It is beyond a reasonable doubt that the brilliant courtroom drawer, PRISCILLA COLEMAN has one of the most fascinating jobs in the land. Niki Browes talks to her – and is riveted
FROM HOUSTON, TEXAS, Priscilla Coleman’s mother was an artist and fashion illustrator who also dabbled in portraits and landscapes using oils, watercolours, pen, and ink – and dutifully kept her daughter topped up with art supplies. At art college – which was always going to be obligatory – Priscilla studied Fine Art and Graphic Design but was unsure of the future of her career.
Whilst still at college, a tutor put her forward for a big court case as she was quick and good at getting the likenesses of people; these sketches are often sold to television stations, newswire services, newspapers, or the subjects of a sketch. Soon, the Houston television channel KTRK started commissioning her more regularly as her speed and talent for portraiture meant she had no problems hitting deadlines. Then, she met an Englishman from being set up by a friend. After he admitted to being homesick, they moved to the UK and wed in 1987. But the transformation from US courts to UK ones was not a straight-forward process; in the US, you are allowed to draw the attendees as the court unfolds; in the UK, courtroom artists are not permitted to sketch proceedings while in court and must create sketches from memory or notes after leaving the courtroom. A steep learning curve followed but it was worth it; today she’s one of the best and has sketched everyone from infamous murderers, political scoundrels, warring WAGs and, most recently, royalty. All rise! Hear her on her fascinating courtroom creative journey.
Courtroom drawing is almost like working in an emergency room.
You just know you’ve got to get it done and there’s no time to waste. When you’re hearing all these weird things, it’s like, ‘I can’t believe I’m listening to this stuff. Some of the explanations!’ Then, you read the newspaper and you think, ‘my God.’ You’re working just like the reporters, the judge and the lawyers and you just click in and do what you have to do. And you don’t think about all the crazy things you’re listening to.
I’ve always used a toned paper called Grey Television or Toned Grey.
It was from when television cameras were taking a picture of your work and they couldn’t handle the sheer white light. The advantage of using toned paper means you can use white as a highlighter. In the States, I mainly worked with oil pastels but, in this country, I couldn’t find the same materials. I started using wax s
