Drawing Attention June 2024

, SKETCHING IN BOSNIA • CANADA

ENGLAND • FRANCE

INDIA • ISRAEL • ITALY

MALAYSIA

SAUDI ARABIA

Attention DRAWING

The official zine of Urban Sketchers JUNE 2024

Drawing Attention Mandate

Drawing Attention, the official zine of the Urban Sketchers organization, communicates and promotes official USk workshops, symposiums, sketchcrawls, news and events; shares news about USk chapters; and educates readers about the practice of on-location sketching.

Thanks to this month’s Drawing Attention contributors:

Content PubliCation team: Anne Taylor, Jane Wingfield

mailChimP layout: Jane Wingfield

i ssuu layout: Anne Taylor

Writers & Contributors: Annette Morris, Parka, Anne Taylor, Jane Wingfield

Proofreaders: Anne Taylor

Cover image: Niloufer Wadia

Subscribe to Drawing Attention. Read the March edition of Drawing Attention CirCulation: 14k+ readershiP: 16k+ Web: urbansketchers.org

Urban Sketchers is a 501(c)(3) nonprofit organization dedicated to fostering the art of on-location drawing. Click here to make your tax-deductible contribution via Paypal.

© 2024 Urban Sketchers.

Disclaimer: The views and opinions expressed in this publication, including accompanying artwork, are those of the authors and do not necessarily reflect the official policy or position of the Urban Sketchers organization.

Welcome! Recently I had a taste of the warmth and friendship that our global community of urban sketchers can offer. I got COVID a few days into my three-week trip to Japan. Not to worry, I thought, I can sketch while isolating, and test out whether I was still up to the kind of solo travelling I had done over 30 years ago, in my 20s. I certainly didn’t want to pass on COVID to the two friends I’d originally planned to travel with – one of whom already had long COVID – or anyone else, for that matter. So we went our separate ways in the (to we three New Zealanders) huge and unknown metropolis of Tokyo then Kyoto.

Some days later, I had no symptoms and was starting to miss human interaction. I put out a call on USk Toyko’s social media for anyone in Kyoto who would like to meet up for a sketch later in the week. Soon after, there was a message from Momo who wanted to run her first USk Osaka event...55km away in Kyoto! Momo and another Osaka local, Megumi (above right), and Megumi’s American husband Drew, did the hour train journey to Kyoto and we met at the ancient Chōho-ji Temple, thought to be the birthplace of ikebana, the Japanese floral art form.

Afterwards Megumi took us to a café specializing in fresh from the farm produce. I soon felt like I was with friends, especially as they leapt in to help find my sketchbook (lost at the temple, while deep in conversation

with them). I tried to let them know how much their company meant to me at that time, after days alone in a hotel room, in an utterly different culture to New Zealand, and with no command of Japanese. I have very fond memories of our time together. These connections add another dimension to travels, whether overseas or in your own country.

Much of this issue is dedicated to sketching reportage and the talented winners of our annual grants. This style of urban sketching has the power to shift perspectives on the world and those around us, and these projects make for fascinating reading. The Executive Board reports back from their recent planning meeting in Quezon City, along with other news that you’ll want to be across. Vincent Desplanche shares a Sketch Demo focused on light, shade and texture, and Pavithra Devadatta gives her hot tips for traveling harmoniously with others when you’re a dedicated urban sketcher.

We’re always keen to hear what’s happening in your corner of the world, so please get in touch. Wishing you much inspiration wherever you happen to be.

Anne Taylor (NZ), with Jane Wingfield (USA) Content Publication Team drawingattentionurbansketchers.org

Week

An annual, global celebration of onlocation drawing was launched on 1-7 May. This new initiative invites sketchers from all corners of the world to attend or create events and tell the world what urban sketching really means.

With a wonderful response across the USk community, the website map listed over 182 events plus a full page of information including how to host an USk event, 100 sketching event ideas, plus a exciting range of new limited edition products available from the USk Shop. Mark your calendars for 1-7 May 2025!

Annette Morris, Education Director

Check out the latest news about the Buenos Aires Symposium – registration is still open. We also have announcements about International Sketch Correspondent Jeroen Janssen, Video Correspondent Gary Bingner instructors, presenters, and more.

The USk Regional Events Grant Funding Programme 2024 / 2025

Season three of the USk Regional Events Grant Funding Programme is underway!

These USk funds are provided to assist chapters to plan and deliver events that are bigger than local, smaller than international but always connecting the community. Innovation is key to growth, and five USk chapters were successfully awarded grants of $USD 2,000 each.

The official announcement was made via an Instagram Live broadcast, and is now viewable on Youtube. Special guest was Margaret de Bree from USk Johannesburg – the group was a 2023 season funding recipient, and the first chapter from Africa to receive a USk grant.

This coming season, the events calendar allowed for events to occur in the 12 months from May 2024 - April 2025, and the USk community responded with a raft of interesting projects. Ultimately five recipients were chosen and it was gratifying to select a variety of events that are across four continents and spread across the year.

• USk Paraty, Brasil: VI Encontro

Urban Sketchers Brasil Paraty(6th

Urban Sketchers Brasil National

Meeting 2024 - Paraty)– 30, 31 May 1, 2 June 2024

• USk Penang, Malaysia: Asia Link

Sketch Walk – 1-4 August 2024

• USk Racine Wisconsin, USA:

Sketch Racine – 6-8 Sept 2024

• USk Nagpur, India: Sketch Fest Nagpur – 1-9 November 2024

• USk London, England: USk

London Exhibition – 29 March5th April 2025

More information here.

WEB’s deep dive in Quezon City

IN MID-MARCH, THE USK EXECUTIVE BOARD GATHERED IN QUEZON CITY, PHILIPPINES, FOR OUR ANNUAL STRATEGIC PLANNING MEETING AND A WEEKEND OF COMMUNITY EVENTS. USK QUEZON CITY WAS THE MOST INCREDIBLE HOST –SO HOSPITABLE, ORGANIZED, AND JOYFUL. BY GENINE CAVALHIERA

e were thrilled by the incredible turnout from the Quezon City community and members of four other regional chapters. Welcoming us with open arms and hearts, the Filipino urban sketching community is amazing and beyond generous. We are deeply grateful for their hospitality and enthusiasm, and were honored to meet them.

We discussed how we could best serve the region and learnt about their urban sketching experiences. They were most interested in the role of the Executive Board, chapter growth and sustainability, partnerships and sponsorship, events hosting, engagement, and teaching.

EB members gave talks and hosted open forums to discuss these topics and answer questions. Following this, eight workshops/activities were delivered, conducted by both EB members and the community. These included drink and draw events where everyone could gather, share their sketchbooks, learn, and connect.

The EB consistently tries to evaluate where we are, where we want to go, and how we can improve. Here is an overview of some of the items worked on for each of our priorities.

OUTREACH

This year we ran a Chapter survey to understand and learn from our amazing community, and grow our chapters, finding

out how the Urban Sketchers organization can help and support them. Knowing we are a community not only made up of Chapters but individuals, we launched an individual survey to learn more about the people in our community. This should be released later this year.

A new outreach program started this year is our Sponsored youth project “Urban Sketchers Emerging Storytellers”. This is a program open to sketchers between 18 and 25 who are passionate about reportage and visual storytelling. You can learn more about that on our website.

FINANCIAL STABILITY, PARTNERSHIPS, CONNECTIONS

Last year’s Symposium’s silent auction and raffle success allowed us to double the reportage grants distributed. We launched our new Urban Sketchers merchandise shop so sketchers can sport their USk pride. Funds from the shop help fund more grants and programs to serve the community.

We learned that making a donation to USk was sometimes difficult and some people were not sure where the funds were going to. So we enhanced the donation portion of our website making it easier for people to be able to donate. We also created a page where people can see videos from donors and learn about the programs the funds are being used for.

We continue to foster our sponsor partnerships and added a new sponsorship coordinator in Asia to help build connections in that part of the world. Additionally we will be adding a fundraising coordinator to the Fundraising team who can focus on how we take our fundraising to the next level.

VOLUNTEER DEVELOPMENT & APPRECIATION

Over the past year we have been working to build a program of succession planning and a volunteer database. In the long term, we are working to ensure transitions of board members are staggered throughout the year depending on term end dates, to ensure consistent workflow and a base of knowledge and experience.

This year we launched the second part of our volunteer recognition program. We have been collecting video, photos and sketches from volunteers, featuring them on our social media channels and spotlighting them on the Volunteer page of our website. Volunteers were also given a gift card to our USk Shop. We are so very grateful to everyone who volunteers to keep this amazing organization and movement going.

ONLINE COMMUNITY / CONTENT / EDUCATION

This year we launched the International Urban Sketchers week which will take place every year from May 1-7. With more than 140 events registered on our map the online community was connected and celebrating all things urban sketching. Check out some of those events in our Instagram Highlight.

As for our online content, knowing our community is made up of people from 74 countries we have been working to expand our Drawing Attention articles to be written in languages other than English and ensure that documents we put out such as the Chapter Handbook, Aspiring Chapter Guidelines and the individual surveys are translated in as many languages as we have volunteers to help with. To date we have the Chapter Handbook translated in 17 languages.

It was an incredible and intense few days of work and 100% worth it. In addition to these annual in-person planning meetings, the executive board meets virtually once a month to run the day-to-day activities of the organization, follow through on the strategic planning items, and coordinate projects and programs in the works. We work in between these meetings to accomplish our individual/committee tasks and to help run the organization smoothly.

Finally, I would like to thank every single member who helps keep this movement going – from those who work within the organization’s committees, to our Chapter admins and finally the members of the Executive Board, each one is a volunteer who gives back because of their passion to capture their world on location and share their experiences. I appreciate all you do and thank you!

If any of this sounds interesting to you and you want to volunteer to help, please write to volunteer@urbansketchers.org. We can’t wait to hear from you!

Happy Sketching!

A GLOBAL EVENTS CALENDAR

Do you know about our Club Express Calendar page? This is where chapter admins can list their local events, which will show up within in the events on our Explore Events tab on the website. Just log in and start!....

CHECK OUT THE USk SHOP!

Introducing the USk Shop, launched on May 8, 2024 – your one-stop destination for exclusive USk merchandise. We’re committed to giving back – every purchase you make goes directly towards supporting USk activities, education programs, and the development of the next generation of sketchers through regional, community, and youth grants.

We offer a carefully curated collection of products that showcase your love for on-location drawing and also contribute to supporting USk activities, education initiatives, and community grants.

Discover a variety of USk merch, including apparel and accessories, perfect for anyone who enjoys onlocation drawing. Plus, you can also find exclusive limited edition #USk week merch here. Don’t miss the chance to highlight your participation in the inaugural international awareness week celebration.

Ready to make a difference with your next purchase? Explore the Urban Sketchers Shop today.

A gift from the universe: sketching

a solar total eclipse

WHEN THE SOLAR ECLIPSE CAME TO HER HOMETOWN, MELISSA JABEY WAS THERE TO CAPTURE THE MOMENT.

Not many fascinating events usually happen in Monclova, a mid-size industrial town right at the center of the northern state of Coahuila, Mexico, so I was thrilled when I first learned that we were going to be within the ‘path of totality’ of the Solar Total Eclipse of April 8th, 2024. This would be the first total solar eclipse in my lifetime, right in my hometown. What a great opportunity for capturing this moment in my sketchbook, I thought.

After months of waiting, I set off to a public area where around 2,000 people gathered to watch the breathtaking phenomenon that will not occur again here until 2071. I got there at 11 a.m., right on time to start witnessing the gradual transition of the moon on its way to completely cover the sun. I captured those different stages, along with some of the people that were observing the phenomenon through fancy telescopes and cameras.

I noticed someone looking over at my sketchbook. A friendly guy said he’d always wanted to sketch outside but had never dared to. I invited him to join me for some urban sketching but unfortunately, he was just a tourist in town. Hopefully he got some inspiration to go outside and draw, wherever he lives.

Finally, the moment arrived: the sky quickly started to turn dark, and the lights of the city suddenly turned on. The mesmerized crowd started to cheer and no one was able to contain their excitement. At that moment, we were all humbled by the fact that we were about to witness a truly unique singularity in space and time, not knowing for sure if we will get another chance to do so in our lifetime. Totality was reached

at 12:23:42 and it lasted for about three minutes, the most magical three minutes I’ve ever experienced. I quickly took out my sketchbook and drew a big dark circle with a thin yellow edge shining around it. There it was: the total solar eclipse of 2024 captured forever.

In the blink of an eye, the sky started to turn light again – a second beautiful sunrise within the same day. People put on their eclipse glasses again and all I could hear were cries of joy and amazement all around me.

Through these sketches that will live in my sketchbook forever, I am sure I will be able to easily recall this experience: how it looked and how it felt to be there and see it in real time. The eclipse was a real gift from the universe to us tiny humans.

We love to hear about your chapter’s news, special events, joint meetups, and exhibitions and share them with our readers. Contact us at: drawingattention@urbansketchers.org.

MELISSA JABEY

USk INSTAGRAM

SKETCHER DEMO

Vincent Desplanche is a freelance illustrator and urban sketcher living near Toulouse. He regularly leads sketching workshops and organizes sketchers’ meetings. His favorite theme is the mountains, which he loves to climb equipped with his sketchbook and watersoluble crayons.

SEE THE LIGHT & DARK

VINCENT DESPLANCHE STEPS US THROUGH A SIMPLE METHOD TO CONSTRUCT A SKETCH, SIMPLIFYING AND SEEING THE LIGHT BEFORE ANYTHING ELSE. FORGET COLORS - IDENTIFY TEXTURES INSTEAD, HE SAYS.

Something that can be easily improved in beginners’ sketches is the casual use of color. I’d like to show you a simple method that can really help the beginner. It uses a smaller range of colors and pays more attention to values, to bring greater efficiency and harmony to your sketches.

I think it’s disappointing when colors are chosen without regard to their value or intensity. For example, the sky is blue, I use blue; the trees are green, I use green, and so on. Admittedly, this can sometimes be justified and work if very few colors are used intentionally, but most of the time it’s a case of poor knowledge of the color parameters.

VINCENT’S MATERIALS

• PENCIL (GENERAL’S LAYOUT EXTRA BLACK 555)

• WATERCOLORS: RAW SIENNA, BURN SIENNA, ULTRAMARINE BLUE, LEMON YELLOW, MAGENTA

• WATER-SOLUBLE WAX CRAYONS (CARAN D’ACHE NEOCOLOR II)

• COLORED PENCILS (FABER-CASTELL POLYCHROMOS)

• BRUSHES (PURE BRISTLES, FLAT OR ANGLED BRUSHES)

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Step 1: The global light

After drawing the scene in pencil or fine liner, let’s move on to coloring. This is where the first part of this method comes into play. We place the illuminated surfaces of the floor, the buildings and trees in a single, pale ochre color ‘juice’. Don’t cover the whole page with this tint but leave as many small white spaces as possible. The color must be applied taking into account the planes of the floor and walls, the shape of the foliage. Please note that the brush strokes already indicate the textures of certain materials.

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Step 2: The shadows

We’re now ready to place the shadows in the picture. Prepare a tint of shadow by mixing a sufficient quantity of blue and burnt sienna. Apply this tint energetically, always respecting the observed patterns. For example, the shadows of the foliage vary according to the orientation of the different planes. Don’t go into too much detail, paint quickly to keep the energy up. Don’t show the brushstrokes. Look closely: some shadows are darker, others lighter.

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Step 3: The essential colours and textures

So what happens now? The time to add colors has finally arrived. By colors I mean hues –the greens the blues, the reds, etc. But always pay attention to the shades of these hues. The trees in the background, for example, are much lighter than the branches in the foreground. And the sky is very pale blue. Limit the number of colors by grouping them into families. Brick reds are all the same, tree greens are also the same so vary only the intensity by adding more or less water.

Step 4: The final touch

To complete our sketch, we’ll add the very dark elements, a few shadows or silhouettes. We’ll also add the more intense colors of the road signs and flags, using watercolors or colored pencils as it’s more precise. This method is suitable for many cases of urban sketching.

TIPS TIPS

• DON’T FILL YOUR DRAWING WITH COLOR LIKE CHILDREN DO, LEAVE WHITE SPACES AND GO BEYOND THE LINES.

• ALWAYS THINK ABOUT SHADES AND TEXTURES, NOT COLOR, WHEN PAINTING BRUSHSTROKES.

• DON’T USE MORE THAN SEVEN WATERCOLOR HUES PER SKETCH. FIVE COULD BE ENOUGH.

INSTAGRAM

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VINCENT’S

VINCENT’S

reportage grant winners 2023

Visual storytelling is at the heart of the USk movement. The USk Reportage Grant Program highlights stories from around the world through on-location drawings.

The program is designed to highlight, support and inspire new artist-reporters in our community and winning proposals receive a grant in order to offset expenses related to the project. In 2023 we received applications from 88 storytellers who dared to dream big, leaving us in awe of the creativity and passion that flow within our community. Here we share the 10 winning projects from 2023.

CEMETERY SARAJEVO: Bosnia has some of the largest cemeteries in Europe - this is just one of them. From a distance the cemeteries are so large that they appear like snow on the mountains, flowing downhill. On a cable car in Sarajevo I mistook these headstones for just that. I drew these distinctive Islamic gravestones from Yellow Castle.

Yesterdays’ War: An Illustrated Journey through Bosnia

MATTHEW GIBBONS

Matthew is driven by the evocative power of watercolor and ink, and also different aspects of society – urban living, migration and climate change. With the conflict in Ukraine dominating the European headlines, he went on a journey to the past, reminding us that the scars of war endure long after the battles have ceased.

Embarking on a 10-day journey through Bosnia, Matthew immersed himself in the country’s layered landscapes and past. Each illustration bears witness to the indelible marks left by the war. Matthew seeks to honor the resilience of the Bosnian people and challenge viewers to confront the lingering shadows of conflict. He forged connections with locals who generously shared their perspectives and experiences. Their resilience, evident in their willingness to share their stories and guide Matthew through their communities, serves as a testament to the indomitable human spirit. Many of the sights have been photographed countless times but Matthew’s reportage reminds us all that illustration and urban sketching offer added value.

Matthew says, “These twelve illustrations do not cover the entire war. No illustration project ever could, but I’ve aimed to use urban sketching and reportage illustration to observe, document and record the legacy of a 30-year-old war on the country. I never intended to replace historic photos but to use illustration as a fresh way to give a different, perhaps slower perspective on this topic.”

ABOVE - OPPOSITE SNIPER TOWER: This is a hollowed out home opposite Mostar’s infamous ‘sniper tower’, a former high-rise building that was used by opposing sides as a sniper point due to its visibility across the city. I have never seen so many bullet holes in a single building.

RIGHT - WAR VETERAN: One of the grim legacies of the war are the landmines scattered across the country. There have been over 8,000 victims of landmines since the war started to this day and it continues.

The Refugees Welcome North Somerset Hub opens its doors

NIKI GROOM

Niki paints a vibrant and heart-warming picture of community and support in Weston-Super-Mare. Her sketches burst with life, capturing the energy, inclusivity and warmth that permeates the space, highlighting the invaluable role it plays in the lives of refugees and the wider community. Here, families gather for homework clubs, individuals seek advice, and everyone comes together for the popular lunch club.

In contrast to the often bleak and one-dimensional portrayal of refugees and their hardships in mainstream media, Niki’s sketches capture the resilience, strength, and vibrancy of the individuals she meets. She invites viewers to see refugees not as passive victims but as individuals with dignity. In doing so, Niki offers a more nuanced and compassionate portrayal of the refugee experience. Niki regularly visited the centre and talked to volunteers, local business people, politicians and

more. Her sustained engagement has earned her trust and allowed for a nuanced portrayal of people’s lives. By consistently showing up and showing the community her work, she earned the trust of the individuals she sketches. Niki was also there to capture difficult times such as people facing street homelessness and other threats. She hopes to inspire other sketchers to bring a rich story, one that doesn’t form a quick conclusion or an opinion, but is instead an act of respectful observation and documentation where trust is hard to earn.

To save a river NILOUFER WADIA

In the heart of Pune, India, Niloufer embarked on a remarkable expedition intertwining art with activism. More than capturing scenes, it documents a citizen’s movement aimed at reviving a dying river.

Wadia’s journey began as a parent accompanying her daughter on a community service project with a local NGO, Jeevitnadi, which aims to raise awareness about the deteriorating condition of rivers in Pune. Sitting by the tranquil riverside, Wadia’s eyes were opened to the profound impact of environmental degradation on her city’s waterways. Wadia picked up her sketchbook and embarked on a mission to capture the essence of this grassroots, citizens’ movement.

The project reveals the many challenges faced by the Mula River and the relentless efforts of citizens to reclaim its glory. It is choked by hyacinth and sewage but there is hope and determination to revive it. Wadia sheds light on the detrimental impact of unplanned development and pollution, urging viewers to reflect on the consequences of environmental neglect.

Wadia captures the spirit of young volunteers and dedicated seniors like Sneha Shah and Shailaja Deshpande, who tirelessly work towards a cleaner future. Covering protest marches and clean-ups, her sketches remind us of the power of collective action, igniting hope and inspiration. They celebrate the beauty of the river and ignite a sense of urgency to protect and preserve it for generations to come.

Inside the French Parliament MARIELLE DURAND

Paris-based urban sketcher Marielle is known for her mastery of light and intimate portraits of people and places. Here she offers a poignant glimpse into the heart of democratic governance through vibrant sketches and insightful commentary.

In October 2022, Marielle was among a select group of artists granted unprecedented access to the inner workings of the French Parliament. This historic moment marked the official recognition of professional artists’ right to document parliamentary debates through art.

With her trusty red and blue colored pencils, Marielle captured the essence of ‘Questions au Gouvernement’sessions. From the iconic ‘Hemicycle’ to the lesser-known corners of parliamentary life, her sketches breathe life into the political landscape.

Her red and blue colors pay homage to the French flag and also symbolizes the dynamism of political discourse. She aims to demystify the inner workings of Parliament and shed light on pivotal moments in French political history, aiming to foster understanding and engagement. Her insightful captions invite viewers to delve deeper into the political process.

Marielle dreams of extending her project to the entire legislative process, from proposal to application. With each stroke of her pencil, she brings us closer to the heart of democracy, reminding us of the power of art to transcend barriers and ignite change.

Surviving the heat in Saudia Arabia

KRISTINA MATVEEVA

Kristina embarked on a compelling urban sketching project, delving into the daily lives of residents as they navigate temperatures soaring above 45°C.

Armed with a palette limited to hues evoking the intensity of the heat – rich reds and fiery yellows – Matveeva captures the essence of this challenging season. She shows how people are adapting to extreme weather, and their unique coping mechanisms and cultural traditions.

Venturing into Riyadh’s bustling streets, Matveeva documents a range of experiences, from tranquil moments by swimming pools to the refuge of air-conditioned shopping malls. At historic sites like Diriyah, she witnesses how traditional architecture provides respite. She traveled to the Qassim Dates Festival where she observed the vibrant marketplace and age-old tradition of camel auctions. Traditional architecture has evolved to provide shade, people participate in indoor activities during the hottest parts of the day, and use clothing, water sprinklers and fans to help manage heat. Cultural practices such as serving arabic coffee in small cups with dates also help!

Kristina Matveeva’s sketches reveal her own journey towards accepting and embracing the Saudi Arabian summer. Through her art, she depicts the difficulties of adapting to a climate so different from the gentler European summers she’s used, whether that’s while shopping or indulging in her passion for urban sketching. Her sketches show the gradual acceptance of a new climate.

Jaffa Flea Market stories

IRENA SPECTOR

Irena documented the vibrant narratives of Jaffa Flea Market in Israel. Initially capturing its lively hues, the outbreak of war transformed her reportage. Beyond mere sketches, it became a beacon of solace amid uncertainty. She beckons us to explore the market’s rich tapestry, offering glimpses of its ever-evolving essence, past, and present.

Irena captures the vibrant personalities of the Jaffa Flea Market, from Rami Girma, a homeless man passionate about the ancient Akkadian language, to seasoned traders like Reuven and Asher, who share nostalgic tales. We get a glimpse into the rich tapestry of individuals that is the market.

Irena’s reportage reflects her personal connection to the place. As war descended upon the region on October 7th, the market underwent a profound transformation. With honesty and openness, with vibrant lines and atmospheric colors, she portrays the joy and sorrow that permeate the market, particularly during times of change.

Despite the challenges and uncertainties, Irena finds solace in the market and her art. As she navigates the joys and sorrows of life, she turns to sketching as a means of coping and finding comfort amidst the chaos, visible in this reportage. Irena offers viewers a poignant reflection on the fleeting nature of life and the enduring resilience of the human spirit: “I contemplated the fluidity of life, grateful for the opportunity to document the market’s dynamics. Much like the flea market itself, the report doesn’t end with a full stop, acknowledging that life goes on amidst ever-changing surroundings.”

Old New Villages GAN AARON

Gan delves into the rich cultural heritage of Malaysia’s rural landscapes, documenting the transformation of 12 former new village sites in Selangor, Malaysia. These once-isolated settlements, established during the British colonial era, are now undergoing rapid rejuvenation efforts to become bustling tourist destinations.

Gan started urban sketching journey just two years ago, and took just a sketchbook and fountain pens, so his exploration

of these vibrant villages was as much a search for his roots as his style. His sketches show a visual chronicle of the villages’ past, present, and uncertain future. The word ‘new’ in the term ‘new village’ (Malay: kampung baru / Chinese: 新村), does not in this case mean ‘recent’. The term was introduced by the British colonials of Malaya peninsula in the 1950s, so the ‘new’ is now actually part of Malaysia’s heritage.

Gan immersed himself in the local culture, forging connections with villagers and capturing their stories. From bustling morning markets to tranquil village streets, each sketch reflects the essence of these evolving villages. He invites us to explore Malaysia’s cultural landscape and reflect on the delicate balance between tradition and progress: “Whenever I strolled around the villages after sunset with my sketches in hand, reminiscing about all that happened throughout the day, I accepted that the

intricate way of life in all new villages would soon change or be gone one day. I used to perceive this as unnecessary development that require interventions to preserve it as is. Yet after seeing this with my own eyes, I now believe it is a natural change that is necessary over time. As urban sketchers, we record while time still permits, preserving what we think is essential in our own language with pen on paper, in analogue or digital.”

The Stepwell Project

MANISH PIMPLEY

Manish embarked on a captivating journey through Western Maharashtra, documenting the rich heritage of India’s stepwells, shedding light on the historical and cultural significance of these architectural wonders and aiming to preserve their stories for generations to come.

Stepwells, known as baav, vav, or barav in various regional dialects, hold a vital place in India’s heritage, serving as community centers and water management systems, providing water for settlements and agriculture, and fostering social gatherings and religious rituals.

Manish uncovers a multitude of stepwells, each with its own story. He meticulously sketches not only intricate details but also the underlying water management systems that they represent revealing how they efficiently harvested and conserved water in times of scarcity. Illustrating the rituals, traditions, and communal activities that once thrived within their precincts, he suggests what we can learn from this today. Manish offers a holistic portrayal of stepwells that honors their practical utility and their profound cultural heritage.

My Floating City, Canadian Arctic and St Lawrence River (Canada) ÉMILIE GOULET

Émilie offers a captivating glimpse into life aboard the CCGS Amundsen, a Canadian Coast Guard icebreaker that is a vital maritime vessel and a floating community. As a navigator and urban sketcher with over two decades of experience at sea, Émilie brings a unique perspective to her reportage, capturing the daily rhythms and extraordinary experiences of life on board.

From navigating icy waters to hosting scientists conducting vital research in the Arctic, the Amundsen’s role is as diverse as its population, which ranges from 40 to 80 people depending on the season. Émilie’s reportageconveys an intimate portrait of this floating city, showcasing its bustling neighborhoods, communal spaces, and the camaraderie that binds its crew together.

Émilie highlightings the intricate workings of the vessel and the challenges and rewards of maritime operations. She shows the diverse roles on board, from the deckhands maintaining the ship’s exterior to the engineers ensuring

its smooth propulsion. Émilie’s firsthand experiences as part of the crew give her sketches authenticity and intimacy, offering viewers a deeper understanding of life at sea.

This underscores the value of the narrator’s perspective as an integral part of the story. She both observes and actively participates in the experiences she documents, inviting viewers to share in the journey, to feel the spray of the sea. Her project shows that the most powerful stories are often those that we live and breathe, and through urban sketching, we have the opportunity to share these stories with the world.

Documenting the Life and Death of Olive Trees AMANDA ROELLE

Amanda’s project explores the intertwined lives of locals and ancient olive trees along the storied pilgrimage route in Puglia, Italy, and the spread of xylella fastidiosa, an incurable disease devastating the region’s olive groves.

Amanda is herself an olive farmer and set out to capture the physical changes wrought by the disease and also the human stories etched into the land. She divided her route into three zones: the Infected Zone, the Transition Zone, and the Zone Not Yet Affected, each zone revealing a different facet of the crisis.

Her sketches bridge languages and cultures, allowing her to engage deeply with the communities affected. Slowing down the pace of her journey, she absorbed the profound impact

of the changing landscape, documenting visual changes as well as emotional and social repercussions. She illuminates the enduring bond between humans and olive trees that has endured for millennia. Her choice to use twigs as a drawing tool from the very trees she was sketching added a unique dimension and speaks to a deep relationship. Her accordionstyle sketchbook allowed her to unfold her story in a continuous visual narrative of daily life amidst the olive groves.

Through her artistry and empathy, she invites us to bear witness to the profound changes unfolding along the Via Francigena, reminding us of the deep-rooted connections that bind us to the land and each other.

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apply now for reportage grant 2024

This year we once again invite visual storytellers around the world to send us reportage project proposals and apply for our Reportage Grant Program 2024. The deadline to submit your proposal is 31 July 2024. See more details on our website .

ASIA

WELCOME NEW CHAPTERS!

We are excited to announce these 10 new chapters. Welcome to the global family of urban sketchers! JAVIER MAS PINTURAS

USk Taichung, Taiwan

USk Seosan, South Korea

USk Dangjin, South Korea

USk Yangsan, South Korea

USk Sejong, South Korea

USk Asan, South Korea

USk Chuncheon, South Korea

USA

USk Asheville, NC, USA

SOUTH AMERICA

USk Mendoza, Argentina

EUROPE

USk Paphos, Cyprus

NIKKI GROOM

sketcher spotlight

ON THE ROAD IN INDIA

PAVITHRA DEVADATTA FROM WELLINGTON, NEW ZEALAND

TRAVELLED TO INDIA LATE LAST YEAR TO RETRACE PLACES SHE’D LAST SEEN AS A CHILD. A HOME-MADE CONCERTINA SKETCHBOOK WAS HER GO-TO FORMAT, AS SHE TOLD ANNE TAYLOR .

Pavithra was based in Bengaluru for a month and the trio traveled by car to North Karnataka, taking in the sights at Hampi, Badami, Halebeedu, Belur and Shravanabelagola.

Why did you choose a loose leaf / concertina format for you travel diary? I needed a format that was not too bulky for travel, that would work from the back seat of a car and allow me the freedom to just express myself as and when I was inspired, without the anxiety of turning out an acceptable piece of art. So I cut out separate sheets of watercolour paper (420 gsm, 100% cotton rag, made in India, 26 cms X 27 cms) in our hotel room and kept four or five of these in the car with me along with my painting gear. I could easily clip one page to a light foam board (about 50 cms X 70 cms) that sat on my lap in the car, propped up against the back of the driver’s seat. I discarded the messy ones and saved the ones I was reasonably happy with.

Back in the hotel every night, I used masking tape to attach the individual sheets on the reverse side to make up the concertina format, which rapidly grew and became heavy but stayed in the hotel so it didn’t get cumbersome while on the road. By the end of the trip, I’d joined together 35 ‘acceptable’ sheets that made up the full nine yards of urban sketching in South India. I also sewed and embroidered an India-themed cover for the collection.

What other sketching materials did you take and did anything prove surplus to requirements? I had my favourite Da Vinci Casaneo watercolour brush, some fine markers, a white highlighter, travel water-

colour palette, rag and water container propped in the car door’s cup holder. No surplus as such. I used some watercolour pencils for the first time, which I quite enjoyed.

What were the challenges of sketching in India, and did you have any goals or targets in mind? One challenge was not spilling the water! This happened a couple of times but was quickly mopped up with a larger rag I kept handy in the car. The only goal was to be ready with a wet brush to capture the big shapes with watercolour that inspired me. I later fill in the detail when we stopped for chai or to rest in the cool shade of an ancient temple porch. I kept a small post-it pad handy in my pocket to jot down things that I wanted to add to the scene that told a story e.g. a rooster, a stray dog or the symbols used to ward off evil (lime and chillies hung at the entrance to shops and restaurants).

RIGHT: PAVITHRA’S MOBILE PAINTING SET UP

Do you have a favourite sketch? This one (opposite page), of women crouched by the roadside in Chennai preparing a deepfried snack for themselves while they chatted (right). Unbeknownst to them was a stray dog and a rooster who slowly wandered over and looked on in the hope of earning a morsel for themselves.

How can you be a good travel buddy with others while sketching on your trip? It is always a good idea to set expectations about your urban sketching plans when you are travelling with others. People are more understanding if they know how long you will need to zone out or be out of circulation. I didn’t hold anybody up on this trip because Paul, Christopher and I were all passengers in a car driven by our local driver while I got my urban sketching in. So I could take in the sights like everyone else, I put in my big shapes first and added detail later, often while chatting and snacking with the others.

PAVITHRA’S TRAVEL SKETCHING TIPS

• TRAVEL LIGHT

• FOCUS ON THE BIG SHAPES & LEAVE THE DETAILS FOR LATER

• DON’T FUSS OVER RULES OF PERSPECTIVE, PROPORTION, COLOUR HARMONY ETC.

• BE A GOOD TRAVEL BUDDY (SEE PAGE 34).

FROM THE ROAD, FEATURING PAVITHRA’S HAND DRAWN STAMPS

VIEWS

ABOVE: WOMEN MAKING A DEEP-FRIED SNACK IN CHENNAI

TIPS FOR BEING A GOOD TRAVEL BUDDY

• Tell your fellow travellers you need 15 mins or an hour and try to wrap up before that time limit is up, otherwise the rest of the trip becomes a bit of a strain for everyone. This could make you rush, thereby spoiling a good piece of urban sketching.

• Sneak in the extra time for details like adding the date, textures, writing, embellishing etc. when the others in the group are busy taking a nap or shopping etc.

• Invite your companion(s) to add their mark to your artwork – like placing a coffee cup ring on your fresh sheet every morning within which you can write in the day’s narrative with the date or place name. Or just decorate the ring and paint something iconic of the place in it.

• Include random phrases and exclamations about the activity or place you’re visiting in speech bubbles peppered through your artwork.

RIGHT: PAVITHRA’S ENTIRE SKETCHBOOK

RIGHT: SLEEPY BOOK SHOPKEEPER IN CHENNAI

PAVITHRA DEVADATTA w

PARKA REVIEWS

BY TEOH YI CHIE

Teoh Yi Chie is an infographics journalist who joined Urban Sketchers Singapore in 2009. He’s probably better known as Parka from Parkablogs.com, a website that reviews art books and art products.

This month Parka reviews Fabriano 1264 watercolour paper. Check it out!

o ur manifesto

• We draw on location, indoors or out, capturing what we see from direct observation

• Our drawings tell the story of our surroundings, the places we live and where we travel

• Our drawings are a record of time and place

• We are truthful to the scenes we witness

• We use any kind of media and cherish our individual styles

• We support each other and draw together

• We share our drawings online

• We show the world, one drawing at a time.