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

A Jacket's Tale. Reportage from a Neapolitan tailoring lab

[Simo Capecchi from Naples] 

In 2015 I spent a lots of time observing and sketching in a tailoring lab in my own town: Cesare Attolini's family has been a renowned bespoke tailor for men's fashion since the Thirties. famous for having created the first "deconstructed" jacket, soft and comfortable, to be worn as second skin. When I met them, they were on newspapers for having made costumes in Paolo Sorrentino's movies as the oscar awarded The Great Beauty, where the elegant Jep/Toni Servillo wears a bright red jacket, or as Michael Caine's clothes in Youth.

Cesare's sons, Giuseppe and Massimiliano, commissioned me a reportage to be done inside their Casalnuovo tailor's workshop in the outskirts of Naples. Their smart idea was to document a process done mostly by hand by another hand made process: drawing.

I realized I could not simply draw what I saw in front of me, as I normally do, if I didn't understand what was going on. I made a tour of the lab guided by their most experienced tailor. It took me three full days and made me fill an entire sketchbook of notes and drafts. I could not imagine how complicate this work happened to be.

I focused on jackets only, the most elaborate piece in men's clothing. The making of a jacket has been divided by Attolini in 50 main steps, and 150 micro steps! My assignment was to illustrate it in no more than 15 drawings. But how to choose the meaningful steps?

Panoramic views of the tailoring lab on Moleskine A4
Observing artisans and their hands at work is really fascinating. But to portrait someone from a short distance can also been a problem: tailors wanted to check their portrait constantly. I was especially afraid of Cesare Attolini himself - who can spot a millimeter defect in a jacket from a distance - when he tried to recognize all his employees in my drawings!

I asked to follow a single jacket making of, from the beginning - the fabric's cut - to the end. During 5 days I followed the factory's timetable, drawing constantly to keep up tailors' speed. After 3.5 meters of pure cashmere were cut, 60 different tailors worked on it in 50 main steps, along 30 hours of work in total.

Today, just before writing this post, I was introduced to a small tailoring lab just nearby my house - they started 50 years ago - and I was invited for a short visit. In their workshop there are 2 tailors and one single person does all the steps. They told me the required time for a jacket is the same as at Attolini: 30 hours of work. They also complained how nowadays is difficult to find an apprentice so the neapolitan tradition of bespoke clothes risks disappearing.

With a large number of employees (150 tailors) and the modern factory look of their new workshop, the Attolini's do not aim to increase or speed up production nor to simplify any step. An industrial assembly line is here applied to an artisanal process, keeping it mostly handmade, while each step is carried on by a different tailor. In this way they try to preserve and spread neapolitan handmade clothes tradition.  Tailors quoted master Cesare Attolini when he says "a jacket has to be beautiful outside but also inside" and, despite their hard job, they seemed proud to work in a place where quality is very important: "we are perfectionists!".

All my drawings and notes could become a small book, as a gift for clients. And the 15 steps could decorate fitting rooms in the many showrooms Attolini opened around the world. It would connect clients to the long and careful making of the suit they are buying. Hopefully they'll do it someday!

More drawings on Flickr.

A jacket's making of in 15 steps. Ink and watercolor on paper, 25x36 cm each.





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