Meet the Correspondent: Marina Grechanik > Tel-Aviv, Israel$show=/search/label/Marina%20Grechanik

"Sketching is one of my passions. I don't feel comfortable when I leave home without a sketchbook and some pens in my bag. I think that my way to put things in my memory is to draw them. And taking pictures isn't the same thing.

I live in a very dynamic surrounding — Israel is a warm country with warm weather and warm people. Of course, we have seashores, which calm us a little bit. I love to sit in a corner of some Tel-Aviv coffee shop and explore relationships: between people, their environment, between myself. All this unique local mix of cultures, languages and styles is always a great source for inspiration. You need to be fast, because, as I said, everything is very dynamic. But that's why I love it so much.

Sometimes, I look around, and I find some usual items like sugar bags or napkins. I use them in my drawings to show the atmosphere. Sometimes I draw directly on placemats."

• Marina's art on Flickr.
• Marina's website.

Meet the Correspondent: Tina Koyama > Seattle$show=/search/label/tina%20koyama

"The dictionary says that a hobby is “an activity or interest pursued for pleasure or relaxation.” Although urban sketching certainly provides both pleasure and relaxation, I don’t think of it as my hobby. I think of it more as a way of life – something that has become such a normal part of my everydayness that it shapes how I view the world.

For most of my life I had both the fear of drawing as well as the desire to draw. In 2011, inspired by Gabi Campanario’s Seattle Sketcher column, I finally decided to overcome the fear. His drawings of Seattle – my birthplace and lifelong home – were of sights that I had seen many times, yet had never truly seen. I wanted to learn to see, and therefore experience, those locations (and any new ones that I travel to) more completely. Part 8 of the Urban Sketchers Manifesto, to “show the world, one drawing at a time,” has a flip side: Sketching enables me to see my own world, one drawing at a time.

In the last four years, it is not an exaggeration to say that Urban Sketchers has changed my life. I have met and sketched with many wonderful people around the globe, either at symposiums or during other travel, because the USk network brought us together. I sketch almost weekly with my local group, sharing sketches, art supplies and friendship. Even when I stay home and enjoy sketches online, I am still a part of that rich network, learning with every sketch about other people’s lives.

In May, my husband Greg and I went to France for the first time, and I sketched the Eiffel Tower. Sketching one of the world’s most famous icons felt like a dream come true – the ultimate in urban sketching. But although I can’t resist sketching world-famous icons whenever I’m fortunate enough to see them, for me, urban sketching is much more than that.

Urban sketching is a tree with its middle chopped away to accommodate Seattle’s ubiquitous power lines. It’s about a couple of women chatting over coffee, or about workers roofing the house next door. It’s about an excavator filling a hole where a cherry tree once stood. Or the Tibetan monastery I drive by frequently that I couldn’t resist because it’s bright orange. Urban sketching is a string band performing at a local farmers’ market – or perhaps in Villefranche-sur-Mer.

Celebrating the mundane as well as the famous is what urban sketching is all about. My sketches are not necessarily about “special” moments; they are moments made special because I sketched them."

Tina has been editor of Drawing Attention since 2013 and now serves on the Urban Sketchers editorial board. See more of her sketches on her blog, on Flickr and on Instagram.

Meet the Correspondent: Pete Scully > Davis, Calif.$show=/search/label/Pete%20Scully

"I am from urban north London, but now live in urbane Davis California. I sketch, I write, sometimes do things and go places and my name is Pete.

When not Davis, I sketch Sacramento, San Francisco, London, or anywhere else I happen to be. I tend to erase people and cars from my cities, but I'm starting to get over this.

Davis: calm, old-fashioned, progressive, quirky, very very hot in the summer. I use micron and copic pens, with watercolour."

• Pete's blog.
• Pete's art on Flickr.

Meet the Correspondent: Suhita Shirodkar > San Jose, Calif.$show=/search/label/Suhita%20Shirodkar

"I was born in Mumbai (Bombay) and lived in different parts of India until I moved to San Jose, California, where I now live.

Travel inspires my art, but, traveling or not, I try to view the world around me as a traveller would; so whether I’m capturing a moment of calm on the banks of the Ganges in India, or sketching over coffee at my local coffee shop, I aim to look deeply, and with wonder, at both the everyday and the exotic, the old and the new.

I love color. My sketch kit consists of Extra Fine Sharpies (the fact that they bleed into the paper as soon as they touch it works really well for me—it forces me to work super-quick), a small set of Prismacolor pencils and a little watercolor travel set".

Meet the Correspondent: Omar Jaramillo > Berlin$show=/search/label/Omar%20Jaramillo

"I was born in Guayaquil, Ecuador, where I studied architecture. I moved to Kassel (Germany) in 1999 to accomplish a master degree. Although I have always drawn and paint, it was not until I started studying in the Uni-Kassel, that I started keeping a travel sketchbook. I had a teacher there who used to do a lot of sketches when he travelled on university excursions. When he retired, I helped to organize an exhibition of his sketches. He brought a huge box full of sketchbooks he had filled since he was an architecture student. I spent a whole day selecting the most interesting drawings. It was a wonderful experience that opened my eyes to a new world. In the last 10 years I have the feeling of being in a long journey. I like to discover the cities where I live, to understand why a place is the way it is and what makes it different and unique from others. Drawing is for me a way to learn to love a place, to become part of it. I like to draw architecture but I am more attracted to urban scenery, portraying how people live in the city. Since I’m a foreigner, everything that locals find normal and taken-for-granted, for me is exotic. I always carry a small watercolor travel set from Windsor and Newton and my sketchbook in my bag. I always thought that drawing was a solitary experience until I found Urban Sketchers. It was amazing to find so many people doing the same thing. It is a great place to share!" • Omar's blog. • Omar's art on flickr. • Omar's website.

Meet the Correspondent: Luis Ruiz > Malaga, Spain$show=/search/label/Luis%20Ruiz

Direct to Watercolor Part 2 of 4 : Field Studies

[If you're linking in from somewhere, this is part 2 of 1 / 2 / 3 / 4]

After my recent breakthrough pages from last Friday’s post. I went out and did some messing around. Stuff that I won't show you. About five pages of throw-away studies. Enough to confirm that I actually had a process locked down.

Then I went out and did two days of sketching on the mountain, up in Parc du Mont-Royal.

I was taking it easy, yet still doing  three or four sketches a day. There were a few false starts I didn't keep (the backs of those sheets get used for figure drawing class). One thing for sure, working direct-to-watercolor is faster that drawing-then-painting. It takes almost exactly half the time to do one of these. Go figure! Almost if it's true, that a line drawing is just as much work as a painting.

[Maison Smith, Parc du Mont-Royal]

[Maison Smith Montreal, Back Yard]

[Panorama from the Chalet du Montreal]

14June01_Beaver Lake_Dyptich
[View of Beaver Lake]

So, I feel I've gone from a fairly tentative sketchbook exercise in brush drawing, to some paintings that I’m pretty proud of. So, how is this jump possible? Lets see....

Switching to natural sable brushes: 
I don’t like to talk a lot about tools. (Though you’d never know it reading this blog). I feel that asking ‘what brush did you use’ is a distraction from more significant questions. BUT – that being said – a nice fat sable with a belly full of paint and a needle fine point makes a real difference.
I am mostly using a #14 Escoda, #10 DaVinci, and #7 Winsor and Newton Artist Watercolor Sable (in the long hair version - similar to a rigger).

Doing Tea, Milk and Honey in smaller areas:
I’m still using the three step process I call ‘Tea, Milk, Honey’, but instead of systematically working the entire surface, I’m working sub-sections of the painting each on its own clock. Working in logical chunks like the silhouette of a tree or the ‘box’ of a building. I'm doing this so that I can get down to the darks sooner. While a patch is still wet.

More pigment!
I’m mixing the paint richer, wetter and with more pigment than I used to. My previous paintings, built out of layered series of stains, actually use very little paint in comparison to these more aggressive mixes. I'm using a mix of Winsor and Newton, Holbein, and Daniel Smith tubes. There's a list of colors in this post.

Investing in ‘direct’ drawing skills:
I've been talking a lot about this thing I call ‘The Dot Plot Method’ recently.  That approach evolved naturally out of drawing directly in pen and ink. I started working exclusively in washable ink a few months back, in order to wean myself off the pencil. The ability to erase an under drawing, to make multiple stages of corrections, was allowing me to make very detailed, delicate, (dare I say, finicky) paintings. Drawing, and then tinting over top, was a crucial phase in my development, but I have known for a while I wanted to be more spontaneous than that.

By working my way through a few sketchbooks of water-soluble direct-to-ink drawings, first by melting my drawings,  then later by washing color right into the water-soluble line, I've been training my ability to visualize space, and my brush handling, to the point where I can draw directly in color without the preparation of a pencil drawing.

Working medium size:
These odd compositions – 11x30" diptychs – are a thing I settled on so I can work a bit larger than sketchbook size, but not so big that packing the gear becomes a problem. I went through a phase where I was working way bigger. Up to 24x36”. But that’s simply unwieldy for urban sketching. A gust of wind and suddenly you’re Mary Poppins. Plus everything scales up. The weight of a bigger tripod, the unwieldy panel under your arm, the size of the brushes required, and the time it takes to cover all that paper. It wasn't something I could expect to take with me on a trip – such as the upcoming Urban Sketchers conference in Brazil.

Next post - a step-by-step process example!





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