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 3 of 4 : Step By Step Process

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


Terrebonne Mill, L’ile des Moulins]

Ok, this is from the second week of this painting project. Now that I was more confident with this process, I took the time to make progress shots. These are just handheld snaps, so the quality is poor, but I think they will serve.


Here’s the location. Out in Terrebonne QC, at a historic site on L’ile des Moulins (Google Map).

There’s a big old mill here that makes for a dramatic subject. Water flows through a kind of sluice gate/pedestrian bridge thingy, and under the foundations of the old stone structure. It’s a great subject for this kind of painted sketch. The architecture and parkland behind lend themselves to graphic simplification.


At this point I’m not even seriously doing the Dot Plot method any longer. I used perhaps three marks to establish the placement of these two buildings. I one at the chimney, the roof line, and the base of the rightmost structure. Mostly I just visualized it all in my head – since the composition here is fairly simple.


I’m blocking in ‘logical chunks’. Not working all over the painting, just drawing each major shape as it interlocks into the next. I’m able to make some transitions by letting objects touch in small ways. And I can charge color into my wet shapes, making the interiors of the washes as interesting as possible. The paper is dry, so that the edges of each silhouette shape are clean and sharp.


Putting in the bridge was a bit nerve wracking. I was sorely tempted to get out a pencil and give myself a guideline.

Thankfully, I knew I’d have that moment of weakness, so I didn't bring one with me.

The only way I've been able to pull off this whole series, is by taking all drawing materials out of my bag, putting down the pens, and walking away from them. Honestly, if I had a pen, I’d have used it.
Since I had no choice, I had to figure the bridge out with the brush. Looking at the silhouette – finding the key shapes – the repeating piers that support the pedestrian deck, creating the gaps where the river flows down a concrete embankment.

It was important to me to drastically simplify things. There’s a lot of pipes and mechanics under the bridge – but this is not the focus of the painting. The eye is meant to go to the mill on the other panel. So I know I need to limit this to a calligraphic silhouette.

The river was comparatively easy - you can’t really go wrong painting water – it has no particular shape. Just keep it flowing and let the watercolor do the work.


The bridge comes to life when I put in the tree line. I create the sunlit upper deck simply by leaving it out. Just like the shiny tile roof of the mill. The bridge deck is drawn with negative space. I have to prevent myself from putting people on the bridge. It’s not the focus – so it doesn't deserve too much detail. I’m referring (yet again) to my foundation principle ‘The Gradient of Interest’. (There's at least three or four exercises on this topic in my upcoming book. To me, this is the essence of a 'quick' sketch. The strength of the composition, the control of where the eye goes).


The last step is the darkest darks. The semi-opaque touches, most visible in the windows on the mill. This stage is the closest to drawing in ink. The dark paint mix has a similar consistency. I usually use a mix like Prussian Blue and Burnt Sienna. Or these days, Shadow (Perylene) Green and Burnt Sienna. Warm and Cold, in varying proportions. I’m still using the relatively large #7 long hair W&N for this detail work.

I feel like this painting has come full circle, bringing back some of what I love about ink drawing, but in a subdued way, more suitable to plein air painting.


Here’s a better look at my diptych setup. Two watercolor quarter sheets, taped onto Coroplast panels clipped to my lightweight folding easel. Sort of like a giant sketchbook spread. You might say, why not one long panorama? Well, no great reason. Except that with two panels I can turn them face to face and put it all away into a large courier bag. If it was a single sheet, I’d have to carry the paper under my arm. I've certainly done that before – but I’m trying to field test how I might work on a long term trip –  and I don’t want to be travelling with big drawing boards.





USk News$type=blogging$ct=0$au=0$m=0$show=


[Workshops Blog]$type=two$c=12$ct=0$m=0$show=