One common question I get asked as an artist is 'What is a thumbnail sketch?"
Simply put, it's a small, rapid sketch that helps me visualise the composition of a larger piece.
I create these 2 x 3 inch sketches to get a feel for the overall arrangement of elements before committing to a bigger project.
Thumbnail sketches are quick, rough, and often done in pencil on small pieces paper. They're not meant to be finished artworks, but rather a starting point to explore the composition, placement of subjects, and background. If a sketch shows promise, I'll progress to a full-size drawing in graphite or colored pencils.
The process can be iterative, requiring multiple thumbnail sketches until I'm satisfied with the arrangement.
The example above illustrates the purpose of a thumbnail sketch.
It's not a polished drawing, but it helped me decide whether to include a window frame to "frame" the view. After 15 minutes of sketching, I achieved my goal without wasting time or materials, and I could move on to explore other ideas.
By using thumbnail sketches, I can efficiently experiment with different compositions, saving time and energy in the long run.
This technique allows me to focus on the essence of the artwork, ensuring a stronger final piece.
When planning a landscape in colored pencil, I experiment with different compositions by moving elements around in my thumbnails. A tall tree on the right in real life might look better near the middle or on the left in my drawing.
I start by placing the horizon line, deciding whether to emphasize the sky or the foreground. I often create thumbnail drawings for both options to see which I prefer.
Achieving balance is crucial, and I avoid crowding elements into one area. This is where drawing has an advantage over photography – I can reposition elements to create a more harmonious composition.
Trying to create a balance in my sketch without crowding everything into one area is important. This is one of the benefits of drawing over photography; just because a tree seeded itself in one position doesn't mean that is where it belongs in my artwork.
Sketching from different angles can be helpful, even if none of the individual sketches feel quite right. By combining elements from multiple sketches, I can create something better than each one on its own.
Thumbnails aren't about precise shapes or details; they're about capturing the essence of an element.
A long, thick line might indicate a tall tree, a rough rectangle a building, and a scribble a bush or hedge. These sketches aren't for transferring outlines to my drawing paper, but for exploring ideas and arrangements.
My thumbnails are private, a messy but essential part of my creative process. I rarely share them, but this page shares a rare glimpse into my sketchbook.
In art, values refer to the range of tones from dark to light. Achieving a harmonious balance between these tones is crucial for a visually appealing image. To get it right, I rely on thumbnail sketches – a quick and effective way to experiment with different balances of light and dark.
Using a black marker, I block in the darkest areas, leaving the lightest areas as the white of the paper. This simple technique helps me visualize the distribution of darks and lights, ensuring a balanced composition. I might add a dark foreground element, like a river's edge, or extend a line of trees to create a dramatic background.
The area with the greatest contrast will naturally draw the viewer's eye, becoming the focal point. By creating thumbnail sketches, I can test and refine my composition, achieving a harmonious balance of values that guides the viewer's gaze.
Learn more about high contrast drawings here.
In addition to rearranging elements, I can also experiment with different lighting setups in my thumbnail sketch.
If my reference photo was taken at a different time of day than the scene I want to depict, I may need to reposition shadows and highlights.
For example, I might want to shift the shadows to a different wall of a farmhouse.
By testing this in my thumbnail, I can make notes and mark the ideal sun position with a symbol, refining my composition before moving forward.
Achieving accurate perspective in a scene can be challenging. To overcome this, I sketch the horizon, eye level, and vanishing point of a perspective line in my thumbnail sketch.
This simple step helps me create a drawing with depth, rather than one that looks flat and unconvincing.
When working on location, a thumbnail sketch serves as a valuable guide for the final piece. I use it to experiment with different viewpoints, often walking around to find the most compelling angle.
This process can reveal new and interesting elements, which I might incorporate into my final drawing.
The thumbnail sketch above illustrates this process.
I stood under an arch to frame the view of the stables, adjusting the composition as I worked. I balanced the dark values of the arch with the trees and shadows behind the building, creating a sense of harmony.
This exercise also shows that I don't worry about erasing mistakes – the goal is to explore ideas, not create a perfect drawing.
Thumbnail sketches can benefit artists who work from imagination or create abstract art.
Starting with a small sketch can help develop design ideas and ensure a strong foundation for the final piece.
While I prefer to work from reference, I often transform the original image beyond recognition, demonstrating the flexibility and creative potential of thumbnail sketches.
A thumbnail sketch typically takes me around 10-15 minutes to complete. I stop once I've extracted the information I need, even if it's not polished.
If a sketch isn't working, I discard it and start anew.
The goal of a thumbnail sketch is to serve as a preparatory drawing for the final artwork, not a standalone project.