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

Suzzallo Library, a Step-by-Step


[By Stephanie Bower, Seattle] Thinking ahead to Amsterdam! I love to teach perspective because it's something so many people fear, ignore, or fake, but there is no need if you understand a few simple principals.

In honor of this Sunday's Seattle Urban Sketchers meet-up at the University of Washington's Suzzallo Library, I'm posting this step-by-step from a few years ago in order to show 
my very "architectural" process for constructing and completing a perspective sketch.






Step ONE, Looking at the view ahead of me, I simplify what I see to a very basic shape, starting with a rectangle. This is basically what I call the "shape of the space", as if you were to slice the room like a loaf of bread, this is the shape you would see. It's the shape of the end wall. I measure the height and width with my pencil, then I transfer that shape to my paper. I place this shape very low on my paper, as I want to be able to draw a lot of the ceiling.


Then I locate my eye level and mark it in my sketch by drawing a horizontal line all the way across my paper...notice how LOW my eye level is relative to the shape of the space drawn. almost on the floor. On the eye level line is the vanishing point, that tiny dot just to the right of center (not the smudge right above it!) That spot is directly in front of me as I face the back wall of the space, and it's the point where the many receding lines will all converge, making this a one-point perspective sketch.



Step TWO--by drawing in the three elements of step one (big shape, vanishing point, eye level), I have everything I need to do this drawing accurately in perspective. I can use the vanishing point to start drawing in the big lines, the major architectural elements of the space.  For this, I use a small plastic triangle, as it speeds things up to be able to snap accurate lines QUICKLY...




Step THREE-- you can see I'm putting more of the bones in...the verticals represent the columns, or each structural bay of the space.  I start to angle the lines closest to me to exaggerate the sense of height.




Step FOUR-- I start working on putting in the ceiling...big shapes get broken down into smaller shapes, then I break those shapes into even smaller shapes...that is how structure works!  I also start to put in the chandeliers, as they cover up a good bit of the ceiling. Each one relates to a structural bay in the ceiling, and the lamps on the left relate to the lamps on the right.




Step FIVE-- here is pretty much the complete line drawing.  I try to build up the focus with detail and linework at the back, allowing the lines closest to me to fade out.  I also added the book shelves, as that builds up the sense of activity at the pedestrian level and helps to ground the sketch.  Notice how FLAT the tables are because they are so close to my eye level. Notice how details are just suggested, I don't take the time to actually draw in every detail.





Step SIX--Color...I started by putting an underpainting layer of yellow on all the areas I want to be warm, usually the surfaces that advance spatially or are in the sunlight (what little there was!)  Then I layer in more colors...mostly grays, as nearly everything in this space was gray to beige...I also build up the color carefully at the end of the space, the focal point of the perspective and the sketch.



And here is a scan of the final image, complete with signature and reminder of where I was! Also a detail so you can actually see the linework.  I often lose a lot of the linework once I add color, which always makes me a little sad, as I LOVE the pencil work. 





So there it is, beginning to end.  Good practice for Amsterdam this summer!! It took about 1 hour and 15 minutes, sketched and painted on location. Paper is a Fluid watercolor block 8" x 16", Winsor & Newton watercolors, and my favorite Escoda Reserva size 10 travel brush. Also my 1" angled synthetic brush. for broad strokes in big areas.


I hope you found this helpful...see you in Amsterdam at the Symposium for my workshop, "Towers are like Wedding Cakes and other "ah-ha" Moments" for more insights into understanding sketching in perspective. There are so many great workshops and instructors, I cannot wait! Registration opens February 2...see you there!


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