitt oil black pencil,
Tall Tree, San Francisco Botanical Gardens, San Francisco, USA colored pencil; Escoda watercolor
sketchbook.
7" x 9" | 17.8 x 22.9 cm; pen, ink, watercolor; Stillman and Birn Alpha sketchbook.

Text Page: 69-71
VERTICAL NATURE Á “I was most interested Á “Look up and discover

in how there seemed to new angles and approaches
Trees are vertical by nature, so we can learn a lot from them. be layers of trees from this to sketch common subjects,
Look at these examples and try the advice given by each author. viewpoint, with the closest find the strongest element
ones being extremely (in this case the tree trunk),
tall and the distant ones and work your way around it
appearing to be very while using strong contrast to
small. So, it was a study get a more dramatic effect.”
of these trees at varying
distances, and how light WILLIAM CORDERO
and silhouette, in addition HIDALGO
to color, really define their Llama del Bosque
forms. I used the pencil (“Spathodea campanulata”),
just briefly, to organize or Costa Rica
lay out the pages, and 8.3" x 5.1" | 21 x 13 cm; black ink
repeatedly held the book pen; Moleskine sketchbook (200
gsm ivory-colored paper).
up to help in this part of
the process by visualizing
everything on the blank
paper. Then, it was simply
a matter of developing
the washes while keeping
in mind the necessary
juxtapositions of light
and dark.”
MATTHEW BREHM
Villa Doria-Pamphili, Rome
23.4" x 8.3" | 59.4 x 21 cm;
5H pencil, M. Graham
watercolors, #8 round sable
brush; Hahnemuhle A4
watercolor sketchbook. Á “This pergola, designed
by the architect Antoni Gaudí
in the middle of a bamboo
garden, is located in the
Pedralbes Palace park in
Barcelona. It is a very quiet
and secluded place. Here, I
tried to reflect the impression
generated by the proportions
in this space and the vertical
Ã “To convey how tall this tree was and how it towered over me, I rhythm texture created by the
dramatized the sense of perspective in sketching it. I also played up the bamboo wall.”
different textures of the bark, the leaves, and the vegetation around the tree to MARU GODÀS
highlight all the textures, all using different marks made with the same pen, a Ramon in Gaudí’s Bamboo
fude nib pen. When you sketch, go beyond making a copy. Let your viewer Garden, Barcelona, Spain
know what caught your attention. Don’t just replicate something—celebrate it.”
8.3" x 11.7" | 21 x 29.7 cm;
SUHITA SHIRODKAR watercolor, Pitt oil black pencil,
Tall Tree, San Francisco Botanical Gardens, San Francisco, USA colored pencil; Escoda watercolor
sketchbook.
7" x 9" | 17.8 x 22.9 cm; pen, ink, watercolor; Stillman and Birn Alpha sketchbook.

Text Page: 69-71
Ã “I met a fellow sketcher when I was traveling in

Genova, and she took me to one of her favorite spots to ELEANOR DOUGHTY
draw. I used a lot of different media, like water-soluble Campopisano, Genova, Italy
markers and watercolor pencils, to show all the different 5" x 9" | 12.7 x 22.9 cm; ink, watercolor,
elements in the scene and get a lot of texture. I enjoyed watercolor pencil, water-soluble marker,
adding water to some of the marker drawing to soften acrylic paint marker; handmade sketchbook
(Arches cold press 90 lb. watercolor paper).
those areas. It’s unpredictable in a fun way.”
| 73
KEY V
ARCHITECTURE
Why is architecture so attractive? Because it is something we’ve
been creating forever in order to have a better life on this planet.
Not only do we know buildings, but we live inside them. That close
relationship becomes part of what we are, and that’s also why
we can struggle when drawing architecture: there’s an emotional
aspect involved.
That’s why, in this chapter, we will approach architecture in a
more creative way:
Move Your Feet, Not Your Eyes

More than Perspective: Points of View
Step Back to See More
Ã “I have always been attracted by complex and not-so-easy-to-

draw scenes and spaces; the more difficult, the better. It’s quite
interesting (and entertaining) how you can turn a blank page into WILLIAM CORDERO
a detailed and complex sketch. It took me a while to get how HIDALGO
perspective worked here and then how to approach shadows and Basílica de los Ángeles,
textures in order to re-create the actual atmosphere without using Cartago, Costa Rica
w color. I was also tempted to use a widespread format, but at the end 8.3" x 5.1" | 13 x 21cm; black ink pen;
I had to manage working on a square format sketchbook because Moleskine sketchbook (ivory-colored
of the proximity of other people.” paper).
T
Á Narrow streets are ever-present in the

old towns of southern Europe, and Lisbon
is no exception. If one wants to capture the
true narrowness of the streets and buildings,
one needs to venture into forced three-point
perspective. If you find yourself looking up,
just start with a central vertical line, and make
everything else tilt to the center! Easier said
than done.
PEDRO LOUREIRO
Narrow Streets in Lisbon, Lisbon, Portugal
5.7" x 8.3" | 14.5 x 21 cm; nib pen, waterproof ink,
watercolors; Hahnemühle sketchbook.
MOVE YOUR FEET, NOT YOUR EYES

You can just sit in one place and move your eyes and head to see a panorama
or a vertical drawing. Pedro Loureiro’s example shows exactly how to do it: start
with a vertical line right in the center. But you can also move your feet and walk
throughout your panorama drawing, sketching every building in front of you.
Read Rita Sabler’s advice on the next page!
Key V: Architecture | 75
Á Narrow streets are ever-present in the

old towns of southern Europe, and Lisbon
is no exception. If one wants to capture the
true narrowness of the streets and buildings,
one needs to venture into forced three-point
perspective. If you find yourself looking up,
just start with a central vertical line, and make
everything else tilt to the center! Easier said
than done.
PEDRO LOUREIRO
Narrow Streets in Lisbon, Lisbon, Portugal
5.7" x 8.3" | 14.5 x 21 cm; nib pen, waterproof ink,
watercolors; Hahnemühle sketchbook.
Â MÁRIO LINHARES
Basilica Santa Maria del
OUR EYES Mar, Barcelona, Spain
7.9" x 5.9" | 20 x 15 cm; pen,
move your eyes and head to see a panorama watercolor; Laloran sketchbook.
eiro’s example shows exactly how to do it: start
nter. But you can also move your feet and walk
ing, sketching every building in front of you.
T
Á MÁRIO LINHARES
Lisbon Story, Lisbon, Portugal
6.7" x 4.7" | 17 x 12 cm; pen,
Â Lisbon Alley, Lisbon, Portugal

8.7" x 3.7" | 22 x 9.5 cm; pen,
Á ALEXANDRA BAPTISTA
Lombo Gordo Beach, São Miguel
Island, Azores, Portugal
7.7" x 7.7" | 19.5 x 19.5 cm; 2B and 8B
graphite pencils; Laloran sketchbook.
Á “I decided to challenge
myself to draw continuously
for about sixteen hours on
August 8, 2016, the Grand
Canal in Venice starting
with the first rays of light and
finishing in the moonlight.
In order to finish the book
on both sides, I had to
set a timer, giving myself
about twenty minutes per
two panels before I would
advance down the canal
so I could complete my
‘marathon’ in one day. My
advice is stay within reach of
strong Italian espresso when
the energy starts to wane.”
RITA SABLER
Venice Leporello,
Venice, Italy
0.6' x 5.9' | 17.5 x 180 cm; ink
and watercolor; Laloran Leporello
sketchbook.
T
Ã This convent designed by Le Corbusier is

an endless topic for drawing. I spent almost MORE THAN PERSPECTIVE: POINTS OF
a week there, and every day was a new
discovery. In this piece, I tried to capture If you really want to learn more about perspectiv
different views in the same drawing: distant, Ä Combining the heroic buildings of a city in check Stephanie Bower’s book from this series, U
closer, and the interior cloister. one single drawing to give that sense of having Perspective. In order to create a different panora
MÁRIO LINHARES them all together in the same place. Why not? my advice is to combine different points of view f
La Tourette, Lyon, France MÁRIO LINHARES building. You can do it separately (top image) or
9.4" x 35.4" | 24 x 90 cm; Chinese Ink; Laloran Chicago Views, Chicago, USA all the views with the same line (below image). A
sketchbook. 4.7" x 12.6" | 12 x 32 cm; black, grey and blue pens;
Laloran sketchbook.
doesn’t always need to have the same approach
MORE THAN PERSPECTIVE: POINTS OF VIEW

If you really want to learn more about perspective, you must
check Stephanie Bower’s book from this series, Understanding
Perspective. In order to create a different panorama drawing,
my advice is to combine different points of view from the same
building. You can do it separately (top image) or by connecting
all the views with the same line (below image). A panorama
doesn’t always need to have the same approach!
T
Á GABRIEL CAMPANARIO
Seattle, USA, Seattle, USA
5.5" x 7.3" | 14 x 18.5 cm; ball pen;
Stillman & Birn sketchbook.
Step Back to See More

One of the best ways to sketch architecture, especially when it’s
complex, is to step back to see the whole as a single structure.
That way, instead of focusing our attention on a specific window
or door, the whole will become more relevant because the
window will be just a small part of the entire scene in front of you.
In Gabi’s example (top) the people walking in the foreground
really gives a good sense of depth. For this approach, don’t forget
space for the ground and the sky!
Á GABRIEL CAMPANARIO
Seattle, USA, Seattle, USA
5.5" x 7.3" | 14 x 18.5 cm; ball pen;
Stillman & Birn sketchbook.
Ã “I drew the road first, to ground the rest of the composition, to help pull
the eye through the sketch, and also to capture one of Seattle’s typical
hilly landscapes.”
ELEANOR DOUGHTY
Broadway - Capitol Hill, Seattle, USA
9" x 12" | 22.9 x 30.5 cm; blue rapidograph ink in 1.5 mm parallel pen, watercolor,
Kuretake Zig calligraphy marker, Posca paint marker; originally on loose cold press
120 lb. Khadi paper, then transferred to toned cardstock.
Ä MÁRIO LINHARES
Lisbon View from Elevador de St. Justa, Lisbon, Portugal
7.9" x 23.2" | 20 x 59 cm; pen, watercolor; 180 gsm Clairefontaine paper.
T
82 | Panoramas and Vertical Vistas Key VI: Taking It Further | 84
KEY VI
TAKING IT FURTHER
This chapter will be the most challenging! Look at this spread,
combining different pages of your sketchbook to create a
panorama drawing. We’re going to push the limits of your
boundaries and offer some ideas on how to take your work further.
There are no limits! The topics we will cover are diverse, and each
of them can be developed in many different ways.
Look Down Cities Ã “The panorama view was made while moving and sketching the models from left to
Look Up Let the Colors Make the right. In the end, I decided to sketch the figures to establish a scale relationship.”
From a Child’s Perspective Difference JOSÉ LOURO Ä “Branch of an elm trunk sketched in search of the wind dancing on the leaves.”
MUDE Museum, Lisbon, Portugal
Your Friends, Side by Side Sun Path JUSTINA CATARINO
8.5" x 33.1" | 21.5 x 84 cm; 0.5 mm black gel pen 0.5, watercolor; Stillman & Birn sketchbook.
People Posing Collect Your World Breeze on an Elm Branch, Lisbon, Portugal
8.5" x 33.1" | 21.5 x 84 cm; sepia and black pens, colored pencils; A5 sketchbook.

Text Page: 82-84
KEY VI
TAKING IT FURTHER
This chapter will be the most challenging! Look at this spread,
combining different pages of your sketchbook to create a
panorama drawing. We’re going to push the limits of your
boundaries and offer some ideas on how to take your work further.
There are no limits! The topics we will cover are diverse, and each
of them can be developed in many different ways.
Look Down Cities Ã “The panorama view was made while moving and sketching the models from left to
Look Up Let the Colors Make the right. In the end, I decided to sketch the figures to establish a scale relationship.”
From a Child’s Perspective Difference JOSÉ LOURO Ä “Branch of an elm trunk sketched in search of the wind dancing on the leaves.”
MUDE Museum, Lisbon, Portugal
Your Friends, Side by Side Sun Path JUSTINA CATARINO
8.5" x 33.1" | 21.5 x 84 cm; 0.5 mm black gel pen 0.5, watercolor; Stillman & Birn sketchbook.
People Posing Collect Your World Breeze on an Elm Branch, Lisbon, Portugal
8.5" x 33.1" | 21.5 x 84 cm; sepia and black pens, colored pencils; A5 sketchbook.

Text Page: 82-84
LOOK DOWN
Á “During my last visit in

New York, January 2020,
it was too cold to spend
all day sketching outdoors.
Thankfully, NYC is full of
observatories to capture the
skyscrapers. The view from
the 101st floor of the One
World Trade Center was too
far away from Manhattan, so
I had the feeling to look at
the Big Apple from a plane.
That’s why I drew such a
strong perspective with
a vanishing point for
the vertical under my feet.”
LAPIN
One World Trade Center,
New York, USA
5.9" x 8.3" | 15 x 42 cm;
fineliner, watercolor, colored
pencils, white Gelly Roll pen;

Text Page: 85-88
LOOK DOWN
Á “During my last visit in

New York, January 2020,
it was too cold to spend
all day sketching outdoors.
Thankfully, NYC is full of
observatories to capture the
skyscrapers. The view from
the 101st floor of the One
World Trade Center was too
far away from Manhattan, so
I had the feeling to look at
the Big Apple from a plane.
That’s why I drew such a
strong perspective with
a vanishing point for
the vertical under my feet.”
LAPIN
One World Trade Center,
New York, USA
5.9" x 8.3" | 15 x 42 cm;
fineliner, watercolor, colored
pencils, white Gelly Roll pen;

Text Page: 85-88
LOOK UP
Á “The Fontana di Trevi in Rome, made famous by Fellini’s La Dolce Vita, might seem too much
to handle for a sketcher. All the sculptures, the water, the beautiful architecture, the people, and
the scorching heat! Let yourself be freed by those limitations. Not enough time? Choose just a few
features to detail, and leave everything else in rough, quick lines. Too much heat? See the previous
piece of advice. Too many people? Just ghost them into the sketch. Too wide a view for a plausible
perspective? Just make everything curve except your focus point. Too many different colors in sight?
Choose only three for the entire sketch and manage that limited palette as best as you can.”
PEDRO LOUREIRO
Fontana di Trevi, Rome
5.7" x 16.5" | 14.5 x 42 cm; nib pen, waterproof ink, watercolors; Flying Tiger sketchbook.
Ä “This building is a favorite for sketching because of the shapes that it makes at different
angles. Coming at a vertical subject from different perspectives can change the character of
it when you sketch it. When sketching a vertical subject like this, I look for other elements to
include or to leave out, such as the trees and electrical wires. I also look at the shapes made
by the negative space around the building and other elements, and make sure those are
interesting, too.”
ELIZABETH ALLEY
The Clark Tower in a Sketchbook, Memphis, Tennessee, USA
9.3" x 10.6" | 23.6 x 27 cm; acrylic ink; Laloran sketchbook.

Text Page: 89-91
LOOK UP
Á “The Fontana di Trevi in Rome, made famous by Fellini’s La Dolce Vita, might seem too much
to handle for a sketcher. All the sculptures, the water, the beautiful architecture, the people, and
the scorching heat! Let yourself be freed by those limitations. Not enough time? Choose just a few
features to detail, and leave everything else in rough, quick lines. Too much heat? See the previous
piece of advice. Too many people? Just ghost them into the sketch. Too wide a view for a plausible
perspective? Just make everything curve except your focus point. Too many different colors in sight?
Choose only three for the entire sketch and manage that limited palette as best as you can.”
PEDRO LOUREIRO
Fontana di Trevi, Rome
5.7" x 16.5" | 14.5 x 42 cm; nib pen, waterproof ink, watercolors; Flying Tiger sketchbook.
Ä “This building is a favorite for sketching because of the shapes that it makes at different
angles. Coming at a vertical subject from different perspectives can change the character of
it when you sketch it. When sketching a vertical subject like this, I look for other elements to
include or to leave out, such as the trees and electrical wires. I also look at the shapes made
by the negative space around the building and other elements, and make sure those are
interesting, too.”
ELIZABETH ALLEY
The Clark Tower in a Sketchbook, Memphis, Tennessee, USA
9.3" x 10.6" | 23.6 x 27 cm; acrylic ink; Laloran sketchbook.

Text Page: 89-91
FROM A CHILD’S PERSPECTIVE

How do children see the world? Their
small stature gives them a unique point of
view. Because of that, it’s quite natural for
them to sketch very tall trees and adults
with extremely long legs.
Once we reach adulthood, must we
abandon that viewpoint? Of course not!
These drawings are just some examples
of how we can return to it and appreciate
how giant everything can be.
Á MÁRIO LINHARES
Figure Model
7.9" x 3.5" | 20 x 9 cm; pen;
Laloran sketchbook.
Ã MÁRIO LINHARES
Gipsy Woman
12.6" x 9.1" | 32 x 23 cm;
black and purple pen;
Laloran sketchbook.
Key VI: Taking It Further | 93
FROM A CHILD’S PERSPECTIVE

How do children see the world? Their
small stature gives them a unique point of
view. Because of that, it’s quite natural for
them to sketch very tall trees and adults
with extremely long legs.
Once we reach adulthood, must we
abandon that viewpoint? Of course not!
Ã “The most important step for me when drawing live music performers is
getting into the groove of their music. I opened my sketchbook to a blank
page, but before starting to draw Anwi, I listened to a few of her songs while
observing the movement of her hands and body as she filled the air with
beautiful melodies. TIn order to depict the dynamic manner of her playing, I
chose to draw her left arm in several positions, giving it the sense of movement
that I felt when watching her. I made sure to pay a little extra attention to her
fingers as they touched and swept across the strings.”
RAJESH DHAWAN
Harpist Performing in front of Municipal House Café, Prague, Czech Republic
11.2" x 10.6" | 28.5 x 27 cm; fountain pens filled with water-soluble colored inks,
water brush; Artway Studio sketchbook.
T
Ã With sketcher friends, sometimes we just sketch and don’t talk. That happens often during
the International USk Symposium. For this one, I started sketching Paul Heaston because he
was in front of me. The background was the last thing to do, just after I finished Rob. Why?
Because the foreground covers the background!
MÁRIO LINHARES
Rob Sketcherman and Paul Heaston, Chicago, USA
9.1" x 11.8" | 23 x 30 cm; 0.3 mm Uni Pin pen, sepia pen; Laloran sketchbook.
Â Look carefully: Note the

darker background behind
the illuminated side of the
face. This is an excellent way
to emphasize the contrast
between light and shadow. The
illuminated part of the face has
a darker background, while the
part of the face that’s more in
shadow has a lighter one. Try
this exercise with your friends
using only one light source to
accentuate the contrasts.
MÁRIO LINHARES
Sketcher Friends,
Lisbon, Portugal
8.1" x 28.3" | 20.5 x 72 cm; graphite
pencil; Laloran sketchbook.
Ã Eduardo Salavisa, an urban

YOUR FRIENDS, SIDE BY SIDE sketcher from Lisbon, arrives at all
Here, we show how drawing in a his appointments thirty minutes early
so he’ll always have time to do a
panorama format—seeing and drawing an quick sketch. This time, he found these
entire scene—can apply to a completely musicians playing on the street. What a
different subject: people. It helps if we start clever way to make time for sketching!
with a prompt to sketch all your friends. That EDUARDO SALAVISA
will get you motivated, not just to sketch but Street Musicians, Lisbon, Portugal
to also spend time with them. 3.5" x 11" | 9 x 28 cm; Uni-ball pen,
watercolor;Laloran sketchbook.
T
PEOPLE POSING Ã JOÃO CATARINO

Last Supper at Ferreira Dias
Sometimes, we have more time to sketch people. I’m High Schoo, Agualva-
not talking about figure drawings, because those are Cacém, Portugal
artificial situations arranged for the drawing practice. 6.1" x 16.9" | 15.5 x 43 cm;
It’s also not related to the time you have to create the Pentel paint brush, watercolor;
Clairefontaine sketchbook.
drawing—you can spend one entire day sketching on
the subway—but the time a specific pers
Â “Doctor, you must

wait, because now
I’m being sketched.” A
different mindset where
the drawing was more
valuable than medicine!
KETTA LINHARES
Women Waiting for the
Doctor, Marandallah,
Ivory Coast
9.8" x 16.1" | 25 x 41 cm;
local newspaper collage,
pen, watercolor; Laloran
sketchbook.
High Schoo, Agualva-

Cacém, Portugal
6.1" x 16.9" | 15.5 x 43 cm;
Pentel paint brush, watercolor;
Clairefontaine sketchbook.
Ã When we knew that Ketta was pregnant, I

started to sketch her every Sunday. That pose
became a beautiful memory of those weeks…
MÁRIO LINHARES
Matias in Ketta’s Belly, Sintra, Portugal
9.3" x 15.7" | 23.5 x 40 cm; 0.3 mm Uni Pin pen,
T
Ã MÁRIO LINHARES
CITIES The Bean, Chicago, USA
The bean in Chicago (top image) is a perfect 9.4" x 13" | 24 x 33 cm;
example to create a different panorama using black and blue pens; Laloran
sketchbook.
small thumbnails to combine the maximum points
of view. Below is a different approach, where the Ä MÁRIO LINHARES
artist and the city became one. Kiah Kiean in Alfama,
Lisbon, Portugal
8.1" x 28" | 20.5 x 71 cm;
Chinese ink; Laloran sketchbook.
Á “On my last day in Hong

Kong (China), I was determined
to finish filling all the pages in the
sketchbook I made for that trip.
My friend and I spent all evening
walking down the long road from
the city’s famous lookout point
on Victoria Peak and doing fast
sketches along the way. I was
always so inspired by the dramatic
heights of Hong Kong (China), in
the topography and the height of
the buildings. I tried to show the
contrast between the big trees and
the even bigger buildings and put
a person in the picture waiting for
the bus to show the human scale
of it all.”
ELEANOR DOUGHTY
Old Peak Road, Hong Kong (China)
10" x 7" | 25.4 x 17.8 cm; 1.5 mm
parallel pen with rapidograph ink &
Photoshop; handmade sketchbook
(Strathmore 400 series drawing paper).
T
LET THE COLORS MAKE THE DIFFERENCE

Sometimes, we just need to add a warm color into a cold-
color drawing to accentuate a specific view. Norberto
Dorantes’s example is perfect with the dark blue of the tall
building contrasting with the light, warm colors of the city.
Ä Typical street view in New York City.

NORBERTO DORANTES
Always New York, New York, USA
9.8" x 9.8" | 25 x 25 cm; waterproof ink, watercolor; sketchbook.
Á “This image depicts the back entrance

of the historic Estates Theater exaggerated
some of their curves to make it seem like they
were responding to music. I drew parts of
the lamps in orange-bronze ink in order to
unify them with the theater building. Finally, I
drew the background lamp and building of
Charles University but using blue colored lines
so as to prevent this portion of the image from
overwhelming my main subjects. I was careful
to omit several decorations on the theater
building as well as the lamps to leave some
things to the viewer’s imagination.”
RAJESH DHAWAN
Estates Theater and Streetlamps, Prague,
Czech Republic
11.2" x 10.4" | 28.5 x 26.5 cm; colored fountain
pens filled; Artway Studio sketchbook.
Á Winter light brings more colors

than we can imagine.
MÁRIO LINHARES
Winter Colors, Lisbon, Portugal
8.3" x 5.5" | 21 x 14 cm; pen, colored
pencils; Laloran sketchbook.
T
Ã “This was a very experimental process! I sketched this from ELEANOR DOUGHTY
the top of a hill in the center of a busy area in Seattle but wasn’t Broadway - Capitol Hill,
really happy with the painting. So, I scanned it in and played Seattle, USA
with the colors a bit in Photoshop, and then printed it out again 9" x 12" | 22.9 x 30.5 cm; blue
on a sheet of neon green cardstock. I drew on top of the print rapidograph ink in 1.5 mm parallel
with paint markers, highlighting certain areas, and added white pen, watercolor, Kuretake Zig
to the sky. It really transformed!” (See page 81) calligraphy marker, Posca paint
marker; originally on loose cold
press 120 lb. Khadi paper, then
transferred to toned cardstock.
Ä MÁRIO LINHARES
Wat Traimit, Bangkok, Thailand
8.7" x 9.6" | 22 x 24.5 cm; pen, watercolor; Laloran sketchbook.
ELEANOR DOUGHTY Ã Évora is one of the hottest cities in Portugal. Once there, MÁRIO LINHARES
Broadway - Capitol Hill, one of the main concerns is to find a shadow to sit under. Évora, Portugal, Évora,
Seattle, USA The contrast was emphasized here with grey and brown line Portugal
work for the exterior and black line and colors for the interior. 5.6" x 12.4" | 14.7 x 31.6 cm; gray,
brown and black pens, watercolor;
Laloran sketchbook.
Ä KETTA LINHARES
Woman Sleeping, Marandallah, Ivory Coast
9.8" x 16.1" | 25 x 41 cm; pen, watercolor; Laloran sketchbook.
T
Â “Morning light changes

so quickly. There’s not much
detail in my sketch because
every time I looked at the
scene, the shadows were
different. I painted this in
three fast washes: one for the
light colors on the tree, the
wheelbarrow and the fence;
second wash for the strong
shadows; and then a few
dabs of dark for definition.”
All images this row:

SHARI BLAUKOPF
Morning, Canada
8" x 5" | 20.3 x 12.7 cm;
watercolor; Moleskine sketchbook.
Ã “This scene was painted with a triad of quin gold, alizarin

SUN PATH crimson, and cobalt teal (with a few dabs of Naples yellow)
a block of fluid watercolor paper. Because of the darkness o
These beautiful sunflowers made by Kiah Kiean remind us of the panorama day, instead of playing with wetness and transparency, I pus
path made by our mother Earth around the Sun. It’s also an amazing light the paint towards dryness and opacity. It felt good to add lig
panorama for us to follow. Shari’s work above opens that door to us. Let’s enter. top of dark—something we don’t get to do very often in wate
Ã “This scene was painted with a triad of quin gold, alizarin Ã “It makes it so much
crimson, and cobalt teal (with a few dabs of Naples yellow) on easier to find a scene to
a block of fluid watercolor paper. Because of the darkness of the sketch when the lights and
e by Kiah Kiean remind us of the panorama day, instead of playing with wetness and transparency, I pushed darks are clearly defined.
around the Sun. It’s also an amazing light the paint towards dryness and opacity. It felt good to add light on With the fence down, the
i’s work above opens that door to us. Let’s enter. top of dark—something we don’t get to do very often in watercolor.” wheelbarrow—situated in a
dark corner of the yard—gets
Wheelbarrow November,
much more light on it than
Canada
usual.”
8" x 5" | 20.3 x 12.7 cm; watercolor;
Moleskine sketchbook Fallen Fence, Canada
7.5" x 5.5" | 19.1 x 14 cm;
watercolor; Moleskine sketchbook.
Á CH’NG KIAH KIEAN

Sunflower Series Hexaptych,
Penang, Malaysia
2.5' x 5.5' | 76 x 168 cm; dry twig
and Chinese ink with watercolor wash;
Saunders Waterford 300 gsm cold
press paper.
T
COLLECT YOUR WORLD

If we need to collect different points of
view or different fragments of what’s in
front of us to sketch a panorama, why
not approach the panorama differently?
Try out these suggestions:
Sketch People
Always take your sketchbook with
you, and don’t miss any opportunity
to sketch a friend!
All images this row: MÁRIO LINHARES
Appreciate Daily
Objects
Instead of wondering what
to sketch next, keep a
drawing project about your
daily objects. It can be toys,
an accumulation of chairs
you find during the day,
or just a still life with a cap
and some shoes!
DRAW RANDOMLY
Have you ever thought
about sketching a collection
of views of the same
dinosaur? The Natural
History Museum? Or the
gothic windows of Venice?
Or all the objects from your
kitchen? Or just sounds?
Try it out!

WILLIAM CORDERO HIDALGO

Maria José’s Babies and Transports,
Costa Rica
8.3" x 10.2" | 21 x 26 cm; colored pencils
and watercolor; Moleskine sketchbook.
T
Center row, from left to right: NORBERTO DORANTES, LAPIN, KUMI MATSUKAWA
Bottom row, from left to right: JOÃO MORENO, FERNANDA LAMELAS, MÁRIO LINHARES
ES
RTO DORANTES, LAPIN, KUMI MATSUKAWA
ORENO, FERNANDA LAMELAS, MÁRIO LINHARES
T
CONTRIBUTORS
Elizabeth Alley Gabriel Campanario Eleanor Doughty
Memphis, Tennessee, USA Seattle, Washington, USA Seattle, Washington, USA
elizabethalley.com/sketchwork @gabicampanario @herbcoil
Alexandra Baptista Simonetta Capecchi Maru Godàs

Azores, Portugal Naples, Italy Barcelona, Spain
@alexandrabaptista_sketches @simo_capecchi @marugodas
Shari Blaukopf João Catarino Benoît Guillaume

Montreal, Canada Lisbon, Portugal Marseille, France
@sharisketcher @joaocatarino65 benoitguillaume.org
Nuno Branco, Sj Justina Catarino William Cordero Hidalgo

Coimbra, Portugal Loures, Portugal Cartago, Costa Rica
@nunosj @justicatarino @williamcorderoh
Matthew Brehm Rajesh Dhawan Ch’ng Kiah Kiean

Idaho, USA Prague, Czech Republic Penang, Malaysia
@mtbrehm kiahkiean.com
Norberto Dorantes
Pieter Bruegel the Elder Buenos Aires, Argentina Fernanda Lamelas
Kunst Historisches Museum Wien @norbertdorantes Lisbon, Portugal
Vienna, Austria @lamelasfernanda
khm.at
MÁRIO LINHARES
A walk in the park
Lisbon, Portugal
26.8” x 6.9” | 68 x 17.5 cm; sepia
and black pen, colored pencil;
Leporello Laloran sketchbook
| 111
TRIBUTORS
Eleanor Doughty Lapin Columbano Bordalo Pinheiro Rob Sketcherman
Seattle, Washington, USA Barcelona, Spain Museu Nacional de Arte Hong Kong (China)
@herbcoil @lapinbarcelona Contemporânea do Chiado @robsketcherman
Lisbon, Portugal
Maru Godàs Ketta Linhares museuartecontemporanea.gov.pt Joseph Mallord William Turner
Barcelona, Spain Dili, East Timor National Gallery of Art
@marugodas @ketta.linhares Filipe Pinto Washington, D.C., USA
Lisbon, Portugal nga.gov
Benoît Guillaume Pedro Loureiro @filipe_nok_pinto
Marseille, France Lisbon, Portugal Caspar van Wittel
benoitguillaume.org @pedromacloureiro Rita Sabler Biblioteca Nazionale Centrale di
Portland, Oregon, USA Roma
José Louro portlandsketcher.com Rome, Italy
Lisbon, Portugal http://www.bncrm.beniculturali.it/
@josemanuelvieiralouro Eduardo Salavisa https://bit.ly/3tjXKWu
Lisbon, Portugal
Kumi Matsukawa diario-grafico.blogspot.com
Kanagawa, Japan
flickr.com/photos/macchann Suhita Shirodkar
San Jose, California, USA
João Moreno suhitasketch.com
Lisbon, Portugal
@joaobmoreno
MÁRIO LINHARES
A walk in the park Ä I like to think of drawing as a metaphor. In this multicolored piece done in colored pencils,
Lisbon, Portugal the chromatic diversity reminds me of all my drawing friends who contributed to this book. Some
26.8” x 6.9” | 68 x 17.5 cm; sepia of them work mostly with washes and shapes. Others only work with a fine line. But it is this set of
and black pen, colored pencil; differences that bring us all together. Try doing some mixed-media drawings inspired by some
Leporello Laloran sketchbook of these amazing artists listed above.
T
ACKNOWLEDGMENTS
First, thank you Gabi Campanario for starting the Urban Sketchers community.
It empowered my life, and that shows how an idea (and a lot of work) can
change the world! Many thanks to my family, Ketta and Matias, for embracing
this way of life. How happy can life be when drawing is always at the center!
Thank you to all my artist friends who shared their work in this book. You are
truly inspiring not only for your art but also for the generosity throughout the
years. It’s been a pleasure working with all my urban sketcher friends.
Thank you to my editor, Joy Aquilino, for the availability and patience and
to the Quarto team for accepting a book like this.
Finally, thank you for reading this book. I hope you can learn a lot from it
and embrace drawing as a way of life!
ABOUT THE AUTHOR

Mário Linhares is a designer, urban
sketcher, and arts educator. A PhD
researcher in Fine Arts, he studied
at the Artistic School António Arroio
and holds a master’s degree in Visual
Arts Education. The former Education
Director for UrbanSketchers.org,
Mário currently coordinates the USk
Academic Group. Draws compulsively
and idealizes artistic and humanitarian
projects. Is married, has one son, and
draws on the sketchbooks his wife
makes. Enjoys walking, taking public
transportation, and discussing ideas
with friends. Co-author of the awarded
travel book Carnet de Voyage |
Côte d’Ivoire, he contributes to
different books about urban sketching,
exhibitions, and lectures worldwide. He
lives in Sintra, Portugal, outside Lisbon.

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THE URBAN

PANORAMAS AND VERTICAL VISTAS

First Published in 2021 by Quarry Books, an imprint of The Quarto Group,

Digital edition published in 2021

Library of Congress Control Number: 2021937621

Cover Image: Mário Linhares

Previous page: MÁRIO LINHARES

Title: 337107 - Urban Sketching Handbook_Panoramas and V

Architecture and Cityscapes by Gabriel Campanario

Title: 337107 - Urban Sketching Handbook_Panoramas and V

Combining Looking and Seeing

COMBINING LOOKING AND SEEING

e have a general ide

ercolor and pen; Laloran sketchbook.

WE SEE LESS THAN WE THINK

Besides the beautiful atmosphere that Turner creates, allowing us to

Title: 337107 - Urban Sketching Handbook_Panoramas and V

Ä Visiting the roots of knowledge is

Ã Panorama is a compound word made from two Greek words:

EUROPEAN PANORAMA APPROACH

Á It may not look like it at first, but this

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_022-024.indd 22 30/4/21 3:52 PM

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_022-024.indd 22 30/4/21 3:52 PM

LEFT TO RIGHT RIGHT TO LEFT

Â This drawing was made like a scanner: it

Â “When commissioned to do a view of

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_025-028.indd 25 30/4/21 11:12

LEFT TO RIGHT RIGHT TO LEFT

Â This drawing was made like a scanner: it

Â “When commissioned to do a view of

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_025-028.indd 25 27/5/21

STARTING WITH A VERTICAL LINE

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STARTING WITH A VERTICAL LINE

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_029-031.indd 29 30/4/21 5:35 PM

Â In these examples, we can

STARTING WITH THE BACKGROUND

Ä Another way to start with the background is to separate the

Á These two drawings represent the left (top)

STARTING WITH THE FOREGROUND

Á I took the bus in the

Â Nuno Branco, Sj, a Jesuit priest, did this drawing just

Â Foz Côa is one of the most important places

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_042-044.indd 42 30/4/21 3:50 PM

Â Nuno Branco, Sj, a Jesuit priest, did this drawing just

Â Foz Côa is one of the most important places

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_042-044.indd 42 30/4/21 3:50 PM

Á Finishing the Composition: black will always be

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_045-048.indd 45 30/4/21 3:58 PM

Á Finishing the Composition: black will always be

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_045-048.indd 45 30/4/21 3:58 PM

Á It was too cold in Tokyo during

Á This square in Venice holds a beautiful

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_049-051.indd 49 30/4/21 4:04 PM

Á It was too cold in Tokyo during

Á This square in Venice holds a beautiful

337107 - Urban Sketching Handbook_Panoramas and Vertical Vistas_049-051.indd 49 30/4/21 4:04 PM

Ã We don’t need to get close Visual Vertigo: Tips

Ã “Invited by Gérard Michel to Liège, Belgium, to participate to a four-day