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    Personal Sketchbook Drawing
Third in a series of imagined cityscapes, drawn into a 6.5" x 10" sketchbook. The inspiration grew from an isometric cityscape doodled into a much smaller sketchbook during coffee breaks. The emphasis was on rooftops, clusters, and street layout, which inspired a nicer version, rendered in ink and gray markers to create a sense of depth. In turn, this inspired a final polished version, based on those two sketches. Most of the pencil work was done in cafes, while the ink and marker work was done in my studio, with careful thought given to the shades and distribution of the gray tones. Ink was done with Sakura Pigma Micron pens, and color washes done with Prismacolor Design Markers in tones of 10%, 30%, and 60% cool gray.
The original pencil sketch, rendered into a 3.5" x 5.5" sketchbook. This was purely out of my head, though I do have an affinity for the rooflines and cluttered layouts of old-world cities and industrial waterfronts.
The follow-up sketch, done on the next page of the sketchbook. Given the stiffness of the buildings and layout, I used the water to impart a sense of movement as a way to loosen up the drawing, while also using the black mass of the harbor to counter-balance the white and gray tones.
The final pencil sketch/lines of the drawing in the 6.5" x 10" sketchbook. As you can see from the process shots below, this drawing involved a lot of planning and thinking of the layout, and the development of the structures. Much like digital/vector isometric illustration, I started with a basemap layout of the buildings and elements, and then built them upwards.

Throwing a little imagination into the scene, I wanted the larger, nicer buildings up front, and in the lightest tones, as well as that little "fisherman's village" at the lower right corner, and then have the scene recede into darker tones amongst smaller buildings and dwellings. The two tower spires up front serve as the "grand entrance" to the scene, while the overpass road separates the lighter, nicer section of the layout from the darker, seedier section further back. The tanker ships and harbor boats keep things industrial.
Planning the placement and distribution of the gray tones. Including white and black, I had five tones overall to work with. I wanted to obtain and nice gradient heading towards the back of the drawing, while balancing between a smooth, uniform spread, and something a bit more jagged.
Markers aren't erasable, so after making my final choices for the gray distribution of the gradient, I created a cheat sheet to remind myself of the placement of the gray tones (red = 60% cool gray, orange = 30% cool gray, and yellow = 10% cool gray).
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