Why a Quick Sketch Has More Life
- Blog
- August 17, 2026
- 11 mins
Think back to a sketch you were really pleased with. There is a fair chance it was a fast one.
The one you dashed off before the bus came, or in the last ten minutes before the cafe closed.
The quick ones so often have more life in them than the careful pieces we labour over for an hour, and that is not luck. It is what happens when you stop trying to get everything right and start trusting your hand.
On his quick sketching tour of Liverpool, Ian put it simply: with a quick sketch, you get to “let things go a little bit.” Here is why letting go works.
Speed makes you trust your hand
When the clock is running, there is no time to second-guess.
You look, you commit, you move on. Rather than breaking the scene into careful stages, Ian looks “at everything all at once,” grabbing bits of detail as he sees them and dropping them straight onto the page.
There is no room for timid, corrected lines, so the marks come out bolder and more alive. Speed does not weaken your drawing. It pushes you past the overthinking and lets your hand get on with what your eye already knows.
The clock sets you free
A time limit sounds like a straitjacket. In practice it is the opposite. “It just frees you up,” as Ian says, and “the essence is enjoyment, it’s all about having fun.”
When you only have thirty minutes you try things you would never risk with a whole afternoon: a bolder start, an unusual composition, a different first mark. The limit makes the choices for you, and that is where the freedom lives.
Leave things out
The real secret of a quick sketch is everything you do not draw. On the Liverpool tug, Ian let the whole cabin dissolve: “the cabin, it gets lost. And that’s an important learning thing in a quick sketch.”
A few streets away, sketching the Chinese arch in Chinatown, a blue car sat parked right across the view. He drew straight past it:
you can edit the scene so much more, and if there's things in the picture that you don't like the look of, you just ignore them.
He even turned a lamppost the other way, because its real angle “would have upset the balance of the picture.”
What is left has nowhere to hide and nothing to compete with, so it carries the whole picture. Leaving things out does not make a sketch look empty. It gives the parts that matter room to speak.
Let some of it stay a mystery
You do not have to resolve every corner.
“You’ve got to have ambiguity,” Ian says. “Sometimes you’ve just got to let things go.”
A loose, unresolved middle ground is not a sign you ran out of time. It is what makes your focal point read as sharp. When one thing is clear and everything around it is a whisper, the clear thing sings.
Finish it all to the same degree and nothing stands out.
Try it this week
Set a timer. Thirty minutes, two or three pens, no rubbing out. Draw everything, finish nothing, leave out what you do not need, and let the awkward lines stay awkward. You may be surprised how much more like you the result looks. Less time, more truth.
Ready to learn more?
If you would like to learn this properly, Ian teaches a whole tour of it in the Quick Sketch course, sketching his way around Liverpool in thirty-minute bursts. It is a lovely place to start loosening up.
Why a Quick Sketch Has More Life
About the Artist
Ian Fennelly focuses on capturing urban spaces and environments by drawing the places where people have been without actually including them.
His process involves layering watercolors, brush pens, and liners to build depth, texture, and detail, allowing them to fully immerse in the scene while adapting to changes in their surroundings.
About Urban Sketch Course
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