If you're like me and always looking for fresh ways to approach urban sketching, you’ve probably heard of The Urban Sketching Handbook Color First, Ink Later by Mike Daikubara. I’ve had my copy for a while now, and after testing out many of the methods on location, I want to share my honest thoughts.
This isn’t just another pretty sketchbook for the shelf. It’s a practical, hands-on guide that can seriously shift how you think about combining color and line.
The Urban Sketching Handbook Color First Ink Later: My First Impressions
When I first picked up The Urban Sketching Handbook Color First, Ink Later, I was already familiar with Daikubara’s earlier work, especially Sketch Now, Think Later. I expected good things, but this volume exceeded those expectations. Right off the bat, the book dives into the core idea: laying down loose watercolor washes first, letting them dry, and then adding ink details later. It’s a workflow that turns the usual “line first” habit on its head.
This approach instantly appealed to me because I’ve always liked experimenting with looser techniques, especially when I'm out nature journaling or doing fast-paced urban sketching. You can read more about some of my favorite urban sketching techniques where I talk about balancing speed and expression.
Why I was hesitant at first
I'll be honest—I was a bit skeptical about starting with color. For years, I trained myself to work ink-first because it felt safer. I could map out the scene and avoid making messy watercolor mistakes. But what I didn’t realize was that this safety net was also limiting how expressive my sketches could be. Daikubara’s method pushed me to loosen up and embrace the happy accidents that make on-location art feel alive.
Key Points
- Letting watercolor lead: Starting with color creates spontaneity and removes the fear of messing up linework.
- Speed without sacrificing style: His method is fast but still allows for thoughtful detail where it counts.
- Practical, clear demonstrations: The step-by-step demos in the book actually translate well to real-world sketching situations.
What I Loved About This Book
A refreshing workflow for on-location sketching
The main strength of this book is how it teaches you to let go of perfection. By starting with watercolor washes, you allow for accidents—drips, blooms, and color mixes that you might never create intentionally. That randomness adds life to the sketch. I’ve tried this method in my watercolor urban sketching outings, and it’s made my sketches feel more vibrant and less stiff.
Sometimes when I’m sketching on location, especially in busy places like a farmers’ market or a crowded park, there just isn’t time to do a detailed line drawing first. Using Daikubara’s method, I can quickly lay down the main color shapes to capture the mood and light. Even if I get interrupted or have to pack up quickly, the sketch already feels complete enough to tell the story.
Step-by-step demos that actually work
Unlike some sketching books that feel more like art portfolios, Daikubara’s step-by-step examples are practical and easy to follow. He breaks down his five-step approach clearly and shows how to adjust it depending on the scene—whether you’re tackling a bustling street, a quiet park, or even quick figure studies.
One demo that really stuck with me was how he handled a complex architectural scene. Instead of getting bogged down in every window and brick, he showed how to block in the overall color shapes and then selectively add line details only where they helped define the focal point. This has helped me immensely when sketching places like New York and Seattle, where the buildings can easily overwhelm you.
If you’re new to this kind of workflow, the book doesn’t assume you already know everything. For beginners, I’d also suggest my easy urban sketching for beginners guide as a good supplement.
Tips for simplifying complex scenes
One of the biggest challenges in urban sketching is knowing what to include and what to leave out. Daikubara’s advice—skip parts of a scene that are too complex or distracting—is liberating. It’s something I talk about a lot in my loose urban sketching posts and workshops. You don’t have to capture every detail to tell the story of a place.
I’ve found that when I follow his method, I actually enjoy the sketching process more. Instead of obsessing over precision, I focus on capturing the energy and feel of the scene. That shift in mindset has made me a faster and more confident sketcher.
Things to Keep in Mind
Better for intermediate sketchers
While beginners can absolutely learn from this book, I think it’s most useful for people who already have some comfort with either watercolor or ink sketching. If you’ve never used watercolor before, you might want to first explore some urban sketching supplies and get a feel for how water and pigment behave.
For those just getting started, I’d recommend starting with broader urban sketching tutorials or my urban sketching course before jumping into this method.
Not a substitute for hands-on practice
Like any art book, reading alone won’t be enough. You’ll need to get outside and try the techniques yourself. I’ve paired the lessons from this book with my own urban sketching reference photos when I couldn’t get out to sketch in person.
What helped me the most was dedicating a few outings solely to practicing this method. I intentionally left my pens in the bag and focused only on color shapes. Later, I’d go back and add ink details either on location or at home. This focused practice helped me internalize the workflow much faster.
How This Book Changed My Sketching Routine
Before this book, I mostly followed a “line first” approach, building up a sketch with ink and then adding watercolor sparingly. Now, I often grab my urban sketching kit, do a quick color study first, and then decide where to add lines. It’s not only sped up my process but also made sketching feel more playful and less rigid.
I’ve even started experimenting with more expressive materials, like combining this method with gouache urban sketching or trying it out when I’m sketching people in urban scenes. Gouache works surprisingly well with this approach because it lets me lay down bold color shapes quickly.
One thing I didn’t expect was how this method improved my sketching confidence in unpredictable weather. If it started to rain or the light changed, I already had the main colors down. Even incomplete sketches looked dynamic and intentional.
Who This Book Is Best For
I’d recommend The Urban Sketching Handbook Color First, Ink Later for anyone who:
- Has some experience with either watercolor or ink and wants to combine them in a fresh way.
- Feels stuck in a “tight and controlled” sketching style and wants to loosen up.
- Struggles with overworking their sketches and wants to simplify their process.
If you’re brand new to sketching, you might want to first check out my urban sketching for beginners post or even start with a simple easy urban sketching session before diving into this more advanced workflow.
Final Thoughts
The Urban Sketching Handbook Color First, Ink Later is one of those rare art books that goes beyond just inspiration—it gives you a method you can adapt and make your own. Whether you’re sketching in a bustling city like New York or Seattle, or just doodling at your local park, this approach can bring new life to your art.
It also fits beautifully into a broader sketching practice. I’ve started incorporating elements of this method into my nature journaling and even some draw animals studies when I’m trying to capture the essence of wildlife quickly.
If you want more urban sketching book reviews and comparisons, check out my roundup of urban sketching books. And for those looking to keep growing, I also recommend exploring simple urban sketching techniques or joining one of the urban sketching workshops I recommend.