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Scott Corey, gouache and watercolor, 5 x 5" (13 x 13 cm)
I arrive at Old Sturbridge Village, a reconstructed 1830s town in Massachusetts, with the hope of
painting a farm landscape. But it’s starting to rain—terrible weather for an outdoor watercolor.
So I duck into a barn where I meet a historical interpreter named Scott Corey. I ask him if he
would mind if I paint his portrait. He can’t hold still because he has work to do, but he’s willing
to stand in one area of the barn. He talks and turns his head the whole time as I paint him,
describing what it would be like to live around here 200 years ago. My first attempt with watercolor

doesn’t turn out too well, so I dive in with gouache and make radical changes.

IS IT OK TO SKETCH STRANGERS IN PUBLIC?
Yes. In most public places people have no expectation of privacy, and you have a right to sketch
them. However, for both ethical and practical reasons, it’s better to assume otherwise. Whenever
someone notices that I’m sketching them, I try to introduce myself, and I show them what
I’m up to. My standard line is, “Hi, I’m just getting some practice sketching people, hope you

don’t mind. Keep doing what you’re doing. I’ll be done in ve more minutes and I’ll show
you when I nish.” Most often, they just want to take a photo for Facebook. If they look

annoyed after I say that line, I’ll switch to someone else. But nine times out of 10, being open
will erase their worries and perhaps make a friend. Sometimes I’m sitting too far away to make
such a connection, or I’m dealing with a language barrier. In that case, I hold up the sketchbook
and smile. at clears the air and gives them the opportunity to decline politely. If I want to do

a portrait with a lot more commitment, rather than stealth sketching, it’s best to get permission

and set the terms at the outset. en I can say something like, “Hey, are you going to be
around here a while? I’m an artist and I’d love to sketch your portrait while we talk.”
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