The top floors on the Shambles nearly touch. Here's how to draw a street where nothing is square.
Ian walked away from a beautifully restored hall in York. Here's why.
Plain letters first, chunky letters second, and always check the spelling.
Perspective does most of the work in a street and almost none of it in a field. Here is what Ian does instead, and the four ways he separates a foreground from a background.
The lessons that came back again and again from the hardest scene we have set.
Most sketchers move straight to a new subject. Here is what the second attempt gives you that the first cannot.
Urban sketching is about what you notice, not where you sketch. A photograph takes some of that out, and you can put it back.
Why your quickest sketches often have the most life, and how to loosen up.
Animals move, and for a lot of sketchers that is where the sketchbook closes. Here is how Ian catches the life of a subject that won't hold a pose.
All that steel, stone and perspective can make a bridge feel impossible to draw. It isn't. Here's how Ian approaches any bridge, from a local footbridge to the Brooklyn Bridge.