#USkSymposium2015 ——> Registration | Discussion Forum (New!) | Travel tips

May 6, 2015

Meet the Symposium Instructors: Inma Serrano

Inma Serrano, Spain

Inma Serrano sketching in Assilah
Inma Serrano studied Fine Arts at the University of Sevilla, specializing in Painting (1996) Design and Engraving (2000). For the past fifteen years she has been involved in the area of Art Education and has taught courses in Creating Drawing, Photography and Painting.
She has participate in national and international exhibitions as well as workshops related to travel sketchbook, drawing or everyday sketching, which is her main interest.
As a teacher, she has led sketching workshops for Urban Sketchers Symposium in Santo Domingo (2011) and Barcelona (2012).
She currently teaches Visual Arts to high school students in Algodonales, Cá‡diz.
She also serves as a correspondent in Urban Sketchers Spain.
Location: Bras Basah Complex North Bridge Road
LINE EX1 Inma Serrano
Workshop description
We will experiment how to sketch spaces with no reference or erasable tools (no rules, measures or pencils) in order to be able to put invisible reference points, add or divide dimensions, checking  depths, heights and tilts on your paper just working with your eyes and mind. This will allow you to draw much slower but to finish the sketch much faster.
We will apply all this on a spiral drawing: taking a main favorite little focus point that takes our attention and to draw it on the center of the page. Then drawing everything around following a spiral movement to avoid losing the reference of the focus point but letting it grow to all the page surface in a some kind of “organic” way.
For the second part of the workshop we will focus on gestual line. The term “gestual sketch” suggests something different to each person, but the defining characteristic is that the purpose of this type of sketch is to do it quickly and capture the essence of the object, rather than making a realistic sketch full of details.
More details.

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

The Orlando Ballet presents Copelia at the new Dr. Phillips Center for the Performing Arts.


By Thor, Orlando Florida

On April 30th I went to the Dr. Philips Center for the Performing Arts to sketch a dress rehearsal of Coppélia. In Greek Coppélia means "young lady" and this comic ballet premiered in 1870. The performance was set to he music of Léo Delibes. Terry decided that she wanted to see this rehearsal, so she met me in front of the Center. When I opened the stage door, I was surprised to see a crowd of journalists. At Earth Day, I bumped into Jim Cundiff, the Interim Executive Director at the Orlando Ballet. He told me about an exciting collaboration between the Ballet, Orlando Philharmonic, and Central Florida Community Arts. It turned out that this rehearsal was the platform to officially announce this collaboration.

Robert Hill, the Ballet's Artistic Director, David Shilhammer, the Executive Director of the Orlando Philharmonic and Joshua Vickery the founder and Executive Director of Central Florida Community Arts stood on stage before the rehearsal.  Since it's inception in 1974, the Orlando Ballet has relied on recorded music for it's performances. Starting in October of 2015, the Philharmonic Orchestra will perform in the pit to bring all future ballet performances to life. David Shilhammer explained that recorded music limits the performers from taking chances and varying their rhythm and timing, The orchestra can adapt to each performance allowing for greater flexibility. In April of 2016 the Ballet will collaborate with Central Florida Community Arts which has 800 singers in multiple choirs. This is a win win for all the organizations and audiences. As the Dr. Phillips Center was being constructed, critics assumed that local arts groups would never stand to benefit. This incredible collaboration proves that they can and will endure.

Coppélia concerns an inventor, Dr Coppelius, who has made a life-size dancing doll. It is so lifelike that Franz, a village youth, becomes infatuated with it and sets aside his true heart's desire, Swanhilde. She shows him his folly by dressing as the doll, pretending to make it come to life and ultimately saving him. The rehearsal was playful and magical. The mechanical dance choreography was delightful. I had never seen this ballet and I am glad I finally did. I also admired the gorgeous painted backdrops which had a rich deep impressionistic use of color. I would think that the dancers might hold back a bit in a rehearsal, but everyone danced full out. Many of their athletic moves defied gravity.

Mark Your Calendars! The remaining performances of  Coppélia are today May 2nd at 11am and 8pm and May 3rd at 2pm at the Dr. Phillips Center for the Performing Arts 445 South Magnolia Avenue
Orlando, FL. Tickets  starting at $38.75 are available online or at the box office. This really is an amazing production, and bring your kids, they will love it too.

Looking ahead...
October 30- November 1, 2015 Gisselle with music by the Orlando Philharmonic.
December 17 - 20, 2015 Nutrcacker with music by the Orlando Philharmonic.
February 5-7, 2016 the world premiere of The Firebird with music by the Orlando Philharmonic.
March 18-20, 2016 Don Quixote with music by the Orlando Philharmonic.
April 29-May 1, 2016 the world premiere of Beauty and the Beast with Central Florida Community Arts.

Analog Artist Digital World

Desemboque

Fiz esse desenho no Desemboque-MG no dia em que a festeira Adriana recebeu os foliões de Reis com a festa de chegada da bandeira. 

"Liderados pelo Capitão da Folia, seguem reverenciando a bandeira, carregada pelo bandeireiro. A bandeira carrega o símbolo da folia. Decorada com figuras que levam ao menino Jesus, feita geralmente de tecido, é enfeitada com fitas e flores de plástico, tecido ou papel, sempre costuradas ou presas com alfinete, nunca amarradas com nós cegos, para segundo a crença não “amarrar” os foliões ou atrapalhar a caminhada."

A Igreja Nossa Senhora do Desterro foi construída em 1762.

O texto abaixo do desenho é do poeta Berto Cerchi

USk News: New workshop in Oxford "Pushing your Sketching Boundaries"!














06 May 2015
urbansketchers.org

USk is pleased to announce a new workshop in Oxford, UK!

July 08-12, 2015 

Join Urban Sketchers Isabel Carmona, Miguel Herranz and Swasky for 3 full days workshop that will get you to know Oxford intimately and to develop your personal urban sketching techniques.

For more information or to register for this workshop please visit http://workshops.urbansketchers.org/2015/04/pushing-your-sketching-boundaries-in.html


Meet the Symposium Instructors: Gail Wong

Gail Wong, USA

Gail Wong Photo
Gail Wong has an undergraduate degree in Landscape Architecture from UC Berkeley and a Master’s Degree in Architecture from University of Washington. She is a practicing licensed architect in the State of Washington. Gail practices residential design, is a consulting architectural illustrator, and also teaches architectural design drawing and architectural sketching at the University of Washington. She co-teaches the “Line to Color Workshops” with Frank Ching and continues to pursue her own interests in sketching and painting. Gail has been involved in Seattle Urban Sketchers since 2009 and has been the coordinator for that group from 2010-2014. Currently she is a member of the Urban Sketchers Workshop Committee.
Location: Seah St.
Homework ID district
Workshop description
I find that the act of painting itself can be an incredibly freeing and meditative experience…not worrying about the outcome but getting into the zone in the process of painting. For that reason, I am personally exploring a less literal representation of space to a more expressive and abstract representation. This workshop will explore the use of watercolor as a medium and how working directly in watercolor can generate an expressive interpretation of the urban form. By distilling what you see to simple shapes and values, and allowing the fluid quality of watercolor to be revealed, you can open yourself up to a more expressive and abstract approach. This workshop is intended to give you the opportunity to loosen up and see what you can do with this wonderful medium.
More details.

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

May 5, 2015

IKJ DANCE CARNIVAL 2015

IKJ DANCE CARNIVAL 2015 diselenggarakan di pelataran Taman Ismail Marzuki (TIM) untuk memperingati Hari Tari Dunia (29 April) dan Hari Pendidikan Nasional (2 Mei). Pagelaran tari yang diikuti oleh 600 penari dari 50 komunitas serta sanggar tari ini menampilkan berbagai corak seni tari, baik tari daerah/tradisional dan kontemporer.
Acara yang mengangkat tema Life is easy, just dance! ini diprakarsai oleh keluarga besar jurusan tari Institut Kesenian Jakarta (IKJ) bekerjasama dengan Prodi Tari IKJ.
Berikut adalah sketsa yang saya buat selama pertunjukan berlangsung, beberapa diantaranya dibuat dibawah gerimis hujan...
Beberapa penari sedang duduk menunggu giliran untuk tampil di pentas. Suasana temaram dan hanya sesekali
terkena kilat lampu serta jarak yang cukup jauh (+10 meter) membuat saya agak susah menangkap detail.
Penari yang duduk menunggu giliran tampil serta penabuh gendang pengiring.

Eksplorasi Gesture Penari
Sangat susah bagi saya untuk menangkap gesture penari malam itu. Disamping gerakan-gerakannya yang cepat dan selalu berubah-ubah juga suasana yang minim cahaya. Saat itu saya berada di deretan penonton dan lampu-lampu hanya menyorot di area panggung. Awalnya saya haya membuat kontur dasar berupa garis-garis kasar dengan menggunakan brush pen untuk menangkap irama tubuh, selanjutnya saya buat beberapa sketsa berdasarkan skets sebelumnya dengan menggunakan School G Pen yang berujung pena kecil (F). Untuk coloring saya buat di rumah.






Media: Brush Pen, School G Pen #F dan Cotman Watercolor di atas A5 sketchbook-Canson watercolor paper.

sketches at the bridge with dry materials

by Byung Hwa Yoo, Gwangjin Bridge, Seoul, Korea

piers of the Gwangjin bridge, Han River, 
which was seen from gallery in the Riverview 8th Avenue, charcoal, 39 x 26 cm

part of gallery on water, sepia conte, pastels, 38.5 x 26 cm

riverside scenery from the gallery with 123 story Lotte World Tower seen in right back over the Cheonho bridge pencil (6B), 38.5 x 26 cm


ring road at north end section of Cheonho Bridge, charcoal, 38.5 x 26 cm


a bicyclist having tea resting at riverside park, pencil(6B), 24.5 x 18 cm



The little table is an exhibited work. 
Visitors can see the water even through the tea table sitting on the glass!


I took a photo of the Gwangjin bridge from the riverside park.

Riverview 8th Avenue underneath the bridge at 8th pier

I visited the bridge two times to sketch and to look round the gallery. The bridge with 1,056 m length has a long history since 1936, which was removed on 1994 for being worn out and rebuilt into a pedestrian bridge with benches and observatory places on 2003. My first feelings at the gallery was the fear itself to see the water running under the glass of the floor. I couldn't walk over it. It was the same at the second visit too. The keeper told me too strong enough to support 1 ton weight on it and the wooden floor might be weaker than the glass. But I couldn't just walking on the wooden floor. There are 28 bridges over the Han river. It may be a life time job to go and to sketch all the scenery around them. It's lucky for sketchers to have such nice places as observatory and river side parks along the river, where people run by bicycles and enjoy the beautiful scenery healing themselves too.

Meet the Symposium Instructors: Gabi Campanario

Gabi Campanario, USA

bio photo
Gabriel Campanario, the founder of Urban Sketchers and author of The Art of Urban Sketching, has a masters degree in journalism and more than two decades of experience working in newspapers in Spain, Portugal and the United States. He currently works as a staff artist at The Seattle Times, where he publishes the award-winning weekly column Seattle Sketcher (http://seattletimes.com/seattlesketcher).
Lecture image
Location: National Design Centre – Auditorium
In this talk, I’ll give you a behind-the-scenes look at the planning and editing process I follow to draw and write my weekly Seattle Times column, Seattle Sketcher (http://seattletimes.com/seattlesketcher). For example, I keep a spreadsheet with hundreds of contacts I have accumulated since I started the column five years ago. I also follow many neighborhood blogs and local Twitter accounts to find ideas of people and places to sketch.
More details.

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

Meet the Symposium Instructors: Frank Ching

Frank Ching, USA

Minolta DSC
Frank Ching retired from the Department of Architecture at the University of Washington in 2006 but continues to teach drawing workshops in the U.S. as well as internationally. Having participated in several International Urban Sketching Symposiums, he continues to enjoy meeting urban sketchers from around the world. He especially enjoys working with beginners and finds it rewarding to watch them develop their abilities over the course of a few hours.
Location: Waterloo Street
MarketStreet
Workshop description
One of the challenges in urban sketching is overcoming the flatness of the pages we draw on and capturing the three-dimensional qualities of spatial environments. This workshop therefore focuses on the following three aspects of sketching architecture on location.
1. Framing the subject
  • Selecting the subject
  • Deciding on a viewpoint
  • Establishing context
2. Placing the composition on the page
  • Realizing compositional potential
  • Visualizing the image on the page
  • Drawing the first five lines
3. Developing the perspective structure
  • Understanding geometry
  • Determining the eye level
  • Sighting for convergence, scale, and proportion

The goal of the workshop is to develop an approach that will not only improve the spatial qualities of the work of advanced sketchers but also provide a sound foundation for beginners upon which they can grow their abilities. An advantage of this approach is that it enables one to work more quickly, the idea being that drawing multiple views can be more instructive than spending a lot of time on a single drawing.
More details.

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

Bandung sketchwalk #25 video

Check out the video I made while at the Bandung Sketchwalk #25, the international edition with friends and fellow sketchers from other countries.

Bandung is the capital of West Java province in Indonesia and the country's third largest city by population.



- Parka

Meet the Symposium Instructors: Ea Ejersbo

Ea Ejersbo, Denmark

profile photo
Ea Ejersbo is an artist, instructor, trained printmaker & poet. She is a founding board member of the Urban Sketchers organization, and has been sketch-blogging since 2008. Her art practice centers mainly around sketchbooks, and she draws almost exclusively from observation. She does a lot of people-sketching everywhere she goes.
Ea is an experienced workshop instructor and gave a workshop at the Barcelona Symposium
in 2013, also together with Marina Grechanik. Ea makes her money working at a school of street circus, where she is mainly concerned with communication, planning, and international circus school projects. She lives on the outskirts of the city of Aarhus.
Location: Bugis Village
MarinaSketchSample02
When we discover new places, we pay attention to its landscapes, architecture and flora. But most of all (at least for us), discovering new places is about discovering its inhabitants. People are what makes up these places and they are everywhere, busy with their daily activities.
We will try to make a portrait of the city by capturing its inhabitants.
Drawing people has always interested artists the most, and is often considered to be the hardest to do. Drawing people in their natural surroundings, moving, interacting, is even more challenging. People change their postures all the time, often leaving in the middle of a sketch.
So, how do we go about it?
The workshop will help the participants to overcome the fear of sketching people, and to discover fun and expressive ways of capturing the city’s inhabitants in action, caught up in their daily routines.
More details.

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

May 4, 2015

Meet the Symposium Instructors: Delphine Priollaud

Delphine Priollaud, France

Delphine_priollaud_stoclet
Delphine Priollaud-Stoclet graduated from National School of Architecture of Paris-La Villette (ENSAPLV) as an architect in 1998. She has founded her own school near Paris, L’Atelier de la Salamandre, and she teaches drawing, painting and fine arts. She also organizes workshops all around the world to teach and promote the art of urban sketching and creative tourism.
She is the author of “Créez votre carnet de voyage, Impressions nomades” (Create your travel Sketchbook) and “I draw” (March 2015) to explain children how to draw (Créapassions edition).
Drawing the world to catch the line of life, very far or close to home, is an important part of her life, and she is filling her sketchbooks principally using chinese ink, watercolor or tempera.
Besides drawing as another way to see the world, she loves painting huge abstract canvas as a memory of visited landscapes.
Location: Queen Street Market
echoppe-amed
I believe that simplicity is the better way to capture life and to feel its energy and likeness.
I draw as quickly as possible, without heavy equipment, looking for a global vision and a pure design according to a personal interpretation.
I select what is really important for me to draw at the present time : it’s impossible to draw everything I see ! So I need to make choices. That’s a tough decision…
How simplify the subject with sensitivity and an expressive line ? I really don’t believe in perfection from simple imitation. The sketch can be unfinished and guessed for more sense, depending of a dynamic composition which plays with black, brown and white contrasts according to full and empty spaces in the drawing. Lightness invades the drawing : it makes it «breath» !
I don’t want to produce a realistic artwork : capturing the emotion and essence of the scene, with a global vision and a pure design is really more interesting.
The most important point is how we feel the atmosphere, and good vibes to draw without confusing speed with hurry using a creative approach.
I usually mix black, thin and fluid lines (pen) with values (Chinese ink and walnut , washed with some water) : fusion of black and brown is very expressive.
Dark shadows are true eye-catchers : they indicate volume, darker on the area of interest, lighter to the edges.
I will enjoy to make another demonstration with colors, using watercolor exactly in the same way : simplicity, lightness, brightness, globality.
Don’t get lost in the details, and lively scenes will really be easier to draw!
For more information about the Symposium, including schedule and registration information, please visit the Symposium site.