Connecting with Artists Through Time
Greetings! You know those moments when you’re really grateful you’re conveniently carrying your sketchbook? Earlier this year I had that when I came across an art exhibit designed for people to sketch from. I shared about that particular experience in a past blog post.
A few weeks ago I visited the Ruskin Collection in Sheffield again. This time with the conscious intention of sketching. The supplies I brought with me were just as simple as last time though. My current sketchbook, a couple mechanical pencils, and a BIC 4-in-1 ballpoint pen.
All about colour
The exhibit had changed since I last visited. I found out that they rotate out the collection and theme it. The current theme right now is all about colour. There were sections on historical watercolour pigments and natural fabric dyes, and a variety of paintings and sketchbooks arranged to show colour in different perspectives.
Two of the many balls of wool dyed with natural pigments and dyes.
I don’t think I’ve ever shared it here, but one of my hobbies is crochet. Seeing two of my loves intertwine through the world of dyes and pigments was an unexpected treat. Rows of wool balls sat on display in glass cabinets, neatly labelled with the natural dye used to colour them. Alongside more detailed information on the historical natural dyes and pigments used by both painters and in textile production in the UK.
Connections between artists through space and time
In one display case there was an old palette with an analysis of the paints remaining on its surface. Many earth tones were featured, like the classic umbers and ochres. Cobalt blue with their blue of choice, which was interesting to see.
A photograph of a sketchbook displayed at the Ruskin Collection, Millennium Gallery, Sheffield in October 2025.
What particularly drew my eye though were the sketchbooks, mostly from the late-1800s. A small selection were left open under display cases you could look down at. One of them was a beautiful moment for me in connections between artists transcending time and space. A still life study in watercolours to prepare for a larger painting, littered with pencilled notes to the side. They had been theorising and testing which pigments to use for different sections of the still life. Marking some pigments with a cross and leaving others unmarked. Separating out individual parts of the piece and noting down pigment combinations for it.
That’s how I like to break down plans for a painting.
Sometimes with a little painted thumbnail sketch, same as the sketchbook on display, or sometimes just theorising pigments next to the pencil sketch of a painting.
A spread in my own sketchbook with plans for a character illustration.
There are of course as many ways to arrange the creative process as there are artists. That’s a wonderful part of art that I love to see and discuss. The vibrancy of difference, and how it lights up in people in a myriad of ways.
Just as valuable though is that sense of connection with likeminded people. Both form two sides of the same coin when it comes to creativity. Whether that’s being inspired by looking at art, being refuelled by the joy of talking to other artists, or learning about and knowing yourself through creativity. All of that can found in both the similarities and differences and everything in between, shared with enthusiasm for each person present.
That moment of gazing down at a sketchbook page from over a hundred years ago and experiencing a spark of connection through similarity… it was one of those times I could feel my inner creative fire being tended to. I saw part of myself in a part of someone else. Both brought together by art, lifetimes apart.
Don’t worry, I didn’t forget to sketch
Moving experiences aside, I did get in a sketch! Although the contents themed around colour in the inner hall was both interesting and inspiring, it wasn’t something I wanted to sketch in pencil. I decided to revisit the same section I sketched from last time: the crystals.
My on-site sketch of an amethyst chunk slice at the Ruskin Collection in October 2025.
I upped the challenge from last time and picked out a slice of an amethyst geode. Combining the smooth face of the slice, the rough edge of the rock, and the geometric edges of the amethyst. It ended up being quite the challenge, but I had fun with it.
I’m planning on fitting at least another sketching trip in before the end of November to a different museum. It’s a little bit warmer of a solution than sketching outside now! What have you been up to recently?
