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

Do you remember the day that drawing "clicked" for you?


[Stephanie Bower, Seattle]  Do you remember the day that sketching "clicked" for you? I do, and this is it. The year is 19xx something, I'm 21 and in my third year architecture student at the University of Texas at Austin. 

Before we could advance to our 4th of 5 years in the architecture program, a portfolio of our work was reviewed by three professors. Two of the three wrote "weak graphic skills". Yep, that was me. Weak graphic skills. I was quite depressed at first and considered changing majors (right, just as all my friends were entering their final year of university), but after a few days, that diagnosis seemed to light a fire under me. Frankly, they were right. My style of depicting my projects was simple and cartoony, I cringe when I look at those images now.

That same semester, I took a drawing class that would change my life. It was the final time George Villalva, a local architect, would teach his location sketching class, and I lucked out just to get in. A strict former Marine, you had to be in your seat by 8am as the bells on the campus tower chimed (the earliest class in the curriculum) or he glared at you. But it was such a great class that lots of students took it for no credit and multiple times. He had such a clear way of teaching perspective sketching, methods I have expanded upon and now teach to my students. The drawing classes at UT at that time were great, and they trained a whole generation of architects who can draw.

These sketches reflect George's approach to learning sketching. They are from the final assignment for the entire course. While I had flickers of moments that showed promised during the semester, something happened this day that made my drawing skills click...my brain, hand, and eye worked as one. Perhaps it was all the work that lead up to this moment, or perhaps it was the fact that I tried again and again until I got a drawing I more or less liked. But as I sat on the curb (I had to keep moving my legs for the bus that came by) on a quiet Sunday morning (see, it all comes back!) looking down Congress Avenue toward the Texas State Capitol, some kind of magic happened and my drawing abilities made a quantum leap.

A little about George's technique. He taught us about linework, perspective, drawing cars, ink techniques, and much more. We started every view with a quick postcard sketch. These were only 30 second to 1 or 2 minute drawings, and it taught us to see the essence of the space and quickly capture the essentials. He timed us with his watch.



Next was a longer line drawing, but still quick. We worked in markers on a 12"x18" newsprint pad (big so you move your whole arm, and cheap not-intimidating paper so you got over your fear of putting pen to paper). Drawing quickly was best...no time to overthink things, and the line quality had the energy that only speed can bring.

Next came tone...we pulled out a few gray markers and did a tone drawing, so valuable in putting meat to the bones of the linework and for seeing light and shadow.

Finally, the last drawing, and this one was full color. It got muddy as I was probably tired. George always said that first you master line, then tone, then color, as color added so many levels of complexity, it was exponentially many times more complex than a line drawing. 



For this series, my final project in his class, he awarded me with a 98 out of 100, the highest grade he ever gave. He almost never gave A's in this class, so when my classmates heard I got an A for the semester, I'm sure it raised some eyebrows.

I didn't know it at the time, but that class changed everything for me. It gave me confidence to continue in Architecture, helped me find a love for sketching as a way to learn about the architecture I see, and gave me a remarkable foundation of knowledge to pass on through my own teaching. Profound thank you to all my teachers including Jorge Luis Diviñó, and especially to Señor George Villalva, wherever you are. You are the first Urban Sketcher in my life.

When things click, magic happens. So the message to my fellow sketchers is to keep up the good work, work a lot...and you will see something click too...

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