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May 4, 2015

Meet the Symposium Instructors: Behzad Bagheri

Behzad Bagheri, Iran

Behzad Bagheri
Behzad Bagheri qualified from Tehran University of Art with a Master’s Degree in Architecture.
When he first started painting, he adopted watercolors and sketches for the purposes of his initial architecture designs. Aesthetics soon took over the functional side and he found himself painting for artistic purposes rather than functional, architectural purposes.
His work was becoming a means for him to connect with himself and his surroundings and share these impressions with others. It became a way to communicate with others. Since the transformation of his work from design to art, he has participated in several solo and group exhibitions in Iran and overseas.
For the past ten years he has been teaching art and architecture. He is experienced in Islamic art and architecture, applied geometry, perspective geometry, painting and drawing with watercolor, pencil, graphite and charcoal.
Location: National Museum of Singapore
Behzad Bagheri-Sketches (5)
Workshop description
Light and shadows visually define objects. The direction from which a dominant light originates, the placement of this light source affects every aspects of a drawing and make changes in objects lightness, darkness and color. Similarly, the shadows shapes, sizes and values range of shades in different times of a day are always changing .On the other hand ,when we walk up to an object and see it from various sides, we’ll have new images of the different values created by the light and shadows. So, the different characteristics of the light hitting an object can completely change its appearance.
Through this workshop we try to figure out, perceive and present the beauty and warmth of the sun’s light and its companion with the shadow in sketch. We start with the geometry of light and shadow and its perspective principals. We also learn how the objects are seen facing natural and artificial light sources, and what shadows they leave around.
Then we learn values and different shades of grey between white and black (light and Shadow) and experience it on the paper. After that, we look around and change our position, choose frames and start testing presentation of light and shadow on the paper through trial and error.

For more information about the Symposium, including schedule and registration information, please visit the Symposium site.

May 3, 2015

A Prayer Tree for Nepal

A few days ago Samantha Zaza made a post about Nepal, and her art students, and how they were surviving the earthquake. Obviously there will be a lot to accomplish before life comes close to normal again there. To help the efforts, Studio 1482 (including myself) has created a print fundraiser campaign. Make a donation of $50 to CARE to help the victims of the earthquake in Nepal and receive a print from one of the studio artists. Click HERE to learn how. The image below is mine, titled A Prayer Tree for Nepal. Thank you, Veronica Lawlor

Meet the Symposium Instructors: Asnee Tasna

Asnee Tasna, Thailand

Asnee graduated in Architecture from Chulalongkorn University in Bangkok in 1972. He had then worked in Singapore with a private architectural practice in Singapore soon after the graduation till 2001. Asnee retired from architectural practice and returned to Bangkok, his home town in 2003 where he is now residing.
Asnee is an Urban Sketchers’ correspondent for Bangkok since 2008 and an instructor for USk’s 2nd Symposium of 2011 in Lisbon. After having successfully founded Bangkok Sketchers in 2010, he set up the regional chapter, Urban Sketchers of Thailand (National Chapter), in Dec 2014 with the aim to combine the active talented sketchers across the country. Asnee was one of the co-authors of the Architects’ Sketchbooks, published in Bangkok in 2008 (Chinese version: published 2013), a contributor of The Art of Urban Sketching (2012) and An Illustrated Journey (2013). He is now teaching as an external lecturer/instructor for Architectural Faculty of Bangkok University and Arsomsilp Institute of Arts in Bangkok. 
SketchWalk C: Singapore Now and Then

Location: Queen Street
Singapore is a compact city state with surprisingly varied characteristic, its multi-racial population offers the unique sketching experience of its own. As visitors, one can’t help but notice the strange co-existence of the unlikely cultures, customs, traditions, people, architecture and landscape. But as sketchers, such rich variety of Singapore cityscape translates into a pleasantly surprise and sketching challenge and fun.
Singapore Now & Then will aim to explore the old and the new of Singapore by visiting its national monument, the historical and the iconic building, Raffle’s Hotel and its hi-tech National Library, another icon building of the recent days. These two buildings are situated not far from each other yet far different than each other in so many ways. The activity will allow the participants a glimpse of, as well as to capture with his or her own hand, the Long Bar, where the Singapore Sling was invented and patronized by a host of elites including Ernest Hemingway and Somerset Maugham, in addition of a visit to the public area of the hotel with its splendid court yards.

For more information about the Symposium, including schedule and registration information, please visit the Symposium site.

Meet the Symposium Instructors: Anita Ryanto

Anita Ryanto, Singapore

AR Under The Olive Tree 3
Anita Ryanto is a full-time lecturer at Ngee Ann Polytechnic, School of InfoComm Technology, Singapore. She has been teaching foundation drawing and painting classes with traditional and digital mediums to students attending the Diploma in Animation & 3D Arts and the Diploma in Multimedia & Animation for nearly 10 years.
Anita holds a Degree in Illustration from Curtin University, Western Australia and a Diploma in Graphic Design from Nanyang Academy of Fine Arts, Singapore.
Her passion for drawing has grown even stronger ever since she joined Urban Sketchers Singapore three years ago. With her constant companions – a sketchbook, a traveller palette, a few pens and a water brush, she is always ready to sketch anywhere, anytime.
A self-confessed food-aholic and sketching addict, she is currently working on a book featuring her food sketches in water color.

Activity 1: Street Food Sketching.

Yuan Yang Hill St cafe
Singapore is a small island with a rich cultural diversity. Her island people include races from all over the world. Her street food embodies and reflects this rich cultural heritage.
The diverse heritage of Singapore’s street food is definitely worth sketching. In this activity, the participants will take away with them some cultural knowledge of the local cuisine from the major ethnic groups – Chinese, Malay & Indian including Peranakan.
They will get to taste the colors and feel the textures of Singapore Street Food through sketching in pen and watercolour. And they get to taste the food, too!

More details.

For more information about the Symposium, including schedule and registration information, please visit the Symposium site.

Having Fun, When I Should be at my Computer!

by Lynne Chapman in Sheffield, UK

Sheffield's Crucible Theatre is home to the World Snooker Championships. It so happens that the partner of one of my sketch-buddies, who lives across the Pennines in Manchester, is potty about snooker. He had a ticket to watch it on Wednesday, so my friend took the train to Sheffield with him, but spent the day sketching instead.

Which is why I ended up taking the day off work on Tuesday.

We met up with 3 other members of Usk Yorkshire, who'd also escaped for the day, and we had a lovely time (the way you do, when you're being slightly naughty). We pootled about the city centre, sketching whatever took our fancy. We had fun and games with the weather again though: I left the house in a hail storm, then we had a couple of hours of alternate brilliant sunshine and heavy showers. Now you know why we Brits are obsessed with weather! 

We sheltered under a big overhang to do the sketch above. There was quite a lot of interest from passers-by. I know some people find it annoying when people stop to talk, but I rather like it. It's the random connections with complete strangers that I enjoy. Everyone has their own story, often about how they used to love art at school. I always try and recruit them when they say that. Sometimes it works too.

We were freezing by the time we were done and needed to warm up. We spotted a wine bar with really big windows upstairs and, because it was on a corner, it afforded great views. Unfortunately, we discovered the upstairs area of the bar was closed. When we looked all forlorn and explained what we'd wanted to do, the waiters let us in anyway. They even brought us up coffee and muffins while we worked - how nice is that? 

Because we had the place to ourselves, I got down onto the floor, sitting virtually under a table to get the best view of the building above. It's been turned into another wine bar / restaurant now, but I fell for the typography craved into the stone, from the days when it belonged to Sheffield Water Works.

After lunch, we decided to stay indoors and keep warm, so went into the Winter Gardens and bought yet more coffee, so we could sit at the cafe's tables: 

My friend from Manchester drew the greenery...

...but I fancied having a go at the view out of the windows again. I seem to be rather into architecture at the moment. Also, given the snooker was on, I thought I ought to take the opportunity to sketch the Crucible Theatre, where it all happens:

We still had over an hour left before the snooker turned out, so we girded our loins and braved the outdoors. We found a sunny spot, sitting on a grassy mound (just to the left of the view above), opposite where a big screen was streaming the snooker from inside the theatre. I drew this man who was watching the play. The view behind him was rather boring, but at least the cast shadow added a bit of interest:

Good Morning Kilcolgan...and Good Night!

By Róisín Curé in Galway, Ireland

No matter how much I might like to be out in Galway City with my sketching stuff, it's not always possible. I'm having a period of intense work at the moment (more like: intense procrastination interspersed by short periods of guilt-driven work), and it takes the guts of a day to get to Galway, sketch and get home in time to feed three very hungry kids who think there's never anything in the fridge. So in the absence of such a luxury I'm sketching what's in front of me - and since my workplace is also my home, that's a lot of sketches of home.

One morning last week I came down to this sight through my window:

A rather plump lady sheep was calmly ruminating on her breakfast while her child squashed itself between her and the stone wall. She didn't move for my sketch (she was inscrutable, truth be told) and I was happy to catch the morning rays. That gave me the idea to draw the next morning -

It can work quite well to sketch at breakfast, especially since I'm only the cook, preferring to wait until calm is restored to have my own breakfast. Who looks after the family if the cook is sketching? No one - and good enough for them, as we say in Galway. They went without their nice cup of tea that morning, but they are more than able to make it themselves.

Next day, I wondered if a plastic milk carton would look as nice in a sketch as it did in the flesh, with the morning sun shining through it -

A bit rough, but that's at the very core of urban sketching - to be free and enjoy yourself. The next morning I ignored that principle and made a sketch that I didn't enjoy, just because after three morning sketches I felt I ought to do another. I don't know if I've ever had a worse reason for sketching - but again, it's only a sketch - so what?

Later that day, a tiny set of paints arrived in the post. It is almost microscopic. Eight half-pans in two rows with a third row of four between them that I added myself. I put it to the test (yes, over a breakfast sketch the next day):

I'm trying to pare back my kit so that in theory I can whip everything out and paint standing up, paints in my left hand, sketchbook in my right, pens and pencils hanging off my person somewhere (I'm having a huge amount of fun inventing such a thing with my sewing machine right now).

I took the tiny sketch kit up to bed to see if I could paint lying propped up in bed. I've usually found the kit a bit unwieldy in the past. The only thing that inspired me was a newly-tidied stack of books on the floor:

Urban sketches are often about stories as much as sketches, and this stack of books tells the story of me in a nutshell. The book on top says I read to a child in my room. The travelogues say that I often wish I lived elsewhere. The historical thriller says I like to immerse myself in a romantic and exciting past. The Ross O'Carroll Kelly book says I am very shallow and adore Irish humour. The book on business for artists says I'm always trying to turn paint into gold. The books I didn't choose say my family choose thoughtful gifts. The fact that this is how my books look after they've been tidied up suggests I'm not great at being tidy.

So if you're stuck for something to draw why not draw what's in front of you? Better than sketching nothing!

Drawing in spaces: Brooklyn and Manhattan (thinking about the Savage). by Sharon FrostStu

There are words in the air: studying Spanish in the Brooklyn Commune cafe, Windsor Terrace, Brooklyn.

 On the F train in Manhattan: to the dentist, to the movies (Relatos Salvajes) and, finally,  an argentine dinner. 
Thinking about Relatos Salvajes in Hamilton's in Kensignton, Brooklyn.  One relato: car removed by a towtruck -- Ricardo Darín tries to have the fine rescinded.

Blog: Day Books

May 2, 2015

The Orlando Philharmonic Orchestra presents Tosca at the Bob Carr Theater.

by Thomas Thorspecken, Orlando Florida

Opera is very much alive in Orlando. I went to a rehearsal of the A fully-staged performance presented by Orlando Philharmonic Orchestra at the Bob Carr Theater. This was the first time the singers got to block their scenes using the set, which was still under construction. Actors walked the stage, getting used to the many steps that hadn't been present in prior rehearsals.

Mario Cavaradossi, (Adam Diegel) worked on a large portrait of the Madonna that he based on a woman in the churches congregation that he never met. As he paints, he compares the Madonna's blonde beauty to the beauty of his dark haired lover, Tosca (Keri Alkema). Tosca is a full figured fiery Prima Donna who loves the artist, but she suspects his love of art. She recognizes the face in the painting as the beauty in the congregation and accuses the artist of being unfaithful. He assures her of his love but jealousy still tears at her. Since I was sketching, I seldom had time to look up at the sub titles projected above the stage. I discovered the emotional context of every scene by watching Keri's facial expressions. Her performance acted as my translator.

The artist gives refuge to a political prisoner essentially making him an enemy of the state. Baron Scarpia, (Todd Thomas) chief of the secret police, is searching for the political prisoner. His investigation leads him to the artist's studio. There he finds Tosca and he is smitten. He shows her a red fan he found which she realizes as belonging to the beautiful woman in the painting. Her worst fears seem confirmed and she bursts into tears. She becomes trapped between her allegiance to her rebel artist lover and the scheming of Scarpia, who will stop at nothing in his unquenchable lust for her. The artist is imprisoned and Scarpia claims he will free him if Tosca surrenders to his sexual advances. The explosive triangle comes to a hair-raising conclusion in one of opera’s bloodiest, most intense dramas.

Joel Revzen is the guest conductor for the Philharmonic although at this rehearsal only the piano was on stage. Henry Akida is the stage director. He worked diligently during the rehearsal to keep the staging clear. At one point, the whole chorus came on stage in a processional with candles and one large red banner. Henry realized that the banner blocked some audience members view of Scarpia who stood elevated on the platform. To resolve the issue, the banner holder was moved far to stage right. These are the kind of issues that are only discovered as staging and props come into use. Lisa Buck created the stunning projections that depicted huge domed ceilings. The images lap dissolved between scenes giving the story an added depth. So many elements have to work together to make such a big production a reality. Amazing productions are truly miracles.
Analog Artist Digital World

May Day on Clark and St. Viateur

by Shari Blaukopf, Montreal, Canada

Another dome — this time the Church of St. Michael and St. Anthony in the Mile End district. It felt like a bit of a celebration to be sketching outside. I was sitting on a bench for the first outdoor sketch of the season and the streets were packed with pedestrians, out walking during lunchtime and enjoying the day on outdoor terraces. This combo of Byzantine-style Polish church next to the blue and white service station are exactly what Mile End is all about —a mishmash of immigrant history since this is where every ethnic group used to settle first when they arrived in Montreal. Now that Ubisoft is located around the corner it’s more of a hipster hangout and the housing is untouchable, but it’s still one of my favourite neighbourhoods in Montreal.

New York demonstrations in Times Square

By Rene Fijten (Maastricht, the Netherlands) in New York
Veronica Lawlor showed some nice drawings of the protests on Union square, New York, in support of the demonstrations in Baltimore, on the death of Freddy Gray. As it happened I was in New York as well, as tourist, visiting the city with my wife.
That wednesday night we were returning from dinner on 49th street when we heard helicopters overhead. A few minutes later some 20 police vans appeared, spilling out policemen and blocking 9th ave. The protesters came from Times square, maybe 200 persons, marching on the sidewalks and crossing the avenue. They did not seem to know where to go, because they walked into the direction of Hells kitchen, but suddenly returned and came back to 9th ave, only to take the turn downtown towards PABS.
It was a bit awkward to see that the sidewalk terraces of the restaurants had business as usual, people were eating dinner, but we also noted that the liquor and electrical stores were closed and had police protection in front of the doors.
We saw 2 arrests just before our nose, quite an uneasy experience.
We walked to Times square (our hotel was on 8th ave and 42nd, just a block away). On Times square a large group of protesters (a spin-off of the Union square protesters) stood shouting and showing signs. A large group of police officers stood near by to try and redirect the traffic and keep tourists out of the way. At some point some of them blocked the road (I could not see if that was on purpose), and some 10 officers jumped on a protester and carried him away. It was over so quick I could only draw with the tools I had at hand.
The atmosphere was changing quickly, and an angry young black man started to talk to us to try to explain. We decided to return to our hotel. We heard the sirens and helicopters until late that night.

May 1, 2015

Steel Workshop

Behind this gates there is a welding smell and fumes, there are hammers knocking, there are cranes moving, there are sparks and metal sounds everywhere but not on a saturday, on a saturday there is silence, stillness and me sketching on the outside. 

Spanish Village, Balboa Park

By Lydia Velarde, San Diego

Spanish Village is one of the many areas we will be able to draw while at the 3rd Annual Urban Sketcher Sketch Crawl in August. I used watercolor in this sketch today while with a week day sketch group. You can see a video of the artists and our sketches on my youtube channel.

Patrick Vale: from sketchbook to grand scale

Interview with Patrick Vale by James Hobbs

Macy's, New York

Can you say a bit about yourself? You're an illustrator based in London and New York?
Yes, I’m an artist/illustrator based in London for now, but I have just come back from living in New York City for four months. I’m about halfway through the visa application, so all being well, I will move there at the end of the summer. I grew up in Bristol, which is a great city in the west of England, then moved to London, where I did a degree in graphic design at St Martins. These days I split my time between making my own work, which I sell, and taking on commercial and architectural briefs that interest me.

Where are people likely to have seen your work?
A lot of places! Most recently I have illustrated a book, This is Cézanne by Jorella Andrews (Lawrence King), where I got to imagine and draw Cézanne’s life in Provence and Paris. And before that I did a Christmas ad for BMW in Munich where I was filmed drawing with a pen that conducts electricity, so the scene I created ended up becoming a working electrical circuit that lit up lamps.

Junction of Allen Street and Rivington, New York City
So it seems as if drawing is fundamental to your illustration work.
My work is all about the drawn line. I want my drawings to have a life to them that makes them leap off the page. For certain jobs, the work may well end up on the computer, but the drawing part will always start on paper. Having said that, I have recently bought a Wacom Cintiq pen tablet and have been enjoying drawing on it. It's great for colouring and doing quick roughs.

Outside Tate Modern, London
Tell us about drawing in sketchbooks on location: how much do you do that?
This is something that I used to do all the time as a kid and a student and if I’m honest, it’s something that I stopped doing until my trip to NYC in November. I guess I thought I draw everyday anyway, so what's the point... Being there, however, and filling a few sketchbooks has made me realise how bloody important drawing on location is. When I do commercial jobs, it's great to draw on location, but the reality is that you often don’t have time and the client doesn’t have a budget to send you across the world.

C Train, New York subway
So what effect does working on location have on the way you work? 
I have noticed how drawing on the fly has made my drawing so much sharper. When you are on the tube or subway you might have seconds to capture the essence of someone's character. It's brilliant drawing practice. I now keep a small book in my pocket and a larger book in my bag and draw when I’m travelling. I’m also going to try to dedicate at least an afternoon a week to drawing on location. Most recently I have been revisiting places I used to draw as a student, which has been fun, such as the Victoria and Albert Museum and the Imperial War Museum.

Imperial War Museum, London
How does work you do on location feed into your work in the studio? Are you using particular drawings or do things come from other sources? 
When I’m making large-scale works for myself I always draw on location and make a series of sketches. I take photos and more recently I take a video of the scene. I have just finished this huge drawing in New York, which is the view from the Rockefeller looking back down towards the Financial District. It ended up being about five or six feet wide. When I went up there it was minus 15C (5F) so I could only manage a couple of hours, but I did lots of quick sketches and took high-res photos that I then stitched together. I shot a video as well.

Back in the studio: from the Rockefeller Center, New York
Back in the studio I spent a month drawing the scene – a time-lapse film will be out soon. The sketches and especially the video remind me of being there and I can see the city as a living, breathing entity and not a static image. I try to bring the spontaneity of the drawings on location back into the bigger, studio-based work. When I’m working on something this size it is exactly the same as on location, just with more detail I guess.

A detail from the view from the Rockefeller Center (above)

What do you use to draw with when you're working outdoors?
I use a Lamy EF and recently I have been using a Pilot Fineliner. I think I own a Moleskine in every size they do.

Your time-lapse Empire State of Pen drawing has been viewed more than 600,000 times - why do you think that is?
Hopefully because people thought it was a decent drawing. I guess I drew a view that everyone is familiar with and one that you can’t fail to be awestruck by. When I get to see cities like London and New York from these high vantage points my jaw always drops and I just stare and stare. There's so much to see, so much history and it's constantly changing, being knocked down and rebuilt, rediscovering ancient parts that were once lost. These cities are centuries old, therefore my drawings take a long time to do them justice. When this is sped up as a time-lapse perhaps you see the city being built from a blank sheet of paper, and it reminds people of the scale of it. My line is loose and expressive, which I hope gives the city a character of its own.

Patrick Vale
Is your work changing? Does success as an illustrator lock you in to a particular way of working?
I’m learning all the time. It’s true that you get known for a certain thing, which is good commercially, but I think it is up to you as an artist to be always thinking of other ways to work and experiment. I don’t want to be working this way in 20 years. I have been doing a lot of portrait work recently and am going to start to paint with oils, having never used them. I am getting to a point where I can work pretty hard for a month or two on jobs, and then take a month to do my own stuff, which is a nice balance.

You can follow Patrick Vale on Instagram and Facebook.


Phulbari Street in Boudha, which I sketched this February.

For six days I have been thinking of how best to write this post, as I am wrought with emotions of all sorts over the recent earthquake in Nepal. As some of you know, I started volunteering as an art teacher at Shree Mangal Dvip School for Himalayan Children (SMD) five years ago, and typically spend my summers teaching the children interested in art how to draw, paint, and sketch.

Annapurna, from my first visit to Nepal in 2010

It has been a deeply rewarding experience to say the least— PeF has also joined in on the fun, and our young artists have become our family. Kim Marohn and the Paris Urban Sketchers have generously donated art supplies to the school in the past, and Mário Linhares and Ketta Cabral of USk Portugal sent us 20 beautiful handmade sketchbooks which the kids cherish, and have long since filled with drawings and sketches from their daily lives:

Student life at SMD, by Gyamtso and Kiran

I have been able to contact one of our kids, Tsewang, a gifted young artist, who has assured me that the near 240 children and staff of SMD are safe, though living outside under tarps. The school buildings have been severely damaged and rendered unsafe for use. Fortunately Tsewang's family is safe, but their village in Nubri, in the hardest-hit Ghorka region, has mostly been destroyed. His home is gone. Many of the children who board at SMD do not have homes anymore; their villages are simply gone, and some still do not know if their families are alive.

News has been slowly trickling in about the older artists who have now moved on from SMD (the school only goes up to 10th grade), and thankfully most are safe. However, one of my boys has been hospitalised after a wall fell on him, and at this point no one seems to know more about his condition, or exactly where he is. There are three other boys whom no one has heard from— one of whom is Pemba Gyaltsen, whose sketch is below.

People praying at Boudhanath Stupa, by Pemba Gyaltsen

If you would like to support the children of SMD in this difficult time, I have posted information on how to help on my blog. I will be posting updates on the situation, as well as photos of the kids and their artwork. I am forever grateful to all of you who have sent us supplies and support over the years. Please keep SMD, and the people of Nepal in your hearts and thoughts.

Drawing Attention – May 2015

Urban Sketchers Events and Workshops

You still have time to register for the Urban Sketchers Symposium in Singapore July 22-25. Workshop passes are still available – get them while they last! Unlimited sketching passes are available. Join us for the fun!

Sketch in Naples with Simo Capecchi and Caroline Peyron! This exciting workshop in October will feature painting on Ischia Island around Aragonese Castle. Plein air oil painter Kelly Medford will demo oil painting techniques.

News from Urban Sketchers Communities

Urban Sketchers Switzerland received fantastic television coverage in March on the Swiss National Television program "Kulturplatz." The program featured urban sketchers Boris Zatko, Urs Lauber and Andre Sandmann. In addition to showing sketchers in action, the show featured Andre talking about Urban Sketchers and the USk blog. The program has been broadcasted in Switzerland, Germany and Austria.

See the work of Urban Sketchers Montreal (Canada) in "Draw Me a Mountain," an exhibition opening May 2. Visitors to Montreal can enjoy the show and Montreal's central park weekends through May. 

Urban Sketchers Sao Paolo
Urban Sketchers Sao Paolo (Brazil) recently sketched at Santa Casa de Sao Paulo, a hospital founded in 1560. The "neogothic buildings make you feel like you are in a Harry Potter movie," described Ronaldo Kurita. The hospital board appreciated the sketches so much that the work was featured on the hospital's website gallery and social media.

And speaking of USk Sao Paolo, the group will be celebrating its 50th sketch gathering May 9 by sketching at Largo Sao Francisco in old downtown Sao Paolo.

Urban Sketchers Chicago (USA) is pleased to host its second annual Sketch Seminar July 11 - 12. While sketching at various sites throughout downtown Chicago, instructors will present inspiring workshops on urban sketching. "We are very excited to be able to welcome sketchers to our wonderful city and create sketching and learning opportunities for people," said Alex Zonis.

Urban Sketchers France was featured in the Modern Art Paris Pompidou Center Library's magazine. Nicolas Beudon is featured talking about the the worldwide USk movement and France's local group. The article includes sketches by Emily Nudd-Mitchell and Christine Deschamps.

Urban Sketchers O‘ahu takes an innovative approach on its blog: In addition to finished sketches, members share and discuss process sketches.

Sketchers in Action

Marc Taro Holmes is just back from Richmond, Virginia (USA), where he taught an Urban Sketchers workshop at the  Virginia Centre for Architecture. Marc has generously shared the full text of the workshop exercises on his blog.

Kate Buike's sketches of Little Free Libraries
Seattle (USA) urban sketcher Kate Buike has been sketching Little Free Libraries in her community. Those sketches have just been published in The Little Free Library Book, a history and resource of this innovative worldwide program to encourage reading and sharing of books.

As part of the American Institute of Architects national convention in Atlanta (USA) this month, five instructors will present a day of urban sketching, said Scott Renk, one of the instructors. The sold-out event is designed to encourage architects to "Get out and draw with this hands-on session that illustrates the power of urban sketching."

San Francisco Bay Area (USA) urban sketcher Oliver Hoeller (better known as visual flaneur) has just published a book of sketches from his travels on the Amazon from Colombia to Peru last year. Called No Road In No Road Out: Slowboating the Amazon, the book is now available on Amazon.com.

A sketch by Pedro Cabral in his new book.
Pedro Cabral has been walking and sketching Via Algarviana in Portugal, a 300-kilometer trail that crosses Algavre mainly over inland mountains. He has just published a book of his sketches from his adventures. Contact Pedro at pmbcabral@gmail.com to purchase the book.

Joan Tavolott can say something not many urban sketchers can say: She sold a sketch at Sotheby's! When New York City Urban Sketchers sketched at Sotheby's a while back, Joan sketched a designer show house, attracted to its colors. "An older gent asked me if I sell my work and was this piece available. Hell yes! I told him my price and he bought it," Joan said. The buyer was either the father or grandfather of the show house's designer and bought it for him as a remembrance of his first display at Sotheby's.

Simone Ridyard's work is a finalist in Moleskine's Reportager Award.
Congratulations to urban sketchers Simone RidyardFred LynchOmar Jaramillo and Oliver Hoeller, who are among the finalists in Moleskine's Reportager Award.

Sketchbook Skool, the popular online art school and community founded by Danny Gregory and Koosje Koene, has featured a number of urban sketchers as instructors during previous courses, including Tommy Kane, Prashant Miranda, Liz Steel, Cathy Johnson, Melanie Reim and Veronica Lawlor. The current course, "Stretching," will feature classes by Lapin, Jason Das, Miguel Herranz, France Belleville Van Stone, Jonathan Twingley and Miguel Herranz.

Shout it Out in Drawing Attention

Not seeing anything about you or your Urban Sketchers group in Drawing Attention? Then we want to hear from you! Please send your urban sketching news items with links and images to: drawingattention@urbansketchers.org. Or tag me, Tina Koyama, on news you post on the Urban Sketchers Facebook page. Subscribe by e-mailHappy sketching!