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

Sketchers do Battle with Sugarloaf...

A little while ago, I was telling you about the trip to Rio, following the symposium...

The weather forecast for our first full day in the city was really good, so we decided to go up Sugarloaf Mountain and sketch the views (and goodness gracious - there were views!): 

I worked mostly in the watercolour Moleskin I'd started in Paraty, but thought it might also be fun to record a narrative of the day on the other side of the little A6, Laloran concertina book we were given at the symposium (I used the other side for Richard Alomar's sketch-walk). 

I began drawing as our little group were waiting for the taxi outside our hotel - as you can see, Suhita Shirodkar was already sketching. On the way, I recorded the taxi driver and some of the things I saw on the journey, including our first sight of the mountain:

We met Marc Holmes and his wife Laurel at the cable car - that's them far left in my sketch. 

Here we all are starting our journey up, up, up! That's Esther Semmens, a fellow Brit, far right. Liz Steel is taking the photo and that's Shiho Nakaza between me and Suhita:

I did my best to draw the unfolding view through with my trusty Sailor fountain pen, as we were travelling up in the cable car. I had to be speedy! Once we had disembarked at the first level, I was able to finish it off, by drawing the bay and adding some quick colour. Then an obliging helicopter took off from right below me:

At the top, we met Omar Jaramillo. We all wandered around trying to take in the view and work out what on earth to do with such a lot of information. With Claudia Jarjoura too, there were 8 of us sketching together. 

I found it quite challenging: my Moleskin was just WAY too small to fit it all in! Then there was the even trickier issue of how to interpret the condensed sprawl of all those buildings, pooled in the valley so far beneath us and trailing up and up into the distance between all the hills. 

I did the sketch above, adding a little ink for detail, but was unhappy with the way the format flattened out the view, so I experimented a little, using my book at different angles, first diagonally, to get in the section of mountain we still had to climb (you're going to have to tilt your head to one side, I'm afraid):

Then I tried turning it vertically, to try and capture at least part of the view down to Guanabara Bay, which was full of little boats: 

The turquoise splatter is deliberate by the way: I was trying to add perspective and pull the front forwards. I rather like the effect, but John's not keen.

It was truly exhilarating, painting alongside the others, with everyone so focussed. It created such a buzz! And of course, we were learning from one another too. I recorded us sketching in my concertina book of course. This is Omar, between Shiho and Esther:

After all that work, we figured we deserved a spot of lunch and I ordered a big glass of gorgeous, fresh watermelon juice to cool down. As we were getting the bill, a little group of marmosets climbed out of the trees and started foraging for scraps at the tables:

Then it was time to take the next cable car, up to the very top. Yahoo! Again, I sketched through the window, this time with my freebie Super5 fountain pen.  At the top, I carried the vista on across the book. It was an extraordinary view...

...and so vast that I could only capture one small section:

We had time for one more sketch before the weather began to turn. Back in my Moleskin, I did the one below. I had been really inspired, watching Liz Steel painting beside me, so did my best in watercolour alone:

Then we took a group photo. By this point, having sketched in the same place together all day, we felt really bonded as a group: a band of sketchers! 

As you can see, a cloud descended on us shortly after that photo, completely obscuring the view, so it was time to take the cable car back down. We were so lucky though, to have such a long clear spell to do our sketching. During the next two days I was in Rio, the weather was never clear and bright like that again. 

It had been a wonderful day. Working with such a close-knit group was truly something special. Thank you guys - you're the best and I still miss you all.

BTW: if you haven't already seen it, Suhita wrote an excellent article pulling together everyone's work and perspectives from the day. It's fun to see the sketches side-by-side. Well done Suhita!





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