11th USk Symposium Auckland - Workshops

Symposium Workshops

Description

The 11th International Urban Sketchers Symposium will be held in Auckland, New Zealand, 19-22 April 2023. Sketchers of all levels, experience, and backgrounds are welcome.

What is the Symposium?

The International Urban Sketching Symposium is an annual educational event organized by Urban Sketchers (USk), a nonprofit dedicated to fostering the practice of on-location observational sketching. The goal of the Symposium is to celebrate and practice the art of on-location sketching in the host city. The event offers valuable field-sketching instruction and opportunities for participants to network and socialize. Following our spirit of “sharing the world, one drawing at a time,” we aim to bring the Symposium to new cities and countries every year. Portland, Lisbon, Santo Domingo, Barcelona, Paraty, Singapore, Manchester, Chicago, Porto and Amsterdam have hosted previous editions of the Symposium.

Symposium Passes

There are two types of Passes: WORKSHOP PASS and SKETCH PASS. All pass types include access to the opening & closing receptions, demos, Skit Sketch presentations and Sketch Walks. The Workshop Pass (on sale at $450 USD each) will give you full access to 3 workshops with a great lineup of international instructors.

With the Sketch Pass (on sale at $260 USD each), you will have a leisurely experience. You’ll meet everyone for the morning gatherings and then explore Auckland between meeting up with others for sketch walks during the day. You’ll be able to meet all the other sketchers during the receptions, demo, and social activities.

Attention: Standard Registration starts on 12 November 2022 at 17:00 NZT (check for your local time here ). All participants will be able to select workshops at this time.

Useful links

Download pdf version: https://bit.ly/3DlV2Xa

Eventbrite Registration Page: https://uskauckland2023.eventbrite.com/

FAQ:

https://urbansketchers.org/2023-symposium-auckland-faq/11th Urban Sketchers Symposium - Auckland 2023

For Symposium updates and news

Webpage

Instagram

FB group

https://urbansketchers.org/usk-symposium-auckland-2023/

https://www.instagram.com/usksymposium/

www.facebook.com/groups/usktravelhub/

Event schedule

Mōrena!

Workshops lineup

WS01 Reham Ali

Controlling Chaos – Solving Building Interlocking Shapes with Shadows

WS02 Eduardo Bajzek Barboza Immersive Drawing – Slow Down, You Sketch Too Fast!

WS03 Jane Blundell

The Urban Jungle – Sketching the Moreton Bay Fig Three Ways

WS04 Stephanie Bower Soaring Spaces

WS05 Richard Briggs Simple Snippets of Tāmaki Makaurau

WS06 Daniel Pagans Cardona Let the Water Paint!

WS07 Hugo Barros Costa Panoramas and Values in a City Corner

WS08 Joaquin Dorao

WS09 Eleanor Doughty

Sketch is Just the Beginning: Design Your Own Sketchbook Spread Using Different Elements.

It’s Hip to be Square! Boldly Sketching with Calligraphy Pens

WS10 Maru Godas Flowing Cityscapes with Gouache (and Friends)

WS11 Marina Grechanik

WS12 Virginia Hein

People in Motion - Marathon for a Fearless Sketcher

The Dance of Line and Color – Expressive Storytelling in an Urban Landscape

WS13 Oliver Hoeller Design on the Fly and Condense Reality!

WS14 Ch’ng Kiah Kiean Sketching Architecture with Graphite and Watercolour Graphite

WS15 Mário Rafael Freitas Linhares New Sketchland

WS16 Ben Luk Auckland Foodies – Sketch it Before it Gets Cold!

WS17 Delphine Priollaud-Stoclet Use Existing Context as a Frame for Your Sketch

WS18 Rob Sketcherman Create Paintings that Pop in Procreate (an iPad workshop)

WS19 Angir Sudarman

Building Urban Sketch Mood Fast in First Layers – Wet on Wet Underwash

WS20 Yap Yeen Yee Expressive Ink Sketch

Demo lineup

DEMO01 Reham Ali Simplifying a Scene with Shadows

DEMO02 Eduardo Bajzek Barboza Graphite Can be a Quiet and Magical Journey!

DEMO03 Jane Blundell Start With a Wash: Working with Liftable Pigments

DEMO04 Stephanie Bower Looking Up: Tips on Sketching 3-point Perspective

DEMO05 Richard Briggs Using Tape to Form City Shapes on Urban Surfaces

DEMO06 Daniel Pagans Cardona Let the Water Paint!

DEMO07 Hugo Barros Costa Continuous Line is the Way

DEMO08 Joaquin Dorao Build a Scene From Basic Shapes

DEMO09 Eleanor Doughty Ink Drawing with DIY Wooden Pens

DEMO10 Maru Godas Urban Sketching With Acrylics: Survival Kit, Tricks and Procedures to Avoid Chaos

DEMO11 Marina Grechanik Capturing Movement

DEMO12 Virginia Hein The Dance of Line and Color...Expressive Storytelling in an Urban Landscape

DEMO13 Oliver Hoeller Design on the Fly

DEMO14 Ch’ng Kiah Kiean Sketching Nature with Graphite & Watercolour Graphite

DEMO15 Mário Rafael Freitas Linhares City Hands

DEMO16 Ben Luk Auckland Foodies – Sketch it Before it Gets Cold!

DEMO17 Delphine Priollaud-Stoclet Use Existing Context as a Frame For Your Sketch

DEMO18 Rob Sketcherman Procreate Painting Tips

DEMO19 Angir Sudarman Sketching Urban Mood Using Watercolour Underwash

DEMO20 Yap Yeen Yee Fun Watercolour Without Pencil

DEMO21 Rita Sabler Continuous City Panorama Tricks

DEMO22 Gabi Campanario Writing for sketchers: How to Enhance Your Sketch With Interesting Narrative

Reham Ali

Alexandria, Egypt

Controlling Chaos – Solving Building Interlocking Shapes with Shadows

Workshop Description

An architectural scene with lots of details and a mixture of modern and traditional elements could be frustrating to draw. In this workshop we will focus on shades and shadows and how we can use them as our main feature and the tool in simplifying the scene not only to create depth but also solve the interlocking shapes.

We will learn not just how to show simple cast shadows but also how to find key shadows in any scene. I will share my tips on what to focus on and how to paint in an expressive way ending with the right focus. It is important to remember that successfully choosing our focal point is part of telling the hidden story of a chosen spot.

Supply List

• Waterproof ink pens (technical or fountain pens or nip pen)

• Watercolour paints (I prefer tubes but if you like watercolor pans bring a plastic palette with you to mix the shadow colors)

• Sketchbook or loose paper, preferably watercolour paper or water-friendly paper at lest A5 size or bigger

• Brushes (try if possible to have at least one big brush size 8 or larger and a small one for details also I highly recommend adding a flat brush)

• Plastic container of water.

WS02 Eduardo Bajzek Barboza

Sao Paolo, Brazil

Immersive Drawing – Slow Down, You Sketch Too fast!

Workshop Description

Urban sketching is always a fertile experience. Whether in a quiet location or in a busy area, sketching ‘en plein air’ brings us the opportunity to connect with the place and with people, sticking memories and stories to our drawings and sketchbooks.

Sketching slowly is a way to take advantage of the ‘testimonial nature’ of our activity. Rather than collecting images, we may experience life as it unfolds at the present time and in a specific place. When we sketch for more than an hour at the same spot, we will experience more deeply the place and the time: how people interact with the place (as random pedestrians or as the main ‘actors’ of the urban scene); how daylight changes and how this affects the way we perceive the world; what is behind simple doors and windows; how nature marks its presence on the urban environment (the distant hills, the movement of a foliage or the plant growing into a crack in the concrete, the stray cat, the birds). We will enhance our senses, being absorbed in the process. The main idea behind this workshop is to develop our ability to sketch for long journeys using only pencils and erasers in layers of increasing solidity, contrast and details. This technique permits us to work in a calmer state of mind.

Supply List

• Pencil 3B to 6B: Koh-I-Noor, Derwent, Cretacolor, Staedler or similar

• Good sharpener (especially metal ones)

• Eraser: Tombow Mono Light Eraser / Staedtler Mars Plastic or similar (white / soft / latex-free)

• Kneaded rubber eraser: Cretacolor / Prismacolor / Staedler

• Mechanical / Precision erasers (pen-style body):

Tombow Mono Zero Round 2,3mm and/or 3,8mm

• Tissue paper (smooth tissue paper to smudge the pencil)

• Blending Stump: medium size (usually nº 5)

• Paper: your sketchbook (ideally A4 / smooth surface –but not “glossy”)

This approach is also possible with other techniques, such as Nero pencils (oil-based charcoal lead), art-markers, colored pencils and watercolor. I’ll be able to help you in any media you choose. I am also available if you want to contact me in advance regarding your media choices.

WS03 Jane Blundell

Sydney, Australia

The Urban Jungle –Sketching The Moreton Bay

Fig Three Ways

Workshop Description

Trees have long been a favourite subject for my sketches. The fabulous shapes of the Moreton Bay Fig provides the perfect subject for exploring tone in pen, pencil and watercolour. Take a break from buildings and contemplate the beauty of a magnificent old tree. Enjoy following the organic lines that are so forgiving to draw. Using three different techniques we’ll recreate the form, tone and colour, creating a rich and varied sketchbook page that captures the tree.

Supply List

• A pen and ink - can be a fountain pen, felt-tip pen or ballpoint pen, with black or grey or brown waterproof ink as preferred. I prefer a fine or extra fine fountain pen but other tools are fine

• Water-Soluble graphite pencil. Faber Castell 4B recommended or Derwent Medium. (Will be available to borrow from instructor)

• Sketchbook with watercolour paper. At least A4 sized pages suggested for this workshop

• Water-brush or Brush and water containers. A larger brush such as a mop or wide flat is useful but not essential

• Firm brush for scrubbing out (optional as these will be available to borrow from instructor)

• Favourite Watercolour set, especially earth colours such as yellow ochre, goethite or raw Sienna, burnt sienna, raw umber and Daniel Smith Jane’s Grey. (colours will be available from instructor).

WS04 Stephanie Bower

Seattle, USA

Soaring Spaces

Workshop Description

Look UP! So often the most amazing things to sketch are above your head! When I’m traveling, I often slip into a cool and quiet church, one of my favorite places to sketch. The elegant arches and architectural details all draw your eyes UP into the church’s vast spaces, and I love the challenge of capturing these perspectives in a sketch.

So, how do you capture these tall, dramatic, soaring spaces in a small sketchbook? Don’t be intimidated, be inspired! Our workshop will be held in St. Paul’s Church, home to the oldest church community in Auckland, its lovely building dating back to 1894. In this historic setting, you’ll learn how to both simplify and stretch your understanding of perspective. We’ll break down the process of sketching the interior into only 3 simple steps, including the how-to’s of 3-point perspective to depict the vast height. It’s both challenging and fun, and it’s really not hard once you know what to look for!

Supply List

• Wide double-page landscape format sketchbook or paper

• .5mm mechanical pencil with 2B lead

• Kneaded eraser

• 8” architect’s triangle or straight edge

• 2 or more binder clips to hold down your paper

• Your favorite watercolor supplies, including the pigments French ultramarine, Winsor & Newton. Burnt sienna, permanent alizarin crimson, yellow ochre, and Daniel Smith quinacridone burnt orange

• Stool for sitting.

WS05

Richard Briggs

Sydney, Australia

Simple Snippets of Tāmaki Makaurau

Workshop Description

The aim of this workshop is to focus on capturing little snippets of life on the streets of Auckland. Using a step by step process, we will look to capture the characteristics of a particular place by using a line based approach, focusing on density and content within a sketch. Observation will be the first step to using this approach, as studying what you see before putting down any marks will allow for clear focus point to appear when sketching.

The second step will be how to break down complicated scenes into elements, with simple shapes and key lines leading to a sketch that is distinctive but not visually overwhelming. What’s left out is just as important as what’s included in a sketch.

Using this approach, this workshop aims to explore the character of Auckland’s streets, looking at items such as shop fronts, signage, canopies, and patterns of facades above ground level, activities of people, and the general life of the street. We will also look at how in capturing these characteristics, you can be playful.

Supply list

• Small notepad for thumbnail sketches and observation notes

• Sketch book (minimum A4 size, preferably A3)

• Pencil, pens (some colour) that the sketchers feel most comfortable to use

• Something to sit on (such as a portable chair) although some of this workshop will be done standing up and wet weather gear

• An eye for detail and a delight in observing!

WS06 Daniel Pagans Cardona

Barcelona,

Spain

Let the Water Paint!

How To Make Your Sketch Come Alive With Watercolor. In this workshop we will see what watercolor can give

In this workshop we will work on the different watercolor techniques that I’ve developed to paint my sketches. You will see how to work on a wet surface, paint without ink and to create a focal point in the sketch with the

Supply List

• Watercolor sketchbook or watercolor pad

• Pencil and eraser

• Waterproof fine point pen or fountain pen

• Watercolor box with basic colors

• Brush/es and small jar for water

• A folding stool or something to seat on (optional)

• A bottle of water.

WS07

Hugo Barros Costa

Valencia, Spain

Panoramas and Values in a City Corner

Workshop Description

In this workshop we will plan and develop a wide panorama in a corner of Auckland . Students will learn to create a wide composition using several different sheets and a limited set of materials (pen for the lines and grey/black ink to build different shadows/reflections values). Urban sketchers like to travel light, but we also like to do big drawings. Big usually means heavy, but not in this workshop!

This limited set materials will allow to build a big panorama in an easy, comfortable, and light approach. At the end of the workshop my students will be able to compose and draw a panorama. Also to understand, select and then record the different values of the most determinant important of the composition.

Supply List

• A fountain pen or 2 different “pigma” pen (0.1/0.2)

• Pentel brush pen (gray and black) or gray and black ink and brush

• 2 or 3 different sheets (recommended more than 150 gr) (A4 or A3)

• Light board for sketching.

Joaquin Dorao Madrid, Spain

Sketch is Just the Beginning: Design Your Own Sketchbook Spread Using Different Elements

Workshop Description

In this sketchbook design workshop we will see the different elements (sketches, typography, maps, details, texts, glued elements) that we can combine to build a rich and interesting travel sketchbook. We will see basic tips for quick sketches as well as the way to put all the elements together on your paper. The goal is to make a nice travel sketchbook double page of what you see around you.

Supply List

• Pencil and eraser

• Fine liner marker waterproof or pen with waterproof ink

• Water brush (or traditional watercolour brush)

• Sketchbook with watercolour paper

• Watercolor box or tubes

• Glue bar and small scissors

WS09 Eleanor Doughty

Seattle, USA

It’s Hip to be Square!

Boldly Sketching with Calligraphy Pens

Workshop Description

Calligraphy pens — especially those with a fude (bent) nib or square tip — create an amazing range of line widths and effects, all in one single tool. In this workshop, we will learn how to harness the potential of this type of pen for dynamic mark making and a building a strong value structure: an important foundation for all urban sketching. Taking inspiration from calligraphy and typography, by the end of the workshop you’ll be comfortable mixing all kinds of lines to create an energetic, clear, and fun sketch with just a single pen (and a bit of color, if you like).

Supply List

• A calligraphy pen with a square or bent tip. My recommendations are: Pilot parallel pen 1.5-2 or 2.4 mm, or a Kuretake Zig calligraphy marker in a dark color. For bent nib, a good option is the Sailor de Mannen fude pen any type of ink (I prefer De Atramentis Document ink, but it’s not important)

• 5 sheets of basic sketch paper for practice & gesture sketches – A4 / 8.5 x 11", 1 sheet of Smooth or Hot Press paper, 300 gsm preferred. A4 / 8.5 x 11"

• optional: watercolor kit – paints of choice, large brush, water cup, paper towel, etc

• board to add rigidity to paper surface.

WS10

Maru Godas

Barcelona, Spain

Flowing Cityscapes with Gouache (and Friends)

Workshop Description

In this workshop we will learn how to use gouache and mixed media techniques to create loose and colorful urban sketches. Gouache is a wonderful material to recreate urban scenes and add pictorial effects to our drawings.

We will discover new ways to obtain a more loose, pictorial and daring style. The matte and opaque finish of gouache are characteristics that make it a unique material to combine with other dry techniques, such as colored pencils, crayons, graphite pencil, etc. We’ll start by exploring textures and combining materials, breaking the classic rules: irregular textures, simple strokes in multiple directions, etc. These warm-up exercises will help students to flow with new languages to transmit the dynamism of the urban essence.

Supply List

• Gouache tubes: Titanium white/lemon yellow/ greenish yellow/phtalo prussian blue/ black/magenta extra colors (optional): cadmium orange, turquoise, yellow ochre

• Portable empty plastic palette

• Paint brushes for wet techniques, not necessary high quality (round brushes: 4-8-12) (flat brushes: 8-12-16) (rigger brush: 8) worn and old brushes (optional)

• Water container.

Marina Grechanik Israel

People in Motion — Marathon for a Fearless Sketcher

Workshop Description

A good sketch is like magic. It can capture action, movement, emotion and time – it can capture life itself! But how do we make this magic happen?

Sketching people is perhaps one of the hardest tasks for a sketcher but also the most fascinating and enjoyable. Drawing people who are moving and interacting is even more challenging. But the feeling of overcoming the challenge is so good – nothing seems difficult after you managed to capture a dancing couple or children playing soccer!

It doesn’t matter if you’re a beginner or an experienced sketcher, we all have a common enemy – our own FEAR! It can be the fear of a white page, fear of making a mistake, fear of spoiling our beautiful drawing, fear of drawing people and so on... We’ll talk about our fears and try to understand what prevents us from being free and will try to break them up! We’ll remind ourselves the joy of drawing we felt when we were kids!

We’ll draw as much people as we can, trying different approaches. We’ll start with a series of fun exercises that will help us to get going without fear, to free ourselves from working automatically and to get out from our comfort zone.

Supply List

• A small sketchbook (~A5 size) with cheap paper and pages you can tear out or

• A package of cheap A5 or A4 sheets and a clipboard.

• Tools you like for line drawing: pencil, pen, etc.

• Tools you like for shape drawing: wide marker, paint brush, pastels, etc.

• Bigger sketchbook of quality paper for the last exercise.

• Your favorite tools for the last exercise, including (if you have, but not necessary) some pastels and acrylic markers

• Courage and good mood :)

Virginia Hein

WS12

Virginia Hein

Virginia Hein

Location: Los Angeles, CA, USA

Los Angeles, USA

Topic: line and color

Location: Los Angeles, CA, USA

Topic: line and color

Effective & Expressive Urban Sketching

Workshop Description

The Dance of Line and Color –Expressive Storytelling in an Urban Landscape

Effective & Expressive Urban Sketching

Workshop Description

Workshop Description

Many sketchers like the quick, portable combination of ink and watercolor—though often the drawing is just a way to get a story down quickly, and then fill in with color. However, line and color can each play expressive parts in your sketch, and the magic happens when we let each of these elements do what it does best. The purpose of this workshop is to bring more life and energy to your sketches, so—we’ll make the most of the expressive possibilities of line and color, as we explore how they can play exciting, complementary roles in your sketches.

Many sketchers like the quick, portable combination of ink and watercolor—though often the drawing is just a way to get a story down quickly, and then fill in with color. However, line and color can each play expressive parts in your sketch, and the magic happens when we let each of these elements do what it does best. The purpose of this workshop is to bring more life and energy to your sketches, so—we’ll make the most of the expressive possibilities of line and color, as we explore how they can play exciting, complementary roles in your sketches.

Many sketchers like the quick, portable combination of ink and watercolor—though often the drawing is just a way to get a story down quickly, and then fill in with color. However, line and color can each play expressive parts in your sketch, and the magic happens when we let each of these elements do what it does best. The purpose of this workshop is to bring more life and energy to your sketches, so—we’ll make the most of the expressive possibilities of line and color, as we explore how they can play exciting, complementary roles in your sketches.

Supply List

• Sketchbook or spiral-bound sketchpad suitable for wet media: at least 90lb./200gsm paper. Cold press surface is great for watercolor, but hot press may work best for drawing with ink and adding color washes

• Sketching pens with permanent (water-resistant) ink

• A few different pens that give you some line variation are best (fude, calligraphy style, brush pens, etc.) with water-resistant ink such as De Atramentis Document Black

• Waterproof Liner pens (Sakura Micron, Copic and FaberCastell are good waterproof brands), Dip pens, or any other waterproof drawing tools are also fine

• Watercolors. A travel watercolor set or other portable palette of watercolors with plenty of mixing area. While you won’t necessarily need a full palette for this workshop, please feel free to bring what you have. A good basic palette of tube watercolors includes a warm and cool yellow, warm and cool reds and warm and cool blues, a few earth colors, and perhaps a green. Professional-grade watercolors such as Daniel Smith and Winsor & Newton have the best pigment

quality, but less expensive “student grade” brands like Grumbacher, Cotman, and Van Gogh are fine. However, they generally have less pigment, so it takes a bit more effort to get good color strength

• Palette. For tube watercolor paint, you’ll need a folding watercolor palette with spaces for pigment and a mixing area. A rubber seal is ideal

• Watercolor brushes. Flats and rounds in a range of sizes – you don’t need many, and I recommend using the biggest brush you can: No. 12 or 14 Round, No. 6 or 8 Round, ½ inch Flat, 1 inch Flat, (Some optional brushes: large angle or dagger brushes)

• Water and water containers (at least one with a good seal)

• Rags

• Folding stool (lightweight and easy to carry!)

• Optional materials: Other color tools such as watercolor markers, water-soluble colored pencils, white gouache.

we talked about in the beginning? Just finish them at another location, adding one piece at a time. In my experience, the ideas presented in this workshop are often eye opening to students and ignite a sense of discovery and ownership of the content of their sketches.

Supply List

There are no special tools needed. The workshop is open to all drawing and coloring implements. It is possible to follow along with just a pencil on copy printer paper all the way to digital (e.g. iPad). I will be using a black water resistant fine liner on some watercolor paper. I will bring a set of watercolors and brushes for coloring. I will also use a set of Tombow water soluble grey markers (N75, N65, N45) and a few random colored markers.

WS14

Ch’ng Kiah Kiean

Penang, Malaysia

Sketching Architecture with Graphite and Watercolour Graphite

Workshop Description

In this workshop participants will explore monotone sketch by using combination method of graphite pencil and watercolour graphite (the medium), pencil lines and Chinese calligraphy brush strokes (the lines), pencil hatching and brush painting (the texture).

Supply List

• Cretacolor monolith graphite 9B & 6B

• ArtGraf watercolour pencil 2B

• Artgraf watercolour graphite (tin box)

• Pencil sharpener

• Cutter knife

• Small size Chinese calligraphy brush

• Small size water spray bottle

• Cold pressed watercolour paper

Instructor will supply:

• Pre-mounted rice paper card.

WS15

Mário Rafael Freitas Linhares

Lisbon, Portugal

New Sketchland

Workshop Description

Inspired by the country’s name New Zealand, looks like a new land from Z to A is challenging us to rethink how to use the drawings that urban sketchers have been making during the past few years. More than learning about a specific technique, this workshop will focus on how to use drawing-on-location as a way to interact with people, talk to them, and create a story about that magic moment where two strangers start talking just because of drawing.

The New Sketchland will be the moment where the story behind a drawing is more important than a technique. Franklin McMahon explains this beautifully: “Too often it seems to me, we’re too concerned with how a picture is done, not enough with what it has to say.”

In this workshop, we will be sketching a place where local people are presently living their lives. It can be a market, a cafe, a restaurant, a store, a bike shop, etc.

Supply List

• Sketchbook (A4 size is preferred)

• Pen with black waterproof ink

• Watercolors

•

• Pen with a different waterproof color (blue, green, orange, etc).

Stool.

•

WS16

Ben Luk

Hong Kong

Auckland Foodies – Sketch It Before It Gets Cold!

Workshop Description

When sketchers go socializing over a drink or a meal, they often end up being very quiet as soon as they pull their sketch books out and start drawing the food, people or interiors of the café, bar or restaurant they are in. When a beautifully presented dish is served, how could we capture it fast without going hungry? More specifically, how do we record shapes, textures and flavours of our food or beverage as they are being presented, and be able to capture food and drinks at speed without going hungry whilst sketching? How can we improvise, when your dessert melts in front of your eyes or gets eaten before you can finish the sketch? This workshop aims to achieve the socializing, sketching and eating all at the same time!

Supply List

Watercolour paper, watercolour palette, paint brushes, wax colour pencils, 0.7 mm gel pen, 0.3 mm colour markers.

WS17

Delphine Priollaud-Stoclet

Paris, France

Use Existing Context as a Frame For Your Sketch

Workshop Description

What could be more important than thinking about the framing to draw a beautiful, well composed sketch? Instead of drawing a literal box around your sketch, you can use objects which are part of the scene. All occasions are good for framing an urban scene creatively thanks to the context: arches or windows are the most visible examples, but architecture, characters, cars, or trees can also be considered as framing devices.

You can even take advantage of ugly elements that you usually don’t want to draw by turning them into framing devices. That’s what I call “on-location context frame”. When a view offers such opportunities, it would be a shame not to use them!

Supply List

• Sheets of watercolor paper A4 (8 1/2" x 11") or a sketchbook with watercolor paper

• A set of watersoluble colored pencils

• Pencils

• Watercolor pan set

• Brushes

• Ink pens

• Colored markers

• Water.

Rob Sketcherman

Hong Kong

Create Paintings That Pop in Procreate (an iPad Workshop)

Workshop Description

Many sketchers now use an iPad in addition to traditional media, and are familiar with the app Procreate but lack confidence and proficiency. (I have done many iPad + Procreate introduction workshops in the past and believe the community is finally ready for something more advanced)

This workshop breaks down a Procreate painting process into simple steps to effectively render a scene that balances deep, bold shadows with clear mid tones and vibrant highlights, resulting in a painting that pops off the page.

Supply List

• Fully charged iPad and Apple Pencil, updated to iOS 16 (mandatory)

• The latest version of Procreate (mandatory)

• A comfortable way to hold/grip your iPad through the workshop duration

• A folding stool or chair

• Drinking Water

• Consider a hat.

WS19 Angir Sudarman

Surabaya city, Indonesia

Building Urban Sketch Mood

Fast in First Layers – Wet on Wet Underwash

Workshop Description

Urban Sketching can record and heighten the drama of a city. Wet on wet underwashes in first step of watercolouring is one of the quickest way to build this mood / drama. Using this technique will allow us to achieve a dramatic urban sketch in a short stretch of time..

Supply List

• Watercolour paper size A5-A4, min. 200gsm, cold pressed / rough surface

• 2-4 watercolour tubes, any complementary colours of choice: ultramarine and burnt sienna / indigo and van dyke brown / shadow green and burnt umber.

• Watercolour box: containing 12 – 20 watercolour pans

• Deep mixing palette, preferably with 2-3 deep mixing area

• Watercolour brushes, preferably dagger brush / round / mop brush

• Mechanical pencils: 0.7 - 0.9mm lead (2B)

• Broad line markers / fountain pen and dark ink / dark colour brush pens

• optional: several coloured pencils or oil pastels (any bright intense colour).

WS20 Yap Yeen Yee

Kuala Lampur, Malaysia

Expressive Ink Sketch

Workshop Description

I will demonstrate the way to establish a drawing with a fountain pen. One needs to think ahead on the composition, and posses the ability to see shapes and their intersections. It is an ideal technique for sketchers who aim to draw rapidly and spontaneously with minimal art supplies.

Supply List

• Fountain pen (ideally fude nib fountain pen)

• Black Ink (preferably Noodler’s Bullet Proof ink, black eel/black)

• Cold-pressed watercolor paper (preferably 300gm and 100% cotton)

• Charcoal powder and container

• Black colour watercolor (preferably Daniel Smith lunar black)

• Rigger brushes (preferably flat water brushes).