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".
Blog
Flickr

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

Doing a Dry-Run in Sheffield of my Symposium Workshop: 'Afraid of Colour?'


It's less than 2 weeks before I leave Sheffield and head off to Brazil for the symposium (yippee)!


The workshop I will be delivering is called Afraid of Colour?. I've noticed that a lot of sketchers are great in black and white, but totally intimidated by colour. I used to mainly use a 3B pencil myself, but since I got into watercolour and discovered my Inktense pencils, I am having so much more fun. 


With that in mind, I designed my workshop to share some ideas and pointers, to help others make that transition too. Each
 workshops runs for 3.5 hours, which sounds a lot, but there's so much I want to do, it's been a struggle fitting it in. I was a bit worried that things might feel too rushed, so I thought I'd do a dry-run in Sheffield. I did the same thing the very first time I was selected to run a symposium workshop, in Santo Domingo (my speed-sketching workshop Quick-on-the-Draw). It was really useful to test that everything worked in advance.


I offered it as a freebie to my Urban Sketchers Yorkshire team and put together a group of a dozen guinea-pig sketchers. I chose a spot in the centre of Sheffield, where there is a grassy area surrounded on all sides by a good variety of architecture. I was a bit nervous about the UK weather though - Sheffield is not quite Brazil - but we were very lucky: it was a perfect day.


John told me that his main worry, when it comes to colour, is the likelihood of ruining a good sketch, so we started with a workshop aimed at getting lots of colour down on the page before we started any drawing. I created the sketch at the top a little while ago, to use as an example. Below is one of the sketches done on the day for this exercise, by Abi Goodman, and the one above was done by Peter Wadsworth. Good eh?


We followed that up with another slightly lateral idea: using coloured line-work. My idea was to make the colour intrinsic to the sketch, rather than just a way of tinting an existing drawing. 


I asked the group to choose 3 different colours for the line, based on the experiment I did a couple of weeks back, sketching in just round the corner from where we were doing the workshop:


Below is the painting done by new sketcher, Lucie Golton:


The final exercise allowed people to start with a standard black and white line-drawing, but I asked them to use expressive methods to colour it up, in a variety of art materials. I did a little demo to give them some tips, using Inktense pencil, watercolour and oil pastels:


To help people further, I had also printed out a selection of my sketches and created a little folder of examples to give them ideas of different ways to tackle the different challenges:


One of the main secrets to success with colour is having the confidence to be bold with both your colour choices and mark-making. Wishy-washy or dingy colours tend to feel safer, but they are not going to light up your sketch.


Between each exercise, we gathered to look at the results, laying the books out on the grass to give each other feedback, then I briefed in the next task. People worked really hard and, as you can see, some exciting sketching was done. It's hard to believe that they were all done by people who are really uncomfortable using colour. 


At the end we went for a coffee and I asked for feedback. Despite my worries, people seemed quite happy with the timings. Everyone said that they had found it challenging to be pushed so far out of their comfort-zone, but that is had been extremely useful and very interesting. Most importantly, they all enjoyed themselves. Phew. 

A week later, at our Derbyshire SketchCrawl last Saturday, I noticed that one of the workshop participants, Andrea Josephwho usually works in biro, did a beautiful, loose and joyful watercolour - in full colour: 


Job done. Paraty, here I come... 

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