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

My People-Sketching Book: Text on Sketches

By Lynne Chapman in Sheffield, UK

The final, must-have-it-all-done deadline for my urban sketching people book is August 21st and I am delighted (and relieved) to say that everything is on track to be ready in plenty of time. Cue round of applause...

The whole timing thing has been a tad tricky though. I am used to the world of picture book publishing, where I can predict pretty accurately how long things will take me at each stage, but the planning, writing and illustration of this book has been totally different. With no previous experience, it was impossible to know how long I'd need for any of it, which has made it very hard for me to plan my time this year, particularly with weaving it around other projects. 

All a wee bit stressful, especially as, I must confess, I am a bit of a control-freak (ask John). 

One last-minute job I've just sorted, was to find some extra images from European sketchers. This is an interesting ploy by my publisher. Other sketchers who have done books will tell you that there is a big issue with having text on your drawings: it creates problems with foreign co-editions, because the handwritten text can't be translated. Now, if you know my work, you will know I use quite a lot of text...

The discussion started early on, when I wrote a section on how to add value to your drawings by writing snippets of overheard conversation, or any other elements which seem pertinent to the moment. I often like to record incidents (see above), sounds and smells (see below) as an intrinsic part of the image, to better conjure the slice of time, or the place I am recording. 

It was obvious the text needed to stay in place for sketches in this chapter of the book, but then I realised that it would look slightly odd if, having recommended the technique, there was no hand-written text to be seen anywhere else.

My team at Quarto had a bit of a think. My editor said we might be able to get away with keeping English text on my sketches, if we also had lots of other work with handwritten text in a range of other languages. I had already included some foreign language text on the work of guest sketchers - one of my all-time favourite people-sketchers is Marina Grechanik from Israel, who uses loads of text:

But the foreign sales team said that the translation issue is more to do with Europe than anywhere else. So I went on the hunt. It was not easy: most urban sketchers don't feature people much and those who do, don't usually use text. I found several brilliant music ones from a website link someone sent me, like this one by Nicolas Barberon:

But I needed more variety of subject matter. In desperation, I put up messages on various Facebook groups. It worked! 

The wonderful thing was that they came in from lots of sketchers who weren't necessarily well known outside their own country. From the outset, I wanted to feature less high-profile sketchers in the book, alongside the old favourites like Marc Holmes and Inma Serrano. The sketch above is by Enrique Flores, the one below is one by Juan Linares and the bottom one is by Ana Rafful.

The only remaining difficulty was finding space to fit these extra images in, when the book is already pretty much written and the sketches for inclusion already chosen. A bit of last-minute jiggery-pokery was needed. 

Some of the European sketches have been substituted for guest ones I chose previously, some have been squeezed into relevant chapters. We also dropped an idea I was going to include and instead created a new spread, looking more generally at how urban sketching works, where I can talk about the brilliant way the movement has pulled together people from around the globe. 

I am expecting another batch of layouts any day, the latest version of the whole book, which will help me to see any holes, where bits of text are needed, and give me the chance to make any amends before we go to proofing stage. I've seen most of it already, in bits and bobs, but this is the first time I have seen the whole thing together. 





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