I’ve been drawing since I was a kid, long before I had any words for what I was doing. Pencils, notebooks, napkins—I’ve always had the instinct to record what I see. But it wasn’t until I stumbled into the world of urban sketching that my sketchbook habits took on a new life.
Drawing on location isn’t just about practice. It’s about presence. And when I discovered The Urban Sketcher by Marc Taro Holmes, it gave that experience structure, language, and deeper meaning.
If you’ve ever felt overwhelmed by busy cityscapes or unsure where to start when you’re out in public with a sketchbook, this book will help. The Urban Sketcher doesn’t try to make you perfect—it encourages you to dive into the scene, embrace the chaos, and tell visual stories.
That’s the real gift Holmes offers here: permission to sketch expressively, not perfectly.
The Urban Sketcher: A Grounded Artist’s Take
The phrase “urban sketching” gets tossed around a lot, and if you’re new to it, it might feel a bit vague. Essentially, it’s the practice of drawing from direct observation, out in the world. Sidewalk cafes, markets, street corners, people on the move. I’ve written more about what urban sketching is, but Holmes’ book is what made the idea click for me.
Rather than bombard you with strict rules, The Urban Sketcher reads like a workshop with an encouraging mentor. Marc Taro Holmes shares his thought process as he sketches—explaining why he chooses certain lines, how he decides what to leave out, and when to switch tools. It felt like sitting beside someone far more experienced but completely down-to-earth.
I first took the book with me to a local café, trying out Holmes’ method of starting with a loose pencil scribble, then refining with pen. That session wasn’t my best drawing ever—but it was one of the most fun I’d had in years. I stopped worrying about whether it was good, and just focused on recording what I saw. I’ve used his three-step method ever since, whether I’m in a crowded market or just sketching a quiet corner of my neighborhood.
Key Points
- Marc Holmes’ pencil-ink-brush method taught me how to simplify complex scenes without losing the spirit of the moment.
- His storytelling approach helped me stop obsessing over details and instead focus on what made a scene feel alive.
- The watercolor section is powerful but assumes some prior experience—pairing it with watercolor urban sketching basics helped me fill in the gaps.
Drawing Techniques That Stick
When I first started sketching on location, I would freeze up. I'd spend more time choosing a spot than actually drawing. One of the biggest takeaways from this book was how to get started quickly without overthinking.
The Three-Step Process
Holmes' method is simple and repeatable. You start with a quick pencil sketch—what he calls the “scribble.” It’s just there to find the overall shape and movement. No pressure. Then, you go over the lines you want to keep with pen, tightening up the design. Finally, you use a brush pen or dark ink wash to block in the shadows.
This method clicked with me right away. It gave me a rhythm and structure that I could follow even on hectic streets. When I was sketching people in motion—something I used to dread—it became manageable. I even began developing confidence drawing in public, which was a big leap for someone who used to hide my sketchbook.
I’ve since started using this approach when working on drawing animals from life or even creating illustrations from urban sketching reference photos.
Storytelling Through Sketching
Before reading Holmes’ book, I thought of sketching as something purely visual—get the proportions right, make it look like the thing. But Holmes reframes it as storytelling. He talks about “narrative,” “guiding the viewer’s eye,” and creating a “trail of breadcrumbs” through the composition. That shifted how I draw.
Building a Visual Trail
A sketch, Holmes argues, isn’t just about what you draw—it’s about how you draw it. He encourages thinking in layers of contrast, interest, and composition so the viewer is led through the image with intention. This was eye-opening for me. Instead of trying to fit everything in, I started asking: What’s the story here? What can I leave out?
This approach naturally carried over into my nature journaling practice, where I now spend more time framing the scene before I ever touch the page. It’s not about capturing a static view. It’s about sharing the experience of being there.
The Watercolor Section: Great, but Not for Total Beginners
Here’s where I think the book could be a little misleading for beginners. The watercolor techniques Holmes introduces—charging in, growing a wash, tea/milk/honey consistency—are excellent. But they’re also pretty advanced.
If you’ve never mixed paint before or don’t know what warm and cool colors are, you might hit a wall. I remember reading about “edge pulling” and thinking, Wait, did I miss something? There’s little explanation of the basics like how to set up a palette or mix secondary colors.
That said, if you have a bit of experience (even if it’s just dabbling), this section can be a game-changer. I personally found that revisiting this chapter after some practice with pen and ink urban sketching made the watercolor part much more accessible. If you're just getting started with watercolor, this post may help you warm up before diving in.
Who This Book Is For (And Who Might Struggle)
The Urban Sketcher works best for artists who are already drawing regularly or who are excited to jump in with some momentum. It doesn’t explain the absolute fundamentals like perspective or proportion. If you’ve never drawn from life before, I’d recommend starting with urban sketching for beginners or the beginner’s guide to urban sketching and pairing it with this book for inspiration.
On the other hand, if you’re the kind of sketcher who loves loose lines, vibrant marks, and expressive style, you’ll find Holmes’ style super energizing. I’ve returned to it several times for that boost of motivation when I feel stuck.
Where to Go Next
After finishing The Urban Sketcher, I started getting more serious about refining my toolkit and exploring other resources. I started tweaking my urban sketching bag, tested different pens and urban sketching palettes, and tried sketching in different cities like Seattle and New York.
Some days I practice with urban sketching exercises. Other times I follow along with an urban sketching tutorial to sharpen my composition.
If you’re more of a structured learner, urban sketching classes and urban sketching workshops can add real momentum. And if you're just in the mood for visual inspiration, flipping through the best urban sketching books can spark fresh ideas.
Is The Urban Sketcher a good book for beginners?
I’d say it’s good for enthusiastic beginners who have already done a little sketching from life. The tone is friendly and encouraging, but some of the techniques—especially watercolor—require a bit of prior experience. Pair it with easy urban sketching for beginners for a softer entry point.
What materials do I need to follow along with The Urban Sketcher?
You don’t need much. A pencil, a waterproof ink pen, a small sketchbook, and something for tone (like a brush pen or travel watercolor set). Holmes shares a pretty minimal kit in the book. If you’re not sure where to start, I’ve listed my go-to urban sketching supplies.
Is there a digital version of the book?
Yes, you can grab The Urban Sketcher on Kindle, and it looks great on a tablet. I used mine on an iPad next to my sketchbook so I could reference demos while drawing.
What if I want more guidance or community support?
Sketching can feel lonely if you’re just starting out, which is why I recommend checking out urban sketching world or joining a local chapter of the Urban Sketchers organization. There’s nothing like drawing alongside others who are just as curious as you.