Painting in Motion with Sharon Pinsker

With every brushstroke Sharon Pinsker tells a story that captures and captivates the viewer with images that last forever. Her authenticity and love of the craft shines bright like a beacon with her light inspiring others to pick up the paintbrush and paint. Her book ‘Figure: How to Draw & Paint the Figure with Impact’ is like the holy bible for those wanting to learn the art of mastering the human figure. Sharon’s knack of capturing movements has led her into the world of animation and live action films, collaborating with other barnstormers within the creative industries. From working on fashion campaigns, book covers and celebrity portraits her work shapeshifts effortlessly into different mediums and formats.

NERD Productions' recently caught up with Sharon to discuss her awe-inspiring journey not only as a creative but as a person, to further understand what shaped her work. Like us mere mortals, artists also go through the same self doubts and anxieties, and it can often be the daily obstacles that help shape the best art.

Q> When you started out as an artist did you ever think you would publish a book that would act as a resource and a guide for other artists?

Sharon> I can't honestly answer that question because I never 'started out as an artist'. As far back as I can remember I was only happy if I was making something, usually a drawing or a painting. My artwork was more of a compulsion, than an ambition. So it was more by luck, than by design I discovered I was able to make a living out of my addiction. I certainly never imagined anyone would be vaguely interested in reading about my work process, let alone want to publish a book about it. So it was completely mystifying to me when a publisher approached my agent and requested a meeting to discuss commissioning a book.

I remember the look of abject horror on my agent's face when I turned to the commissioning editor and enquired - "Are you sure you have not confused me with someone else? Have you seen my work ? I really don't think anyone would be interested in reading about how it’s done."

Examples of Sharon's storyboards/visualisations

I still think that book was successful because I shared the struggle I have with achieving goals and meeting deadlines, rather than the work itself. The questions and conflicts that arise with all aspects of problem solving... and the continuous internal dialogue that we all have while working. The title was the editor’s choice, not mine. I felt it implies that I know "How to..." do something -but whoever reads it will quickly realise I am still working it all out myself!

That's ultimately how I see my work anyway, like the "working out in the margin" never
as a finite piece.

I still get messages from people telling me how helpful the book has been to them, and it is listed as recommended reading ,even now. I am thrilled by that of course, but equally amazed. Even more surprising is to see it mentioned in quite unexpected places!

​The Interaction Between the Brain Hemispheres While Drawing – PRINT Magazine​

​10 Libri per coltivare il “mindset” del perfetto programmatore

Q> Did your distinctive style come naturally or was it something you developed while at Central Saint Martins and Parsons School of Design?

Sharon> It depends on what you mean by 'style', maybe the images just end up looking the same. That is entirely unintentional though because more often than not, I am trying to do different things all the time. My work is developing and mutating with every new project. I don't start with a particular look in mind but every job will dictate how I approach it. Invariably it goes through many incarnations.

Yes, during this process I will be drawing on things I learnt while at CSM and Parsons but also everything I have done since then. Nothing is ever wasted, even if discarded... and a lot is discarded. Everything I do is a compilation of past trial and error.

Q> It can be a hard life making a living as an artist, did you ever go through any self doubts
early on in your career?

Sharon> Every single day.

Q> What do you think is the biggest obstacle for young artists in today's environment?

Sharon> I think young people today have so much more to deal with, the challenges must be overwhelming. When I was at St. Martin's, as it was then, we had three choices for a degree course after Foundation, these were Fashion, Graphics and Fine Art Now young people have to choose from so much more including live action film, 2D animation, stop motion, photography, graphics, CGI, motion graphics, motion capture, VR, WebDesign, AI. to name a few ..there is so much pressure to specialise which takes time and experience which means less time for development and growth in other disciplines.

The advantages of more advanced technology and accessible information at their fingertips doesn't lessen the disadvantages of not having any more time or freedom to experiment and find their own focus. I wanted to paint people so I chose to study fashion because I realised I would have more access to life drawing classes. Fundamentally we had to know how clothes would work on a body. If I had chosen Fine Art, back then the life drawing classes were few and far between, they had been abandoned in favour of Abstract and Conceptual Art.

I don't know if it would be so easy for me today to study Fashion and then Fashion Illustration but I do know that if I hadn't had the chance to experiment in those fields then my work would not have taken me on the journey that ended up with my working in film and animation which was a place that my illustration work seemed to fit best.

The pressure of having to choose a career in itself is a terrifying prospect for a young person when they are trying to find their way in a scarily competitive field. They need space to make mistakes and learn from them and how valuable they are... more valuable, in my opinion, than their successes.

So to answer your question the biggest obstacle for young people, I think, is lack of time to find their feet before having to join the race.

Q> You’ve worked with fellow NERD director Shay Hamias, could you maybe tell us a bit more about that dynamic?

Sharon> Shay is fabulous to work with. He is one of those people that can make anything work. However challenging it might be, he makes it look easy. I remember if ever I saw a problem he would see a solution.

He smiles a lot too and that makes a world of difference, collaboration with Shay was a joy! I can’t wait to craft with him again.

Q> Do you still feel like you're learning and growing as an artist?

Sharon> Absolutely. It’s that eternal paradox, possibly Aristotle? " The more you know, the more you know you don't know ".

The learning and growing process only increases the more you do... which is all the more frustrating because, of course, then you have less and less time!

Whether you’re just starting your painting journey or looking for a source of inspiration we highly recommend reading Sharon’s ‘Figure: How to Draw & Paint the Figure with Impact’ and to see more of her wonderful work click here.