Art Sketchbook Ideas | Alexandra Novik-Khamis
A sketchbook is a creative document that contains both written and visual material. It may include teacher-guided sketchbook assignments or self-directed investigation. A sketchbook provides a place to think through the making process: researching, brainstorming, experimenting, testing, analyzing, and refining compositions. It offers a place to document the journey towards a final solution, providing depth and backstory to the accompanying work. The sketchbook is an important part of many visual art courses.
A digital ‘sketchbook’ typically takes the form of an online portfolio website, created using a free or paid website design tool. Students organize images, videos, and typed annotation upon website pages, using hyperlinks, menus, and categories to make connections between work. Digital sketchbooks do not have size restrictions and have the advantage of displaying audio and moving image. These are growing in popularity, particularly for students who specialize in film, photography or digital media.
The creation of a digital sketchbook relies on access to high-speed internet and an appropriate digital device (when the internet is not available, hand-generated work may be scanned and uploaded later). The website platform itself needs to be selected, signed up for, and set up (this is much easier than you might imagine).
As a precaution, digital files should be stored locally, upon your computer, within organized and labeled folders, with additional backup copies kept upon a memory stick or cloud server (an automatic backup service, such as Dropbox, is highly recommended). It is wise to print copies of digital content, submitting these in hardcopy format for classroom assessments. Articles published in your online sketchbook may be printed and bound to accompany the final presentation. There are also benefits to keeping a traditional sketchbook to support an online sketchbook, such as verifying the authenticity of online work; allowing spontaneous transfer of ideas by hand drawing and writing; strengthen and consolidating practical art-making techniques.
It is worth remembering that long hours online, combined with the distraction of social media and other internet activities (such as online gaming), has been shown to affect mood and sleep, compromising productivity and quality of work overall. We highly recommend that you consider installing an app and website blocker on both mobile and desktop devices, so that online activities do not interfere with well-being, productivity, and sleep.
What should a sketchbook contain? (Sketchbook Checklist)
First-hand engagement with the subject matter
You should include evidence of a clear personal connection to the theme/s explored, such as original photographs; observational drawings; documented visits to design sites, historic places or museums; and explanations of the personal context surrounding the work. A project-based solely upon secondary sources (such as images from the internet, books, or magazines) may lead to a lack of personal engagement, plagiarism issues, and superficial, surface-deep work.
Exploration of composition, visual elements, and design principles
An important role of the sketchbook is to aid the planning and refining of larger artworks. This might involve composition studies, thumbnail sketches or layout drawings (exploring format, scale, enlargement, cropping, proportion, viewpoint, perspective, texture, surface, color, line, shape, form, space, and so on); design ideas; photographs of conceptual models or mock-ups; storyboards; photographic contact sheets; analysis of accompanying portfolio work; and many other forms of visual thinking.
Original drawings, paintings, prints, photographs, or designs
Fill the sketchbook with your own visual material – particularly that which is exploratory, incomplete and experimental (as opposed to finished illustrations). Images should support the theme of the project and should not depict a random collection of unrelated subject matter.
A wide range of mediums and materials
The sketchbook should contain a range of mediums and materials, as appropriate for the project and area of specialty. Photograph three-dimensional exploration for inclusion. A broad list of possibilities appears below (this list is not prescriptive or restrictive):
Drawing and painting surfaces: colored and textured paper of varying weights, such as tissue paper, watercolor paper, newsprint, and cartridge; transparent sheets, plastic overlays or tracing paper; discarded wallpaper, patterned paper and printed pages; matt and gloss photographic paper and other specialized printing paper; cardboard; painted and prepared grounds; masking tape; collaged surfaces; dried textures created with acrylic pastes; canvas sheets, hessian and other fabrics; other appropriated materials.
Drawing and painting mediums: graphite pencil; colored pencil; ballpoint pen; ink pen; calligraphy pen; marker pen; chalk; charcoal; pastel; crayon; drawing ink; printing ink; natural and manmade dye, such as from commercial pigments, walnut skins, coffee stains and food dye; gouache; watercolor; acrylic paint; oil paint; spray paint; house paint; shellac/varnish; fixative; wax; painting mediums, such as thinners, gel/gloss, glazes, drying retarders, textural pastes/modelling compounds.
Threads and textiles: natural fibers, such as cotton, wool, silk, flax and raffia; synthetic threads, such as nylon, acrylic and polyester; textiles of different weights, weaves, patterns, prints and colors; upcycled fabric, including those from non-traditional sources, such repurposed woven plastic bags; elastic; sewing threads; embroidery threads; string; rope; beads; foam; furs and leather.
Sculptural materials: clay; cane; wire; wood; stone; plaster; plastic; fiberglass; metal; water/ice; other organic and manmade found materials.
Tools and technology: brushes; sponges; scissors; paint rollers; palette knives; craft knives; engravers; chisels, woodworking tools; metal working tools; traditional and digital cameras; video cameras; darkroom equipment; photocopiers; scanners; paper trimmers; needles, sewing machines; overlockers; looms; printing presses; computer-aided design (CAD) software, such as Adobe Photoshop, InDesign and SketchUp Pro; computer-aided manufacture (CAM), such as 2D and 3D printers, laser cutters / CNC paper cutters.
A wide range of art-making techniques, processes, and practices
The techniques, processes, and practices explored within a sketchbook should be appropriate for the project and area of specialty. Both traditional and contemporary approaches are encouraged. These should be informed by the study of relevant artists and first-hand practical experimentation. Complex processes may be recorded and documented within the sketchbook, for example, diagrams outlining construction processes; annotated computer screenshots; or photographs of sculptural work in progress (this can help to prove the authenticity of your work). Avoid indiscriminate documentation of every technique at every stage of production, as this becomes a space-filling device that pushes out more relevant content.
Artist research
The sketchbook is an excellent place to document the study of artist work. Critical analysis may include whole or partial copies of artwork from exhibitions, websites, books, and magazines, as well as original exploration inspired by an artist. Reproductions must have a clear purpose. Accompany these with critical commentary and practical experimentation, where appropriate. Do not use the sketchbook as a dumping ground for pamphlets, fliers, brochures or other printed material from secondary sources.
Annotation
Some examination boards do not require annotation; however, this is a great way to clarify ideas and intentions. Annotation tips are provided below.
How to annotate a sketchbook
Generate personal responses
Aim to record personal reflections, evaluations, judgments, and responses (rather than regurgitating facts or the views of others), providing insight into your thinking and decision-making processes. Art examiners do not want to read lists of facts or chronological sequences of events. They do not want long-winded descriptions of technical processes, extensive artist biographies, or the inclusion of broad periods of art history. Cut-and-pasting or transcribing information from other sources is not acceptable (small portions may be quoted and referenced, as appropriate).
Communicate with clarity
A sketchbook should not contain endless pages of writing; this wastes the examiner’s time, as well as your own. Communicate in a succinct and clear manner. Thoughts may be recorded in any legible format: mind maps, scrawled questions, bulleted summaries or complete sentences and paragraphs. In most cases, a variety of approaches is appropriate. Whichever format you choose, avoid ‘txt’ speak and spelling errors; these indicate sloppiness and suggest that the work belongs to lower caliber student.
Demonstrate subject-specific knowledge
Aim to communicate informed and knowledgeable responses, using a range of art-related vocabulary and terminology. This learning may be the result of formal classroom lessons, individual research or personal art-making experience.
Critically analyze artwork
Art analysis is an integral component of most high school art programs. Aim to analyze work by a range of historical and contemporary artists, from a range of different cultures. Artist work should be relevant to your project and offer valuable learning opportunities, whether in approach to subject-matter, composition, technique or medium. You should also analyze your own artwork within the sketchbook, measuring success against original intentions and assessment objectives specified within the mark scheme. This allows you to gain helpful insights that inform and influence subsequent work. For more advice and a list of questions to help with analyzing artwork, please read How to analyze an artwork: a step-by-step guide.
Communicate intentions
It is usually helpful to begin a sketchbook by discussing intentions, starting points and design briefs, including any requirements and restrictions set for the project.
Avoid the obvious
Self-explanatory statements, such as “I drew this using pencil” or “this is a shoe” are unnecessary; they communicate no new information to the examiner.
Reference all images, text, and ideas from others
Any content created by others should be formally credited and acknowledged, even when this has been appropriated or reinterpreted, rather than directly copied. It is helpful to cite artists directly underneath the appropriate image (artist name, artwork title, medium, date and image source), along with brief details about any gallery, museum and artist visits. You may also benefit from labeling original photographs, so that is clear to an examiner which work is your own.
Sketchbook presentation tips
Keep it simple
A high school sketchbook should be reminiscent of what an artist or designer might create. It does not need to be over-worked, ‘perfect’ or polished. Write legibly and small (so that spelling or grammatical errors are not glaring) and in graphite pencil or black, white or grey pen. Avoid intrusive lettering; elaborate front covers; decorative borders; fold-out tabs (these add an interactive element to the pages, but risk examiners missing the work); over-the-top backgrounds; or any unnecessary framing or mounting. Do not spend weeks dreaming up inventive layouts or desperately Googling phrases such as ‘A Level Art sketchbook background ideas.’ Presentation decisions should be limited to the sketchbook format (size, shape, and orientation), as described above. Decide upon the sketchbook format (the teacher, school or syllabus may set this) and then focus on what matters: producing quality art and design work.
Your sketchbook can be a straightforward, ordered presentation of your work, research, and insights: Let your images do the impressing. Overly designed pages can often take too long and be a distraction to the viewer. – Chris Francis, Senior Leader Teacher of Art & Photography, St. Peter’s Catholic School, Bournemouth, UK
Use a consistent style of presentation
Some students favor hard-edged, cleaner presentation methods; others prefer a messier, gestural style. Neither is better than the other: both can be executed well. Inconsistency, however (jumping from one presentation style to the next) may result in a submission that is distracting and incohesive.
Vary page layouts to create visual interest
By the time you have finished your sketchbook, some pages should have lots of illustrations; some a single artwork; others somewhere in between. Position items without fear of white space, considering the interaction between image and text.
Order work so that it shows the development of ideas
Although a sketchbook is usually an informal, free-flowing document, it is important to remember that an examiner will pick it up and ‘read’ it in a short length of time. Rather than a pile of disconnected visual exploration, structure the sketchbook in a way that reflects the overall development of your project. This occurs naturally as the year unfolds for most students, however, this issue may arise if you attempt to cobble a sketchbook together immediately before the due date.
More does not mean better
Bulking up a sketchbook (or series of sketchbooks) with poor work is not recommended. Weak work sets off alarm bells for an examiner, alerting them to be on the lookout for weaknesses elsewhere. This does not mean that anything ‘less than perfect’ should be discarded (mistakes provide valuable learning opportunities and cues for how subsequent learning occurred), but you must discriminate. If an image is glaringly worse than your others, consider improving it or distracting from this with the addition of higher quality surrounding work (seek teacher guidance before removal of any artwork; improving existing work is often faster than starting afresh).
Craft the sketchbook with care
The sketchbook offers an opportunity to remind the examiner that you are a hard-working, dedicated student, who cares about the subject. This doesn’t mean you must cram your sketchbook with intense, labored work (sometimes an expressive, two-minute charcoal drawing is all that is needed) but that the sketchbook speaks of your effort, commitment, and passion.
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