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

Persistence: The Only Technique That Matters

By Marc Taro Holmes in Corning NY, USA

I don't usually show my 'bad' sketches. I often draw on loose sheets of paper, and tear up bad ones right on the spot. So there's no evidence.

These happen to be in a sketchbook, and this was such a classic incident, I figured I'd post it for you.

Here we have what I'd consider to be a pretty average drawing. Not very structurally sound. It's stiff. And it doesn't even show what's going on.

I ran into this fellow doing a lampworking demonstration at the Corning Museum of Glass. He's probably there 9-5, five days a week, doing his thing. But I only had 20 minutes before I had to be somewhere.

I'd found him just as he ignited his jet of flame and started to melt glass. I'm a sucker for a jet of flame. I'll watch anything on fire.

So I dive right in aaaand - - - terrible sketch right?

Despite the interesting subject - it just didn't turn out.

We had driven two hours out of the way to see the other demo I was heading to - so, I wasn't interested in missing that. But this drawing was really bugging me. I had already taken five steps away when I thought 'No. Actually - I can't live with it".

So - turned around, did another one.

But, wouldn't you know it!

Still a pretty weak drawing.

I've become a lot more demanding about capturing a likeness in recent months. It's never going to be perfect - but this isn't even close.

Plus - I don't mind a messy drawing - I'm fine with a sketchy feeling. But I want open, floating lines that have some elegance. This guy looks hunched over - his shoulder is a mess.

Even though the clock was ticking, there was nothing to be done but try again.

I had to slow down, ignore the possibility of losing a good seat for the show, take my time, and really look at the guy. Find what is distinctive about him.

His shoulder length hair rolls down the back of his skull, and flips up around his neck. It's not just a bunch of lines - it's a flowing shape with weight. Smoothly falling, only then dissolving to brush work.

He had a bit of a heavy jaw (a little chubby - after all, he's a desk worker like me). His goatee was very specifically trimmed. Almost a Fu Manchu mustache - not just a generic scruff of hair. A beard always follows the jaw line. It's not pasted on - it reveals the shape of the jaw. Solving that leads me to his somewhat fleshy lips, and prominent - yet pointy - nose.

Now I have an actual person, not a generic human.

As well, the strange device spitting flame - it's like a little cannon on spindly legs jetting blue fire. That's a unique prop that is important to get right.Add in the glass rods and sculpted vials he's crafting - and now I have a real description of an artist doing lampwork. A useful document of the day, not just a scribbled person.

Hope that helps you feel good about any bad drawings that happen. Use them as an opportunity. Flip the page and keep going. Getting a bit better each time. Persistence is everything in this game.





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