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Instructor List

9th USk Symposium, Porto : Event Schedule rev00 (dated 24Feb2018)

17th July 2018, Tues

09:00 hrs (9:00 AM)

18th July 2018, Wedn Note: Programme marked with an asterisk (*) is optional and at own arrangements.

19th July 2018, Thurs

20th July 2018, Fri

21st July 2018, Sat

Morning briefing @ Alfândega do Porto (09:00 - 09:30) Meet & go to Workshop Meet & go to Sketchwalk location (30mins) location (30mins)

Morning briefing @ Alfândega do Porto (09:00 - 09:30) Meet & go to Workshop Meet & go to Sketchwalk location (30mins) location (30mins)

Morning briefing @ Alfândega do Porto (09:00 - 09:30) Meet & go to Workshop Meet & go to Sketchwalk location (30mins) location (30mins)

10:00 hrs (10:00 AM)

11:00 hrs (11:00 AM)

Workshop (10:00 - 13:00)

13:00 hrs (1:00 PM)

Faculty Briefing

Participants Checkin

Venue setting up

Meet & go to Sketchwalk location (30mins)

Lunchtime* (13:00 - 14:30)

@ Alfândega do Porto

(11:00 - 18:00)

15:00 hrs (3:00 PM)

16:00 hrs (4:00 PM)

18:00 hrs (6:00 PM)

Sketchwalk 1 (14:00 - 17:00) Faculty Tour

20:00 hrs (8:00 PM)

21:00 hrs (9:00 PM)

22:00 hrs (10:00 PM)

Workshop (10:00 - 13:00)

Sketchwalk 5 (10:00 - 13:00)

Opening Reception

Drink and Draw* (18:00 onwards)

Launch of Sketch Portugal Exhibition

Lunchtime* (13:00 - 14:30) Final Submission of Artworks for SILENT AUCTION

Meet & go to Workshop location (30mins)

Meet & go to Sketchwalk location (30mins)

Meet & go to Sketchwalk location (30mins)

Workshop (15:00 - 18:00)

Sketchwalk 4 (15:00 - 18:00)

Big Sketch (15:00 - 18:00)

(14:30 - 16:30)

Demo (30mins)

(18:00 - 20:30)

Lunchtime* (13:00 - 14:30)

@ Alfândega do Porto

Gather back at the Main Venue

@ Alfândega do Porto

19:00 hrs (7:00 PM)

Sketchwalk 3 (10:00 - 13:00)

Skit Sketch Presentation

Gather at meeting place; then depart for Demo location 17:00 hrs (5:00 PM)

Workshop (10:00 - 13:00)

Faculty Check-in

12:00hrs (12:00 PM)

14:00 hrs (2:00 PM)

Sketchwalk 2 (10:00 - 13:00)

Drink and Draw* (18:00 onwards)

Silent Auction

@ Alfândega do Porto

(18:00 - 19:00) Raffles Draw

@ Alfândega do Porto

(19:00 - 20:00)

Closing Reception @ Alfândega do Porto

(20:00 - 22:30)


Programme Instructors

Charline Moreau Eduardo Bajzek Fred Lynch Gabi Campanario Ian Fennelly Inma Serrano Jane Blundell Jim Richards João Catarino Johanna Krimmel José Louro Kiah Kiean Ch’ng Lapin Liz Steel LK Bing Lynda Jane Gray Marc Holmes Marion Rivolier Maru Godas Matthew Brehm Mike Daikubara Paul Heaston Paul Wang Pedro Loureiro Reham Ali Renato Palmuti Rob Sketcherman Róisín Curé Shari Blaukopf Simone Ridyard Simo Capecchi Suhita Shirodkar Uma Kelkar Veronica Lawlor Virginia Hein William Cordero


19th July, Thurs 10:00 - 13:00 (10am - 1pm) WS 1*

Simone Ridyard *

Archisketcher’s guide to sketching the Big Picture using the ‘Rule of Thirds’

WS 2

Charline Moreau

Beyond The Trees: How to include a wooded foreground in order to enrich a panoramic view

WS 3

Eduardo Bajzek

Graphite is The Matter

WS 4

Gabi Campanario

Pocket Urban Sketching

WS 5

Ian Fennelly

Watercolour and Pen in a Busy Space

WS 6

Inma Serrano

Porto: Calma e fúria (Porto: Calm & Wild)

WS 7

Jane Blundell

Watercolour 101

WS 8

Jim Richards

Drawing As Discovery: Revealing Porto's Rich Sense of Place

WS 9

João Catarino

“Water Sounds” : Shapes, Rhythms and Patterns by the River

WS 10

Johanna Krimmel

True Grit : Painting confidently with Chinese ink

WS 11

José Louro

Draw Less Show More (Reloaded)

WS 12

Kiah Kiean Ch'ng

Sketching with Dry Twig & Chinese Ink

WS 13

Lapin

Urban Archaeology : A documentary approach of the city

WS 14

Liz Steel

It’s all in the details

WS 15

LK Bing

Dramatic Atmosphere in Black and White : How to apply lighting concept and create depth with rich values.

WS 16

Lynda Gray

Searching for Focus and Flow - Seeing/Sketching/Colour

WS 17

Marc Holmes

Tea Milk and Honey - Seven Years Later

WS 18

Marion Rivolier

Capturing people and space in the same gesture

WS 19

Maru Godas

Gouache like a child

WS 20

Matthew Brehm

The Fundamentals of Sketching: Process and Practice

WS 21

Mike Daikubara

Sketch NOW, think later : Urban Sketching with limited time, tools and techniques

WS 22

Paul Heaston

Perspectiva de Guarda-chuva: Umbrella Perspective

WS 23

Paul Wang

Beautiful Eyes : Let’s go window shopping & peek into beautiful Porto!

WS 24

Pedro Loureiro

The stories of public realm objects

WS 25

Reham Ali

Urban tales… building can talk too!!. Architectural scenes without actors

WS 26

Renato Palmuti

Playful composition exercises with Notan sketches.

WS 27

Rob Sketcherman

People Party in Porto!

* New Instructor


20th July, Fri 10:00 - 13:00 (10am - 1pm)

15:00 - 18:00 (3pm - 6pm)

WS 28

Róisín Curé

A Page of Porto Petiscos! Signs And Their Setting for A Sense of Place

WS 19

Maru Godas

Gouache like a child

WS 29

Shari Blaukopf

Right up your alley: light, colour and shadow in Porto’s narrow spaces

WS 20

Matthew Brehm

The Fundamentals of Sketching: Process and Practice

WS 30

Simo Capecchi

One page says it all. A reportage on Porto wine

WS 21

Mike Daikubara

Sketch NOW, think later : Urban Sketching with limited time, tools and techniques

WS 31

Suhita Shirodkar

People at Work: Quick-Capture Vignettes

WS 22

Paul Heaston

Perspectiva de Guarda-chuva: Umbrella Perspective

WS 32

Uma Kelkar

Gray Matter: Using gray to tie two contrasting colors in two washes for lively and quick sketching.

WS 23

Paul Wang

Beautiful Eyes : Let’s go window shopping & peek into beautiful Porto!

WS 33

Veronica Lawlor

Reportage: Memory of a City

WS 24

Pedro Loureiro

The stories of public realm objects

WS 34

Virginia Hein

Minimal Color, Maximum Punch! Saying More with Less

WS 25

Reham Ali

Urban tales… building can talk too!!. Architectural scenes without actors

WS 35

William Cordero

Pastel Sketches, A Controlled Mess

WS 26

Renato Palmuti

Playful composition exercises with Notan sketches.

WS 36

Fred Lynch

See What I Mean: Sketching Like an Illustrator

WS 27

Rob Sketcherman

People Party in Porto!

WS 1 *

Simone Ridyard*

Archisketcher’s guide to sketching the Big Picture using the ‘Rule of Thirds’

WS 28

Róisín Curé

A Page of Porto Petiscos! Signs And Their Setting for A Sense of Place

WS 2

Charline Moreau

Beyond The Trees: How to include a wooded foreground in order to enrich a panoramic view

WS 29

Shari Blaukopf

Right up your alley: light, colour and shadow in Porto’s narrow spaces

WS 3

Eduardo Bajzek

Graphite is The Matter

WS 30

Simo Capecchi

One page says it all. A reportage on Porto wine

WS 4

Gabi Campanario

Pocket Urban Sketching

WS 31

Suhita Shirodkar

People at Work: Quick-Capture Vignettes

WS 5

Ian Fennelly

Watercolour and Pen in a Busy Space

WS 32

Uma Kelkar

Gray Matter: Using gray to tie two contrasting colors in two washes for lively and quick sketching.

WS 6

Inma Serrano

Porto: Calma e fúria (Porto: Calm & Wild)

WS 33

Veronica Lawlor

Reportage: Memory of a City

WS 7

Jane Blundell

Watercolour 101

WS 34

Virginia Hein

Minimal Color, Maximum Punch! Saying More with Less

WS 8

Jim Richards

Drawing As Discovery: Revealing Porto's Rich Sense of Place

WS 35

William Cordero

Pastel Sketches, A Controlled Mess

WS 9

João Catarino

“Water Sounds” : Shapes, Rhythms and Patterns by the River

WS 36

Fred Lynch

See What I Mean: Sketching Like an Illustrator

WS 10

Johanna Krimmel

True Grit : Painting confidently with Chinese ink

WS 1 *

Simone Ridyard*

Archisketcher’s guide to sketching the Big Picture using the ‘Rule of Thirds’

WS 11

José Louro

Draw Less Show More (Reloaded)

WS 2

Charline Moreau

Beyond The Trees: How to include a wooded foreground in order to enrich a panoramic view

WS 12

Kiah Kiean

Sketching with Dry Twig & Chinese Ink

WS 3

Eduardo Bajzek

Graphite is The Matter

WS 13

Lapin

Urban Archaeology : A documentary approach of the city

WS 4

Gabi Campanario

Pocket Urban Sketching

WS 14

Liz Steel

It’s all in the details

WS 5

Ian Fennelly

Watercolour and Pen in a Busy Space

WS 15

LK Bing

Dramatic Atmosphere in Black and White : How to apply lighting concept and create depth with rich values.

WS 6

Inma Serrano

Porto: Calma e fúria (Porto: Calm & Wild)

WS 16

Lynda Gray

Searching for Focus and Flow - Seeing/Sketching/Colour

WS 7

Jane Blundell

Watercolour 101

WS 17

Marc Holmes

Tea Milk and Honey - Seven Years Later

WS 8

Jim Richards

Drawing As Discovery: Revealing Porto's Rich Sense of Place

WS 18

Marion Rivolier

Capturing people and space in the same gesture

WS 9

João Catarino

“Water Sounds” : Shapes, Rhythms and Patterns by the River


21st July, Sat 10:00 - 13:00 (10am - 1pm) WS 10

Johanna Krimmel

True Grit : Painting confidently with Chinese ink

WS 11

José Louro

Draw Less Show More (Reloaded)

WS 12

Kiah Kiean

Sketching with Dry Twig & Chinese Ink

WS 13

Lapin

Urban Archaeology : A documentary approach of the city

WS 14

Liz Steel

It’s all in the details

WS 15

LK Bing

Dramatic Atmosphere in Black and White : How to apply lighting concept and create depth with rich values.

WS 16

Lynda Gray

Searching for Focus and Flow - Seeing/Sketching/Colour

WS 17

Marc Holmes

Tea Milk and Honey - Seven Years Later

WS 18

Marion Rivolier

Capturing people and space in the same gesture

WS 19

Maru Godas

Gouache like a child

WS 20

Matthew Brehm

The Fundamentals of Sketching: Process and Practice

WS 21

Mike Daikubara

Sketch NOW, think later : Urban Sketching with limited time, tools and techniques

WS 22

Paul Heaston

Perspectiva de Guarda-chuva: Umbrella Perspective

WS 23

Paul Wang

Beautiful Eyes : Let’s go window shopping & peek into beautiful Porto!

WS 24

Pedro Loureiro

The stories of public realm objects

WS 25

Reham Ali

Urban tales… building can talk too!!. Architectural scenes without actors

WS 26

Renato Palmuti

Playful composition exercises with Notan sketches.

WS 27

Rob Sketcherman

People Party in Porto!

WS 28

Róisín Curé

A Page of Porto Petiscos! Signs And Their Setting for A Sense of Place

WS 29

Shari Blaukopf

Right up your alley: light, colour and shadow in Porto’s narrow spaces

WS 30

Simo Capecchi

One page says it all. A reportage on Porto wine

WS 31

Suhita Shirodkar

People at Work: Quick-Capture Vignettes

WS 32

Uma Kelkar

Gray Matter: Using gray to tie two contrasting colors in two washes for lively and quick sketching.

WS 33

Veronica Lawlor

Reportage: Memory of a City

WS 34

Virginia Hein

Minimal Color, Maximum Punch! Saying More with Less

WS 35

William Cordero

Pastel Sketches, A Controlled Mess

WS 36

Fred Lynch

See What I Mean: Sketching Like an Illustrator


Beyond the Trees – How to Include a   Wooded Foreground in Order to Enrich a Panoramic  View  Charline Moreau, France 

WORKSHOP DESCRIPTION:    I never know what I will sketch before to go on a site, even if I know the place or saw  pictures of it. I stop when my eyes catch the view that will resonate in my heart. Why am I  drawing here and not one meter further? Because I feel that it was there that I could  catch the spirit of the place.    In this workshop, participants will learn how to compose with visual obstructions, here,  trees trunks and how to turn it to their advantage in order to create an inspiring  composition.    Moving beyond the trees, they will try to catch their own “perfect view”, playing with  vertical obstructions. They will learn about framing, composition, plans and depth of field  and light and shadows to translate their feeling about the place in their sketchbook. 


LEARNING GOALS:   ● Use immediate environment to frame the scene they want to sketch  ● Be confident even if there are visual obstructions  ● Recognize shadows and light values and translate them in the drawing  ● Give depth to the sketch using several plans    I’d like for participants to be more confident about their skills and for them to be curious.  I’d like that next time they’ll see a fabulous subject to draw to think “I never did it but I  think I can do it” . They’ll try, using their own drawing skills and what we’ve learned  together to make the spectator plunge in their drawing, and share the atmosphere of the  place.   

 


SUPPLY LIST:   ● Pencils (criterium or traditional)  ● Staedtler pigment liner or other ink pens  ● Watercolor and brushes      ABOUT THE INSTRUCTOR: 

CHARLINE MOREAU  

  I’m 25 and I’m French, living in Nantes. I’m a freelance illustrator and graphic designer,  working mainly for landscape architects, and also a watercolour artist. I discovered the  urban sketchers two years ago and now I sketch as much as possible, practically each  day. I actively participate in painting competitions since 2009, it helps me improve my  painting skills and meet other artists.    http://moreaucharline.wixsite.com/aquarelle-watercolor   

Urban Sketchers 2018 Porto Symposium Instructor


Graphite is the Matter Eduardo Bajzek, Brazil   

  WORKSHOP DESCRIPTION:    This workshop is about a different way to see which leads to a new sketching approach,  using pencil as the main tool in order to create a tonal atmospheric drawing.    In this workshop, only 3 types of tools will be necessary: 


Graded pencil: an affordable and simple art tool. Easy to work with. Can be blended, moved around or removed;  ● Erasers: there are a few useful kinds, like kneaded eraser and mechanical eraser.  We will use them to build in and reveal lights;  ● Blending stump: it’s a shortcut. It put the matter together and makes the drawing  visually stronger.  ●

Besides its simplicity, pencil is flexible - we can move back and forth into the drawing  process. Pencil can be also very rich in terms of concept and character. We can refine  the drawing as we add more and more information on it, in layers and in increasingly  smaller areas. We may achieve a nice atmospheric effect. Perhaps, a beautiful and  expressive painterly style. 

    This workshop balances:  • A technique - graded pencil;  • An approach - seeking angles / shapes and working with masses;  • A concept - working ‘outside-in’.   


Explaining better: The technique: we are using our tools to create shapes, one on top of the other.  Graphite is the matter. We will use this matter to build forms. We might move the matter  here and there, we might take some away. The absent of matter will be the light;    The approach​: instead of contours of forms, we will focus on their mass, translate them  into shapes. These shapes have angles on their boundaries. If these angles are correctly  seen (there are some tricks to do that), perspective will be there. Then, we will see  shapes inside shapes, adding them little by little. Shapes will be loose and open at the  beginning, more compact and darker at the end;    The concept​: ‘outside-in’ means we are working from bigger areas to smaller ones. We  will fit our theme in the paper first, working from that on.    Further aspects of this workshop​:  We should try to sketch relaxed! Besides the nature of the urban sketching activity, which  is doing sketches on the spot, dealing with time, people and weather, we should find a  way to sketch peacefully...Working with pencil can be, in my opinion, the key to achieve  this state. You can work in a more introspectively way, relating more deeply to the  subject, which leads to an expressive process.    What do you get in this workshop?  You’ll learn how to use graded pencils, a kneaded eraser and a blending stump to build  up a tonal drawing. You’ll learn some tricks to see angles and to put them correctly on  the paper - this is about perspective, without being too technical. If you need more help  regards on perspective, I will use my expertise in this area to help you out. You’ll see how  rich the results of pencil sketches might be. I hope that happens on your own  sketchbook. If doesn’t, hopefully you will be inspired to try it again.   


LEARNING GOALS:   ● How to plan the composition, assuring to have enough room for what you want to  capture;  ● How to work in a loose manner while building the general composition, using light  masses of pencil which can be easily moved around;  ● How to build perspective using a more flexible and intuitive approach ('reading'  shapes in the sky, and reading angles with your pencil and sketchbook’s border);  ● How to organize your work in layers, from bigger areas to smaller ones;  ● How to use a stump to blend masses and a kneaded eraser to sculpt the sketch  moving shapes and creating light effects;  ● How to add details and contrast little by little without rushing in, therefore  preserving the control of the entire process.    SUPPLY LIST:    ● Pencil 3B to 6B: Koh-I-Noor (my preferred), Cretacolor, Staedler or similar;  ● Eraser: “Tombow Mono Light Eraser” / “Staedler Mars Plastic” or similar (white /  soft / latex-free);  ● Kneaded rubber eraser: Cretacolor / Prismacolor / Staedler / Faber-Castell;  ● Mechanical / Precision erasers (pen-style body): Tombow Mono Zero Round  2,3mm and/or 3,8mm;  ● Blending Stump: medium size (usually no 5);  ● Paper: your sketchbook (ideally A4 / smooth surface)  ● I will try to get a Koh-I-Noor / Tombow sponsorships for this workshop.   

   


ABOUT THE INSTRUCTOR:

EDOUARDO BAZJEK  

  Eduardo has produced over 2,000 artworks for construction companies, real estate and  architecture firms in Brazil, Portugal, England and Hong Kong. His work was awarded by  the American Society of Architectural Illustration.    Eduardo joined Urban Sketchers community in 2009 as Sao Paulo correspondent and  was one of the founders of Urban Sketchers Brasil. In 2014, Eduardo was part of the staff  of the 5th Symposium, in Paraty – Brazil. He also taught workshops "Straight to Colors"  and "Straight to Masses" in Santo Domingo and Barcelona symposiums. Eduardo started  teaching urban sketching in 2010 along with his architectural illustration course, in Brazil.    He has been invited to participate in several books related to urban sketching, such as  "Architecture and Cityscapes" (Gabriel Campanario), "Understanding Perspective"  (Stephanie Bower) and "The Perspective Workbook" (Matthew Brehm). In 2016, Eduardo  published the awarded-winning "Rio Sketchbook", a collection of his sketches and  drawings of city of Rio de Janeiro.    http://ebbilustracoes.blogspot.sg/ 

Urban Sketchers 2018 Porto Symposium Instructor


See What I Mean - Sketching Like an Illustrator Fred Lynch, USA 

WORKSHOP DESCRIPTION:    Viewers draw meaning from pictures. Illustrators draw meaning into them.  In this workshop we learn how to create sketches that communicate ideas as well as  appearances - as an illustrator does. We’ll be introduced to strategies that help artists to  create more communicative art and we’ll also learn how sketches can collaborate with  the written word. It is an introduction to another approach to urban sketching – an  illustrative one.    It’s been said that illustrating is writing with pictures. Before the pencil hits the paper, an  illustrator makes creative decisions about what they would like to say. In this workshop 


we’ll be introduced to this approach to sketching, and learn some principles and practices of illustration. We’ll aim to make sketches that are driven by self-expression but  are also designed to share specific perceptions and observations. We’ll learn about  illustrators who used sketching in their work, and talk about the factors that made them  successful, such as interpretation, selection, recognition, focus, style, design and  empathy. We’ll also be introduced to the illustrator’s process - that is, to work in a  two-step process - creating quick preliminary studies that are reflected upon before  making a more developed work.    The instructor has been a professor of illustration at Rhode Island School of Design for  almost 30 years. He’ll share his knowledge and experience (as well as his art) from his  long, teaching career. 

  LEARNING GOALS:    Illustration, design thinking, drawing, communication, selection, process, creativity,  critique and visual authoring.     


SUPPLY LIST: Participants are encouraged to use their favourite materials for the workshop.   


ABOUT THE INSTRUCTOR:

FRED LYNCH  

  Fred Lynch lives outside of Boston and is a professor of illustration at Rhode Island  School of Design (his alma mater) where he has taught visual communication classes for  over twenty-nine years and has won distinguished teaching awards. Fred also teaches a  college course in Journalistic Drawing in Italy each July. Beyond teaching, he’s an  illustrator, artist and active sketcher, posting regularly on the Urban Sketchers Blog. His  work is being featured in a growing number of books about sketching and in magazines,  as well as exhibits. This year, Fred was featured on the Travel Channel and in the French  graphic journalism magazine, XXI Revue    Website: FredLynch.com  Blog: FredLynch.tumbler.com  Student’s Blog: drawingviterbo.blogspot.com  Teaching Blog: pictureitfredlynch.wordpress.com

Urban Sketchers 2018 Porto Symposium Instructor


Pocket Urban Sketching Gabi Campanario, USA   

WORKSHOP DESCRIPTION:   A crash course in urban sketching with a basic tool kit consisting of a pocket  sketchbook, pencil, pen and watercolors.  ------  If you are interested in becoming a better artist and urban sketcher like I was more than a  decade  ago, there’s nothing like drawing on a pocket sketchbook to fuel your motivation and  sharpen your drawing skills. A small, easy-to-carry notebook makes sketching in public 


less intimidating and is ideal to create fast drawings on the go -- and without calling too much attention from onlookers (hello, shy sketchers!).    Pocket urban sketching allows you to respond rapidly to any sketching opportunity.  Through aseries of exercises, I’ll teach useful contour drawing techniques, how to  simplify complex scenes to make them fit on the page, and how to create dynamic page  layouts where drawings and writing flow harmoniously within the page and from one  page to another.    The workshop also includes a review of my urban sketching tools and useful drawing tips  related to composition, perspective, tone and color. By the end of the class, participants  will have gained a basic understanding of what it means to be an urban sketcher and  how to make on-location sketching a fun part of everyday life.    Drawing enthusiasts who are new to sketching from life will benefit the most from the  class, but the joy of documenting the world on the pages of a pocket sketchbook can  appeal to artists of all levels.    LEARNING GOALS:    ● Become comfortable with basic tools and techniques to practice urban sketching  ● Become familiar with the small format of the pocket sketchbook and learn how to  draw while standing up  ● Learn to fit wide scenes onto the small pages of the sketchbook  ● Learn basic layout principles to arrange drawings and writing on the pages  ● Learn basic tips to use watercolor successfully  ● Gain drawing confidence by working through a sketch from beginning to end  without starting over   


SUPPLY LIST:   ●

Sketchbook: Workshop sponsor Stillman & Birn has agreed to provide a pocket sketchbook for each participant, but everyone is also welcome to bring their favorite type  of pocket sketchbook. 

Pen. Uniball Vision and Micro Pigma are good brands of waterproof pens. You may also bring your own fountain pen. 

Pencil. A regular HB pencil would do, but you may also bring a pencil with a hard lead (i.e., 4H) and another with a soft lead (i.e., 3B) 

Watercolor kit. If you need to get one, Winsor & Newton and Royal Talens Van Gogh pocket kits are a good start. 

     

                 

Waterbrushes (Niji or Pentel)

Water container

Rag or paper towel

Brushes. My favorite is an angle brush.


ABOUT THE INSTRUCTOR:

GABRIEL CAMPANARIO  

  Gabriel Campanario is an illustrator, journalist and urban sketcher who never leaves  home without a sketchbook in his pocket. A native of Spain, Campanario has called  Seattle home since 2006. His work appears regularly in The Seattle Times, where he  works as a staff artist. As the founder of Urban Sketchers and author of “The Art of Urban  Sketching,” Campanario’s advocacy of on-location sketching has spearheaded a global  movement of artists and drawing enthusiasts whose motto is showing the world, one  drawing at a time.    Website: http://www.estudiocampanario.com/  Instagram: http://instagram.com/gabicampanario  Facebook: http://facebook.com/seattlesketcher  Seattle Times column: http://www.seattletimes.com/seattlesketcher     

Urban Sketchers 2018 Porto Symposium Instructor


Watercolour and Pen in a Busy Space Ian Fennelly, UK   

  WORKSHOP DESCRIPTION:    The challenge of drawing in a busy city location can be daunting but exciting. Where do  you begin? What do you include? What do you miss out? In this workshop I intend to  demonstrate a process, using different materials at different stages, which makes the  drawing experience more manageable. 


We’ll begin by observing and experiencing the location; talking about the colours, shapes, patterns, noises and energy. You need to live it before you can draw it. I’ll select  a view to draw and talk about where the focus will lie and just as importantly the bits that  I’ll miss out. I’ll put down an initial watercolour wash to achieve the basic structure on the  page – looking at big shapes and tones. During this demonstration to the group I’ll talk  about how we can use colour for descriptive and emotional purposes.  Next we’ll explore the use of brush pens to begin layering tone and more depth to the  drawing. We now need to recognise which part of the sketch will be getting the most  attention.    Finally we will introduce the fine liners to focus on pattern and detail – referencing the  cobbles, brickwork, facades, rooftops etc – the wonderfully exciting tapestry of street  furniture that confronts you in a busy city.    Participants will then understand the process I use and see if it works for them. I will  emphasise that this process can be adapted, for example more painting can be done  after the pen work, or you could begin the sketch with line work. This is really important  as it illustrates the flexibility of the creative process.   

 


LEARNING GOALS:   ● Use a watercolour wash to help create a framework for the composition of your  drawing  ● See colour as either an emotional tool to express your response to a location, or  as a descriptive tool to add realism.  ● Use line work and pattern as a means of describing the observable features of a  busy location.  ● Experience how brush pens can help create depth to a drawing.  ● Learn to focus on a particular part of a subject, and understand that what you  leave out is just as important as what you put in.   

 

   


SUPPLY LIST:   ● 300gsm smooth fabriano paper – approx. 40cm x 30cm. (I use a spiral bound  sketchbook)  ● Brush pens – variety of grey tones, including black (I use tombow)  ● Variety of fine liners, from 0.05 to 0.8  ● Roller ball fine liners  ● Water container  ● Selection of watercolour paints (I use a small 3 x 4 Winsor and Newton pan)  ● Selection of brushes – from riggers to flats    (Typically in my palette I usually have burnt sienna, burnt umber, sap green, cerulean,  ultramarine, winsor blue and cadmium red)   

     


ABOUT THE INSTRUCTOR:

IAN FENNELLY   I studied painting at Wimbledon School of Art and  gained a 1st Class Honours degree. After graduating I  worked as a drawing office manager for several  years which gave me the opportunity to develop my  drawing skills. I’ve always been attracted to the  urban environment, and I love the feel of a busy city. I  paint very quickly and loosely, but it must happen  within the context of an accurate drawing, which  holds the paint in.     I am married with two children and live near the coast in Hoylake, on The Wirral. I work  from a light and airy studio overlooking the beach and often work on several pictures at  once which enables me to plan the colours, and allows different ideas to bounce off each  other. I use photographs and on site drawings to plan compositions and draft out ideas.  Part of this information gathering is travelling to different cities which is really important.    Inspiration for my paintings comes from visiting places, spending time there, meeting  people and getting honked at by buses. But when I paint, the subject is just the starting  point; it’s the battle on the paper that’s really exciting. Colours, shapes, lines and patterns  are all jockeying for position, while the water flows within the textured grooves of the  heavy Fabriano paper. This is what’s really exciting. The image will inevitably come  through, sometimes in spite of my efforts, because it’s painting itself that really inspires  me.    www.ianfennelly.co.uk   

Urban Sketchers 2018 Porto Symposium Instructor


Porto - Calma​ ​e​ ​fúria​ (Porto - Calm & Wild) Inma Serrano, Spain   

WORKSHOP DESCRIPTION:    In this workshop, I would like to explore the city’s vibrancy and its life. I aim to introduce  time and movement into our sketches and stories. I would like to try to approach to the  essential aspects such as how to draw the calm and the movement. The feeling of a  place that can totally change in a moment, from the calm and quiet to a messy chaos.    I want to focus on the the idea of rhythm of movement that every place has. Sketching  this rhythm will give our drawings a much more dynamic and urban character. Urban  sketching, as jazz music, starts with a fixed music score but then, it goes on changing  gradually, introducing new notes, letting ourselves be led by improvisation and  imagination to discover new sketching ways. This is the most powerful tool in sketching:  Everything can change in a second. 


We are going to play with different quick_draw techniques such as free lines with ink or big crayons to achieve uncontrolled and surprising results.    This workshop aims to be a fun game in which we are going to feel like a child trying to  forget the need to look for the resemblance and looking for our own drawing language  and style. We will alternate controlled and uncontrolled exercises in the same sketches  (to draw with our brain or with our guts) with the intention of discovering new shapes,  unreal colors and improvised lines, getting shocking results, trying to reflect the two  faces of Porto: the calm and the wild, the sea and the city jungle.    We will investigate new ways of expression of the movement:  1. Unfinished drawings & detailed zones  2. Dynamic lines & abstract shapes.  3. Empty areas & big blocks of color.    Finally, we will try to combine both ways of drawing (controlled and uncontrolled) in a  scene mixing static elements and others in motion. I would like to add that a part of this  workshop has been tested successfully in Rotterdam last August with PYSB Urban  (E)scapes.   

  LEARNING GOALS:    ● Losing the fear to deal with sketching people, landscape, buildings and motion.  ● Finding ways to record time and movement in sketching.  ● Experiment with different techniques and ways of approaching a live sketch  situation, helping you find your own self expression.  ● Using and trying different approaches - line drawing with pens and  pencils,watercolours and colour in different media. 


SUPPLY LIST:   We will use tools to draw fast lines and loser gesture sketches with different thicknesses  (as pencil, pen, marker or fountain pen...). It would also be convenient to have ink or  liquid watercolor inside a brush pen (because it dries faster than watercolor) and a bigger  brush for big colored areas.    In this workshop it ́s very interesting to try new ways of drawing so any innovative tool  will be welcome... And also colour, of course (wax, watercolour, crayons, anything) but a  lot of colour.   


ABOUT THE INSTRUCTOR:

INMA SERRANO  

  Bachelor of Fine Arts from the University of Seville, specializing in Painting (1996) and  Design and Engraving (2000). For the past fifteen years she has been involved in the  area of art education and has taught courses in Applied Creative Photography, Visual  Arts, Painting and Drawing. She has made presentations and workshops related to  “travel  diary” and “drawing in location” for the University and for other organisations and groups  in and out of Spain. As a teacher, she has led sketching workshops for Urban Sketchers  Symposium in Santo Domingo (2011), Barcelona (2012) and Singapore (2015). She  currently works at a Secondary School in Sevilla in which she teaches Visual Arts and  Drawing. She has also worked as an assiduous illustrator in some journals and books.  Inma’s artistic interest focuses mainly in the field of illustration and graphic diaries.  She has been involved in some national and international exhibitions too.    Sketching in the streets is essential in her life because it allows she to zoom, in an  ingenuous and almost childish way, the people and the things around.    http://inmaserrano.es  http://www.urbansketchers.org/2012/09/meet-correspondents-seville-spain-inma_11.html  https://www.facebook.com/inmaserranito  https://www.instagram.com/inmaserranito/  https://www.flickr.com/photos/inmaserranito

Urban Sketchers 2018 Porto Symposium Instructor


Watercolour 101 Jane Blundell, Australia   

  WORKSHOP DESCRIPTION:    This workshop will be an exploration of watercolour covering everything you need to  know to choose or renew a palette, set it up, and start painting with it. We’ll explore  pigment options, colour mixing and painting techniques that will have you adding colour  to your sketches with confidence and flair. 


LEARNING GOALS:   ● Understand that with the right choice of basic pigments you can mix any colour  you need  ● Understand why working with a limited palette creates colour harmony  ● Understand how to create two and three-colour mixes with ease  ● Learn the best pigments to use for capturing the textures and colours of buildings  and foliage in the urban environment  ● Explore techniques for painting skies, bricks, stone, foliage and other building  materials. 

 


SUPPLY LIST:   I recommend Daniel Smith, Da Vinci and Schmincke paints, but other brands can be  used. Tubes are more versatile, but pans are also fine. I’ll have extra paints with me if  needed.  ● cool yellow – Hansa yellow light (DS or DV) or arylide yellow light (DV) Lemon  Yellow (Schmincke) or other made with PY3. Hansa yellow medium is also  suitable.  ● warm yellow - Hansa yellow deep DS or Arylide yellow deep DV or Chromium  Yellow Deep Hue (Schmincke) PY65 or New Gamboge or Quinacridone Gold are  all suitable  ● warm red – Pyrrol scarlet DS is lovely, so is Da Vinci Permanent Red, or use  Schmincke Vermilion  ● cool red - Quinacridone Rose DS or Permanent Rose or Ruby Red Schmincke  ● warm blue - ultramarine DS or DV or French Ultramarine Schmincke (or any brand  PB29)  ● cool blue – Cerulean Chromium DS, Cerulean Genuine DV or Cobalt Cerulean  Schmincke recommended (all PB36)  ● Earth yellow - Yellow Ochre PY43 DS or DV preferred, or Raw Sienna, or DS Mont  Amiata Natural Sienna or DS Goethite or other earth yellow also possible  ● Earth Orange - Burnt Sienna – Da Vinci or Daniel Smith PBr7 preferred, or  Schmincke Maroon Brown, but PR101 also suitable.  ● Earth red - Indian Red PR101  ● Dark cool brown - Raw Umber Daniel Smith or Da Vinci. Schmincke Green Umber  is possible but not as strong. (not W&N)  ● Light - Buff Titanium Daniel Smith – wonderful for urban sketching.  ● Mixed grey – Schmincke neutral grey or custom mix of burnt sienna and  ultramarine that we’ll make in the workshop.  ● palette with space for 12 (or more) colours. I’ll talk through other wonderful urban  sketching pigments  ● brushes, water containers (2 recommended), paper towel, watercolour  sketchbook or loose paper, pen and/or pencil.           


ABOUT THE INSTRUCTOR:

JANE BLUNDELL  

  Australian born, I started sketching as a child, with first sales at 15 years old. Studied BA  Visual Arts, worked as an etcher for a year, then completed Grad Dip Art Education,  graduating with distinction. I spent five years teaching in secondary schools, then moved  to the US for 4 1⁄2 years where I tutored college students and exhibited.    I moved to Singapore for 4 1⁄2 years set up my own teaching studio, teaching watercolour  and drawing to adults. I returned to Sydney and taught at local community art centre and  in my own studio.    A member Australian Watercolour Institute, and multi award winning artist, I have had  four solo shows (one in Singapore, two in Sydney and one in Seattle), and participated in  many group shows. I’ve written and self- published two books Watercolour Mixing Charts  and The Ultimate Mixing Palette; a World of Colours available on Blurb.com.    I joined the Urban sketchers in June 2013 and continue meet up with this amazing  community of sketchers all over the world, travelling and teaching in many locations. I am  currently teaching weekly classes in Sydney and giving workshops and demonstrations  for numerous art societies and urban sketching and other art groups in Australia and  internationally.    https://www.janeblundellart.com/


Drawing as Discovery -   Revealing Porto's Rich Sense of Place  Jim Richards, USA   

  WORKSHOP DESCRIPTION:  How do you understand and capture the essence or soul of a great place? What  elements and attributes speak to the authentic character and culture there, and what are  the best sketching techniques to express them? This workshop celebrates the creative  overlap between the design of great cities and the use of on-location sketching to  explore and understand them. The instructor’s decades of professional and academic 


experience in both urban design and drawing offers workshop participants a unique opportunity to:    ● Better see and understand the “visual DNA” of a memorable place,  ● Use this heightened awareness in their artistic decision-making process  ● Choose, edit and quickly capture the sketching subjects that best express Porto’s  essential character.  ● By workshop’s end you will see city scenes in a different way. This heightened  awareness, and new sketching techniques to express it, will allow you to add  depth and richness to your on-location sketches and to your travel experiences.   

LEARNING GOALS:   Participants will learn:  ● To enhance their ability to see and “read” a city, by heightening their  awareness of key elements (gateways, streetscape, vistas, architecture,  colors, textures, details) and their relationships to each other that contribute  to its authentic sense of place.  ● To articulate an idea for a sketch that captures the ​essential quality​ you 

want to convey, and to use the idea as a filter for making decisions in the drawing process. 

● A proven, step-by-step approach to creating lively eye-level perspectives of complex urban scenes. 


● Techniques for heightening the drama, energy and exuberance of their urban sketches.   

  SUPPLY LIST:    The following materials are required: ●

● ● ● ● ● ● ● ●

Watercolor sketchbook. This should be a larger size, at least 8 inches by 10 inches, and bound so that you can create a double-page spread—one continuous drawing across two pages. Alternatively, a larger watercolor pad that gives you plenty of room for a larger drawing, say, 12 inches by 16 inches. Waterproof ink pens (technical or fountain pens) and/or sketching pencils. Your choice should allow a range of expressive line weights. Colored pencils in light gray and white Travel watercolor set Waterbrushes or traditional brushes, one large flat, one medium round Small rag Small leak-proof plastic container of water Glue stick Small lightweight folding stool (optional)

   


ABOUT THE INSTRUCTOR:

JIM RICHARDS   James Richards is an internationally recognized urban  designer, author, artist, and educator based in Siesta  Key, Florida. He is the author of the award-winning  book Freehand Drawing and Discovery: Urban  Sketching and Concept Drawing for Designers, which  is a standard text in architecture and urban design  programs around the world, and is an on-location  sketching instructor for the online learning company  Craftsy. He is the co-founder of Townscape Inc., an  urban design consultancy, and is a former tenured  Associate Professor in the School of Architecture at the University of Texas at Arlington.  He founded Urban Sketchers Texas, is a workshop instructor and a correspondent for  USk’s international blog, and serves on Urban Sketchers Advisory Board.    Jim has visited and drawn great urban places in over 45 countries around the world,  collecting experiences and images that inspire his work. His work has been widely  published and has appeared in group and solo exhibitions. His on-location sketches and  watercolors of Cuban sites related to the writer Ernest Hemingway’s life and work was  the subject of his solo exhibition at the Nobel Prize-winning author’s home (now a  national museum) near Havana during the 2015 Havana Arts Biennial.    In 2016, Richards was awarded the prestigious President's Medal from the American  Society of Landscape Architects for his efforts in revitalizing freehand sketching as a  foundation of the discipline. The award citation read, in part: "As a dynamic volunteer,  thought leader, and pioneer in re-introducing the importance of sketching to the  profession, Jim has influenced Landscape Architecture in a profound way. His  roles...help engage and educate Landscape Architects in a way that provokes action and  provides joy."    www.jamesrichardssketchbook.com 

Urban Sketchers 2018 Porto Symposium Instructor


Water Sounds -   Shapes, Rhythms and Patterns by the River  João Catarino, Portugal   

  WORKSHOP DESCRIPTION:   


When we sit down by the river and stop to look around, if we have some time, we can get carried away in a kind of “hypnotic sensation” of the rhythms, patterns, reflections effects  and abstract forms that the movement of water produces, as if they were sounds near  and far, and they repeat themselves, they hear and they stop listening.  Through drawing we can take some more time in this observation and concentrate the  focus of the look in the attempt to select and register separately the forms and rhythms  that in a time are repeated, alternate and differentiate.    This will be the first step and priority of the exercise. Without any predefined idea we will  create a background constructed according to what we really observe but in an abstract  way.    The second step will be the selection of a second focus in which the target will be the  material forms we observe, space, objects and people that make up a second layer,  which overlaps the background and will complete the environment that we come to  recognize.  

 

LEARNING GOALS:   ● Having the ability to recognize, detect and record graphically, reflected rhythms  and patterns observed in water movements.  ● Detect and select a first layer which is considered background and then figure.  ● Detect and select by layer first what is considered immaterial forms and then  material forms.  ● Represent spaces and overlapping solid color shapes and solid lines.  ● Develop the ability to select forms, spaces and negative spaces.  ● Develop focus and concentration skills.   


SUPPLY LIST:   ● Watercolors or at least 3 solid aqueous colors ex: ecolines  ● Fine and wide watercolor brushes  ● One color “Posca Pen” (PC.3M) or other identical brand.  ● Sktechbook minimum A5 without rings                   


ABOUT THE INSTRUCTOR:

JOAO CATARINO   João Catarino has a degree in communication  design from the Faculty of Fine Arts at the University  of Lisbon (FBAUL), where he teaches illustration in  the free courses of the Centre for Research and  Studies in Fine Arts. He also teaches illustration and  communication design at the Caldas da Rainha  College of Art and Design, part of the Polytechnic  Institute of Leiria. He was a drawing student at the  Centre for Art and Visual Communication (AR.CO),  where he became a drawing teacher in 1995.      His working life has been spent in illustration, and  his work has been published in the leading  Portuguese media, particularly the press and  television.     He has been a trainer in several Urban Sketchers’  international symposiums and his work in travel  notebooks has been presented several times in secondary schools, universities and  other institutions. It can be seen in some national and international publications in this  area.     Desenhosdodia.blogspot.com 

Urban Sketchers 2018 Porto Symposium Instructor


True Grit - Painting Confidently with Chinese Ink Johanna Krimmel, Germany   

WORKSHOP DESCRIPTION: Painting directly with chinese ink may take a bit of courage, but once you discover the  many possibilities it is very satisfying. Also don‘t be afraid to get a little dirty and gritty,  let‘s mess around and see how we can catch a scene quickly by applying different kinds  of loose brushwork. In this workshop we will discover that black ink is not only about  strong linework, but also about delicate greys and everything in-between, which can add  amazing depth to your sketch. 


LEARNING GOALS:   ● How different types of brushes, paper and even your posture influence your  sketch.  ● Practice confident lines and strokes and get into the flow.  ● More than 50 shades of grey - explore how far you can go diluting chinese ink  ● Get grimy and gritty: Wet vs. dry painting - create structures and surfaces fast with  different techniques  ● Bringing it all together: Enhance your point of nterest with atmospheric  perspective and expressive composition. Add colour highlights for the final touch.    The workshop will be a mix of short demos and exercises. During exercises the  instructor will check on participants in case of individual questions.   

   


SUPPLY LIST:   ● black pigment based drawing ink (also called chinese ink/india ink or sumi ink) 

important note:  there is a difference between pigment-based ink and dye-based ink!    dye-based ink:  contains colour as chemically dissolved dye thinner usually not waterproof (some  are) usually not lightfast to be used with fountain     pens pigment-based ink (this is what we need in the workshop): contains pigment  made from soot binding agent is shellac or acrylic thicker waterproof once dried  lightfast can not be used with fountain pens 

● ● ●

Brushes should be of medium size or up, so they can hold a good amount of liquid  and should have a pointed tip, so we can draw fine lines as well as broad strokes  and washes. e.g. Daggerbrushes  chinese/japanese calligraphy brushes but other brushes for watercolour work just  as well, just make sure they have a pointed tip. Please clean your brushes  carefully after use!  a bottle of water and a watercontainer (important: we need lots of water for  dilution, so watertank brushes are not sufficient!)   paper tissues  watercolours 


● paper should handle water well - so it shouldn‘t be too thin, also it shouldn‘t be too absorbent. paper/sketchbook should not be too small, bigger is better.  ● drawing board if you use loose paper  ● binder clips  ● folding chair  ● Please be careful of staining and choose your clothes accordingly, chinese ink  doesn‘t wash off. Always seal your ink container in an extra plastic bag together  with some tissues, to prevent spilling accidents in your baggage.   

                 


ABOUT THE INSTRUCTOR:

JOHANNA KRIMMEL  

Johanna Krimmel is a communication designer, scenographer and fine artist. Being an  avid traveller, sketching has always been an essential part of her everyday life and work.    As a designer she is creating brand spaces and experiences in the automotive-, gaming-  and lifestyle-industry, as an artist she was featured in national and international  exhibitions. She was also trained as an art educator and holds workshops and lectures.    Johanna Krimmel is part of the German USk Rhein-Main chapter and loves to share, get  inspired and meet with other sketchers from all over the world.    www.instagram.com/jaykay2012/  www.studiokrimmel.com  www.facebook.com/jokrimmel/     

Urban Sketchers 2018 Porto Symposium Instructor


Draw Less Show More (Reloaded) José Louro, Portugal   

WORKSHOP DESCRIPTION:   In this workshop, we are going to draw the interior of​ Estação Ferroviária de Porto – São  Bento​, an emblematic* railway station located in Porto downtown. We want to reduce the  distractions and focus on the essential elements of the railway station environment. Here,  the idea that draw less could show more isn't about filling less. It is about achieving 


better design through minimalism choice of graphic matters and that simplicity could help us to tell a simple story.    * One of the characteristics of this railway station, from the end of the last century, is its interior covered  with about twenty thousand tiles. 

LEARNING GOALS:    At the end of the workshop students should be able to:  ● Use the white space approach as a way to make the content stand out and be the  focal point;  ● Develop the notion that complexity could be simplify, if ​stripped of superfluous  elements;  ● Understand important features about drawing the human figure in urban context;  ● Apply the line and the monochromatic use of color as a back-to-basics approach  to create sketches with simplicity look;  ● Remember that the essence of the story – ourselves life - is more in the little  details that in the whole scene.     


SUPPLY LIST:  

● Just the fundamentals tools and sketchbook. ●

Each participant should bring a single blue-cobalt watercolour tablet.

ABOUT THE INSTRUCTOR: 

JOSE LOURO

Born 1964, Lisbon, Portugal. Graduated in Equipment Design from IADE. Masters Degree in Drawing from FBAUL. Teacher and trainer. Participates in books, newspapers,  exhibitions, conferences, workshops and encounters on the topic of the «Sketchbook».      http://ajaneladealberti.blogspot.pt   

Urban Sketchers 2018 Porto Symposium Instructor


Sketching with Dry Twig & Chinese Ink Kiah Kiean Ch'ng, Malaysia    

WORKSHOP DESCRIPTION:    In this workshop I will teach the participants to make own sketching tools from dry twigs  and dish washing sponge. We will also explore the use of Chinese ink as the main  medium and the traditional Chinese ink painting concept of leaving white space.    LEARNING GOALS:    ● ● ● ●    

How to make your own sketching tools with natural and DIY things How to create lines with dry twig pen  How to create tones with “dry wash” technique  How to sketch the cityscape with expressive lines and marks


SUPPLY LIST:   Your normal sketching tools  ● Loose sheet watercolor paper (Saunders Waterford Hot Presseed (HP) and Cold Pressed  (NOT) 300 gsm or any other paper brands)  ● Twigs or wood branches (soft and hard wood, cut to pencil size)*  ● NT cutter  ●

Stencil brushes (different sizes)

Dish washing sponge (with container)*

Watercolour set

I will bring:  ● The twig I use (one each for every participants)  ● Chinese ink (the brand I use for everyone to try)  . 

   


ABOUT THE INSTRUCTOR:

KIAH KIEAN CH’NG  

Ch’ng Kiah Kiean graduated from Universiti Sains Malaysia with Architecture Degree. He was born in George Town, Penang. After running his own graphic design studio for 10  years he is now a fulltime artist based in Penang. He published Sketchers of Pulo Pinang  in 2009 and Line-line Journey in 2011. Kiah Kiean joined Urban Sketchers in 2009 and  co-founded Urban Sketchers Penang in 2010. Find out more of his work at   www.kiahkiean.com.    Blog: www.kiahkiean.com/artblog  Facebook: www.facebook.com/kiahkiean.chng  Instagram: www.instagram.com/kiahkiean/  Fickr: www.flickr.com/photos/chngkiahkiean  Issuu: www.issuu.com/kiahkiean  Pinterest: www.pinterest.com/kiahkiean 

Urban Sketchers 2018 Porto Symposium Instructor


Urban Archaeology -   A Documentary Approach of the City  Lapin, Spain    

WORKSHOP DESCRIPTION:   In my most recent work, I realised an archive of the changes that affected my  neighbourhood in Barcelona. As in every big city, the gentrification transforms our  hometowns. In Poblenou, the old factories are disappearing and some hotels and offices 


are built. I decided to sketch this heritage of the industrial era before it will be totally gone. Most of the façades I sketched in the past years are not there anymore. So I titled  my project “Lost Poblenou”, a documentary of a lost time and place.    From my past trip to Porto, I mind that tourism is also transforming the city.  That’s why I’d like to give to the participants of the symposium a different approach,  looking at the artefacts of some past activities, stores, garages in the historic centre of  Porto. We will collect as some archaeologists do, the memories of past times.  

  LEARNING GOALS:    We will look for some unusual street scenes, working the composition in a frontal view,  layering the sketch starting by the foreground and following step by step until the  background. I’m used to describe this method “contaminating the page”.  We will use cars, street signs or trees to give deepness to the drawing.  We will include the old shop signs, graffitis and textures. 


My main goal is to value the Urban Sketch as a work of memory​.

     


SUPPLY LIST:   ● Any supplies participants normally use are fine, sketchbook and loose papers included.  ● I recommend to use waterproof inkpens of different colors (black, grey, ochre, red,  blue…), coloured pencils, brush pen and watercolors.  ● Folding chair highly recommended.  ● Paper size: at least A5.   

   


ABOUT THE INSTRUCTOR:

LAPIN  

I am a French illustrator, an artist, an urban sketcher working for fashion, advertising and editorial and living in Barcelona. I define myself as a mobile illustrator and carry with me  my sketchbook and a compact sketching gear to the street, to a bar, to a metro, to  Shangaï or Chicago. Sketching is a way for me to record every second of my life and feel  alive. I already filled about 180 sketchbooks during the last 15 years and I particularly  appreciate sketching on vintage accounting books that I find in flea markets.  For me a good sketchbook must contain two things; some doodles of dinosaurs and  vintage cars.    I teach the art of "sketching" during workshops in universities and in art schools,  participate to exhibitions around the world.    I have published several books, among them are “Paris”, “Barcelona”, “Lisboa” and  “Berlin” for the French Airline Joon, "Paris, je t’aime", "Barcelona original", "Carnet de  Bagnoles vol.1 & 2", "Cuaderno de Cuba", "Lapin au Japon", "Barcelona, Modernisme  beyond Gaudi" and I’m featured in many collective books about Urban Sketching.  I share my day to day sketches on my blog, Instagram and Facebook.    Instagram: lapinbarcelona Blog: les-calepins-de-lapin.blogspot.com 

Urban Sketchers 2018 Porto Symposium Instructor


It’s All in the Details Liz Steel, Australia    

WORKSHOP DESCRIPTION:   A common problem when sketching complex buildings is to get lost in the details, and  this is especially true when sketching Baroque architecture. My standard solution is to  start with the big volumes of the building and then subdivide it by drawing the structure.  In this method of sketching buildings - which I call ‘working structurally’ - drawing the  details comes last.   


However in this workshop we are going to reverse the order because architectural details are very important in fancy Baroque buildings. In addition, drawing ornate details  is so much fun. I want to share with you lots of tricks for creating lively sketches of highly  decorated buildings - they’re one of my favourite subjects to sketch!    Not only are details important for creating the character of a building but they can also  significantly affect the relationships between the main elements. So even when I’m  ‘working structurally’ I’m always thinking about the details at the same time.    In this workshop we will start by drawing a few of the main decorative elements of the  building up close. We will move back and look at how these elements are scaled down  and simplified from a distance and how they fit into the structure of the building. Finally,  we will use this knowledge of the details to work quickly and loosely, making lively but  convincing sketches of the magnificent Baroque buildings of Porto.    Once you have explored a few common architectural details of the Baroque and  Classical style, you will find it much easily to sketch any building with confidence.    

   


LEARNING GOALS:   1. To discover techniques for drawing complex Baroque details quickly.  2. How to simplify these details when drawing the whole building by looking at their  structure/pattern, leading edges and changes in plane.  3. To understand how details fit into the building as a whole and can be important  junctions to different elements.  4. How to work structurally (working from big to small) but with the knowledge of the  details at the start.  5. How to make the most of ink and watercolour when sketching complex buildings  quickly.     

   


SUPPLY LIST:   ● ● ● ●

● ● ●

Paper/sketchbook suitable for ink and wash – A5-A4 size. Permanent ink pen  A pencil (optional).  Coloured media: Watercolour is the preferred medium but any form of colour is fine  -coloured pencils, watercolour pencils, markers. Bring your normal watercolour kit - there  are no special requirements for specific colours as you will be free to experiment and  interpret the colours your own way.  Waterbrush or sable brush and water container  Any other materials you have in your bag!  Small portable stool (optional) 


ABOUT THE INSTRUCTOR:

LIZ STEEL  

LIZ STEEL (Sydney, Australia) graduated in Architecture at University of NSW and has spent 18 years working as an architect in Sydney, specializing in media projects. She is  currently teaching regular on-location sketching classes and workshops throughout  Australia as well as doing architectural illustrations for clients all around the world. She  also teaches online courses at SketchingNow.com, adapting core drawing concepts to  spontaneous location sketching Liz is the founder and coordinator of Urban Sketchers  Sydney .     Blog: lizsteel.com    Instagram: @lizsteelart   

Urban Sketchers 2018 Porto Symposium Instructor


Dramatic Atmosphere in Black & White LK Bing, Indonesia    

WORKSHOP DESCRIPTION:    When we sketch in black and white, we can focus more on light itself, like the direction,  reflection, quantity, quality and the intensity of light. We can view light differently and play  more freely with different elements of light. We can also emphasize emotion and drama 


by using various tonal values while at the same time adding an artistic touch and a classic quality to our sketch. This experience of playing with light and shadow will help our skill  not only in mastering monochromatic sketches, but also in mastering color sketches.     To achieve such a skill, this workshop’s mission is to teach space appreciation, spatial  awareness on depth, sensitivity to monochromatic tonal values, the skill to artistically  manipulate light in multi-layers, and lastly how to apply the combined knowledge of all of  the above to create a living and dramatic sketch rich in light and dark. We will strife to  bring out “the soul of the space” using juxtapositions of light and shadow.    In the process, participants will use the distributed value thumbnails for this light study,  and hopefully outstanding black and white sketch compositions will be the end result all  participants can be proud of. Let’s bring out the magic together!   

We create a drama while playing with light and shadow. Find beauty not only in the thing itself but in the pattern of shadow, the light and dark  which that thing provides. (Junichiro Tanizaki).   


LEARNING GOALS:   In this workshop, the participants will acquire understanding of the techniques of how to  make a black and white sketching composition  artistically through:    ● Acquiring a working knowledge of unique lighting concepts which are essential to  express shapes, depth, texture quality and then to be able to implement this  knowledge to capture and express dramatic atmosphere in black and white  through a wealth of tonal values and juxtaposition of light and dark.    ● 2. Acquiring the skill to manipulate light and shadows freely, artistically, and  speedily, and use them to create depth, atmosphere, drama, and texture quality.     ● 3. Acquiring the knowledge to make value study in order to look for the best  composition in black and white and to build a library of best compositions for  future reference.    ● 4. Acquiring the knowledge on tools and materials which help to speed up and  simplify the creation of quality black and white sketches, and be able to apply this  knowledge on sketch creation.   

 

   


SUPPLY LIST:   ● ● ● ● ●

Watercolour tubes : Black ( Ivory Black ) and White ( Titanium White ) Watercolour brushes (mop medium, medium round, rigger brush)  Water container  Pencil 2B  Palette tray 

Provided and distributed by Instructor for free:  ● Water soluble markers, value thumbnail cards (DIY), bamboo knife  ● Thumbnail cards. They are made from mounting board and are 9x12 cm in size.  ● Workshop handbook 

   


ABOUT THE INSTRUCTOR:

LK BING                                 LK Bing (Soekandi) is an Architect, Interior Designer, and Artist residing in the city of  Surabaya, Indonesia. He worked for many years as a lecturer, and at present he is a  guest lecturer in several Universities in Surabaya.    He founded Urban Sketchers Surabaya in 2013, and since then he has been giving  various local workshops and organizing sketch walks in and around the city.  If not spending his time sketching on location, he spends his time painting and designing  in his studio. "Art is my passion," he said. "Art gives colors and meaning to my life."    Websites:   http://www.lkbing.com  https://www.facebook.com/bing.lk 

Urban Sketchers 2018 Porto Symposium Instructor


Searching for Focus and Flow - Seeing/Sketching/Colour Lynda Jane Gray, UK    

WORKSHOP DESCRIPTION:  In this workshop we will separate seeing, sketching and painting and concentrate on  each individually. My aim is to break down and simplify the processes to help students to  find a ‘way in’. Like many people I often have little time for sketching and tried to develop  an approach that could stand alone wherever it stopped, whether as a drawn or painted  sketch. I teach an approach that sees every part of the process as enjoyable and that  doesn’t focus entirely on the finish.  Students often try to put everything in front of them in their sketches. Spending a little  time visualising before starting to draw can encourage a ‘less is more’ approach and  empower students to be more selective. I will demonstrate first how to find a focus, then  to find a flow, then to try and visualise the drawing in an abstract way before starting to  sketch.    It sometimes helps to start small first and work up to a bigger sketch. I will show  examples and demonstrate a small drawing, before students fill a sketchbook page with  2, 3 or 4 small drawings of their own. We will focus on using line with a little texture, 


thinking about line quality and composition. I will suggest simple sighting techniques for dealing with perspective.    Adding watercolour to a line drawing really brings it to life but can be tricky. My approach  to watercolour aims to echo the feeling in the original drawing, allowing both aspects to  work together, avoiding overworking and keeping sketches fresh. I will demonstrate and  show examples of techniques at both the ‘first washes’ and ‘building up’ stages, before  students try the techniques themselves. We can then confidently move on to a bigger  sketch. I will show by example how a small sketch can be developed both in line and  wash into a larger sketch whilst still retaining focus and flow. While students sketch I will  work round the group offering support and encouragement.    Finally we will come together to share our work.    Most of all I hope this workshop will offer an enjoyable and rewarding experience.      LEARNING GOALS:    ● SEEING​ - Students will learn the importance of seeing, attempting to visualise  their sketch before starting to draw.  ● SKETCHING​ - From the complexity of the scene, students will learn how to select  and create shape-based fluid line drawings which suggest flow and continuation  and which have a clear focus and put a strong emphasis on line quality.  ● COLOUR ​- Students will learn how to work from a primary triad of choice, mixing  pale toned, blended, wet into wet washes that enhance the sense of flow and  movement in their drawings.  ● BUILDING-UP​ - Students will learn how to build up their sketches in restricted  focal areas using their primary triad plus additional brights and darks. Techniques  learned will include wet on wet, wet on dry, using a spray bottle and spattering.  ● RE-STATING LINE​ - Students will learn the effect of re-stating selected lines using  pens of different thicknesses. 


SUPPLY LIST:   ● Watercolor Paper: ​I will be using Fabriano Artistico HP. For best results you will  need good quality watercolour paper such as Fabriano or Saunders Waterford. A  cheaper paper will not allow you to build up layers. You can use HP or NOT  surface. I use HP because I prefer to draw on smoother paper.  ● Pens:​ I use a range of pens including a Platinum Carbon Fountain Pen, a Sailor  Fude (the blue one) Fountain Pen, both with convertors. I fill the convertors with  black waterproof De Atramentis ink. I also use Sakura Pigma Fine Liners 0.05,  0.1.and 0.3  ● Pencil:​ You may need a pencil for notes. I recommend drawing directly with pen 


● Watercolour Brushes: I recommend a range of good quality brushes, not waterbrushes. Most useful are round brushes with good points in a range of sizes  - 10, 5, 2, 0. I also use Rosemary dagger brushes - three quarter and half inch  sizes.  ● Waterpot: With spare water. Dirty water will give you muddy looking sketches.  ● Rag and Sponge ● Toothbrush for spattering ● Small Spray bottle.     ABOUT THE INSTRUCTOR:

LYNDA JANE GRAY I have a degree in Fine Art and a  Teaching Certificate in Adult  Education. I have 16 years experience  of teaching art to adult learners of  mixed abilities, from complete  beginners to experienced artists, both  in a classroom and an outdoor  situation. I have combined teaching art  part-time with my own art practice and  raising a family.    I really enjoy my teaching, enjoy  contact with students, some of whom  have stayed with me for many years,  and enjoy the learning that has come  through teaching.    I have exhibited my own work both locally and nationally, since leaving university in 2001,  including sketchbook exhibitions.    In 2018 I will be a featured artist in a Batsford publication - Sketchbooks for Mixed Media  and Textile Artists, featuring concertina sketchbooks.     http://lynda-gray.co.uk/ 

Urban Sketchers 2018 Porto Symposium Instructor


Tea Milk and Honey - Seven Years Later Marc Holmes, Canada   

WORKSHOP DESCRIPTION:   

It’s been seven years since I first began teaching Tea, Milk and Honey at urban sketching workshops. Over the years I’ve refined my approach to be more flexible – and a fair bit  faster.    In this workshop we’ll start with small-format watercolor sketches to review the concepts  of Tea, Milk and Honey, then we’ll complete a large panoramic watercolor working  side-by-side.   


I’ll walk you through the steps from Tea tinted sketch, though Milky massed mid-tones, and the final dark accents in Honey-thick paint mixes.    Students should bring: a mechanical pencil, a mid-sized pointed-round watercolor brush  (#7-#12) and/or #4 or #5 mop. (I prefer sable, squirrel is too soft for drawing), a travel-set  of watercolors (tube color is best) + containers for paint water and any other favorite  painting gear. Plus at least four quarter sheets (11x15”) of 140lb or higher watercolor paper  already taped to drawing boards (I recommend coroplast and some binder clips). We’ll  use two sheets for small studies, and two for the final panorama. 

LEARNING GOALS:   ● VALUE STACKING:​ How to see the world in terms of Light > to > Dark painting.  Learn to see the Lightest Local Color that goes underneath the future mid-tone  layers.    ● SHADOW SHAPES:​ How to mentally isolate the form of cast shadow, and  apply it on top of a silhouette – and – see when to shortcut the system by  going directly to a mass-tone.    ● BRUSH HANDLING TECHNIQUES​: Fused Strokes, Charging-in, Edge Pulling –  these three simple techniques are all you ever need. Bonus tips might include  pre-wettting to cover large areas (skies) and brush-drawing approaches for  people, trees, or water– whatever might be unique to my sketching location.   


SUPPLY LIST:   NOTE​: For the best workshop experience, field test ALL your gear two or three days  before you come to the workshop. Chairs break, water containers leak, etc.    DRAWING BOARDS:​ To stand, or work on your lap, you probably want a light-weight  drawing board. I recommend Coroplast. Get big sheets from a hardware store, cut to size  at home with a craft knife. Two or more boards clipped together are more rigid. I use  multiple boards for a day trip (3-5) and tape paper down in advance, so each sheet is on  its own backing. I cut my boards large enough for taping 11x15”watercolor paper, (1/4  sheet) with a bit extra for clipping, and will often do two to four small paintings on a 


sheet. I carry wet boards in my hand and dry boards in a ‘beach bag’ or tote-style shoulder bag.    WATERCOLOR PAPER:​ I use 140lb Fabriano Artistico Bright White, Cold Press (medium  texture). Any comparable artist’s grade paper will do. Cheapest to buy full sheets  (22x30”) and cut to preferred size. Also Canson Montval (student grade) in pads, or  Strathmore 300, 400, 500 (higher number, better paper). I don’t like sketchbooks. Too  heavy. And you can’t turn the page on a wet painting, so you have to stop working. But -  If you only feel properly USK-ish with a sketchbook in hand, that’s up to you :) I would  bring three books in small or medium sizes and clips to hold them open when they are  wet.    PAINT BOX:​ You need to bring TUBE PAINT. I squeeze it into a small half-pan paint box.  Any box will do, from the home-made Altoid tin, to a purpose made brass box. Tube color  is essential for a good painting. Carry a freshly filled paint box in bottom of your gear bag,  weighted down, parallel to the ground. (Avoids leakage). I recommend the Winsor and  Newton, Lukas or Senellier tin boxes (chuck the dry-pans, refill from your tubes). Or,  alternately the Expeditionary Art Pocket Palette (if you want to go ultra-light).    NOTE: Paints transported as carry-on COUNT AGAINST YOUR LIQUIDS AND GELS  LIMIT. Tubes in checked luggage should be packed in clear plastic storage boxes with a  friendly note to inspectors saying they are “Non Flammable Water Based Artist’s  PIGMENTS”. (Paint is a no-fly word. Don’t say paint).    My 24 pigment list is on this page:​ ​https://citizensketcher.com/class-notes/​, For some  economical triadic palettes see:​ ​http://www.janeblundellart.com/watercolour-triads.html​,  Or, her six colors:  http://janeblundellart.blogspot.ca/2014/06/just-6-colours-lovely-limited-palette.html    POINTED ROUND BRUSH (Sable):​ This technique is easier a good brush. I recommend  the Winsor and Newton Artist’s Watercolor Sable Pointed Round in #7 or 8 size.  (Affordable). If you paint larger, I like a DaVinci Sable Mop in #3 or 4. (Pricey). Possibly,  consider a good travel brush (Escoda Reserva or DaVinci Travel Brush, Even more  pricey!). Otherwise, consider Rafael Soft Aqua or Princeton Neptune synthetics. BTW I  don’t like Squirrel hair. Too soft to draw with – can’t get sharp edges. Also, I don’t  recommend water brushes. You can’t control the moisture of the paint with a constant 


flow of water leeching into it. Also, the nylon waterbrush tip is not suitable for fine drawing or controlled drybrushing.    PORTABLE PAINT WATER:​ I use 125ml/4oz Nalgene bottles to hold water in my  board-hand, or in an open sling bag at my waist. Carry three for a full day of clean water.  (One larger water gets dirty faster than three small). Change water at meals and/or  washroom breaks. Nalgene also has 60ml/2oz and 30ml/1oz. If you go smaller, you will  need to refill more often.    IMPORTANT ACCESSORIES:​ Miniature atomizer bottle to mist paints, binder clips to  clamp boards, paper towels for blotting, masking tape for paper and boards. Sun hat, Sun  block, Umbrella (?).    FOLDING STOOL/EASEL​: You’re going to have to make the call if you need either.  They’re tiring to haul around, but they’re helpful.   


Urban Sketchers 2018 Porto Symposium Instructor


Capturing People and Space in the Same Gesture Marion Rivolier, France   

  WORKSHOP DESCRIPTION:    When we are sketching somewhere, we often choose to draw the architecture OR the  people of the place. We find it difficult to unify these two subjects in one drawing. We  scare about making a mess with to many details. When I paint an urban landscape, I want  to express the same dynamic and movement as when I paint people in action. To capture  people and space in the same gesture, we have to look at the place as an urban  landscape in motion with lights and colors.  In this workshop, I would like to teach how to express bodies and architecture in the  same quick gesture. We will work on people and moving bodies in relation to the  architecture of the place. We will study expressive bodies of people having fun, sharing  and communicating. We will try to express the body’s intention in one brushstroke, fast  and precise. We will work on matching posture and architecture. We will analyse how the  bodies occupy space: how we can deconstruct the different parts of the place to express  perspective and depth. Finally, we want to learn how to make choices !     


LEARNING GOALS:   Participants will learn:  ● Feel free with the brushstrokes and learn to work with large masses of value and  color.  ● Feel the joy of color  ● Feel the depth of the place with values and color contrasts  ● Learn to feel space, to decipher its parts (foreground, background, …) and reveal  them.  ● Observe well then paint quickly, because we have understood the space before  us.  ● Triage what we see: don't draw everything, don't express everything, be able to  make quick choices in sketching.  ● Feel the freedom of gesture – learn to be sure of your marks, and to not be afraid  of making a mistake.   

   


SUPPLY LIST:   The following materials are required:

- Watercolor sketchbook (Bring two if possible to avoid waiting for things to dry. A4 (8 1/2" x 11”) or some sheets of watercolor paper, A3.  - A box of watercolors with a limited palette (primary yellow, Naples yellow, orange,  vermilion, cadmium red, azul blue, Ultramarine, Indigo blue, green, ocher… No black)  - Three paintbrushes (small, medium and large)  - Some water (for painting) in a small container.   

 


ABOUT THE INSTRUCTOR:

Marion Rivolier

Marion Rivolier is a scenographer (stage and set designer) and Fine Artist living and working in Paris, France. For over 15 years now, Marion has also been painting outdoors.  She has long painted bodies in motion, so when facing a landscape, she looks for the  same dynamic given by its colors, its light or the inhabitants of the place. She paints in a  hurry as if the subject could disappear at any moment. Urban vistas, interior spaces or  characters are captured without prior sketch by broad brush-strokes of colors.  Watercolor is unforgiving but she loves being surprised by water over moist paper or a  pigment that dilutes too quickly.    Blog: THE GALLERY http://marionrivolier.blogspot.fr/  Website : http://marionrivolier.fr/

Urban Sketchers 2018 Porto Symposium Instructor


Gouache Like a Child Maru Godas Sieso, Spain   

  WORKSHOP DESCRIPTION:  Gouache is rarely used by urban sketchers although it is very suitable for use in urban  environments.      It has different characteristics in front of watercolor such as texture and opacity, allowing  us to explore new pictoric languages in our drawings. Gouache gives us different  possibilities to work in different densities: from plaster texture to watercolor texture.  Gouache allows you to use light colors on top of dark ones.    In this workshop we will make contact with gouache like a versatile material for urban  sketching. We will work with limited palette of colors regardless of shadows accuracy or  perspective. Play and feel free with textures and colors like a child!   


LEARNING GOALS:   In this workshop participants will:   -Discover how to apply the use of gouache technique in urban sketching.  -Explore different densities of gouache (from drier to wetter).  -Use color as a spot color and draw with a reduced color palette.  -Learn color synthesis concept.  -Play with colours and patterns to get fresh and emotional sketches  -Combine gouache with coloured pencils for details and thin lines.         


SUPPLY LIST: I’ll bring the gouache tubes (pending response from Usk organization) Supply list for attendees: -Portable empty palette -3 paint brushes for wet techniques (thin, medium and thick) -water container -Paper: I recommend a smooth and firm surface 250gm approx. (sheets or sketchbook) -Colour pencils (6-12) -Bulldog clips, paper towels

ABOUT THE INSTRUCTOR:

MARU GODAS SEISO   Maru Godàs Illustrator and graphic designer  formed in IDEP and the School of  Fine and Technical Arts La Llotja in Barcelona.  Specialized in digital illustration and new  narratives. Currently I combine the artistic side  of drawing and sketching with the technology of  illustrated and interactive books. I’ve worked  over 20 years as an illustrator and freelance  designer for publishers such as RBA publishers,  Salvat editors, Planeta de Agostini publishers,  Generalitat de Catalunya, National  Geographic,"La Caixa” Foundation, Mattel,  RACC, Adobe Systems, CaixaForum And MNAC,  among others. I’m the author of 2 illustrated  books in digital format, “Park Güell journey”  (with Zahori de ideas), “sketching CRAG” (with  other authors), 2018 Calendari del Bibliobús  (Diputació de Barcelona).   Also I’ve participated in the travel book fair  “Festival Latitudes” in Óbidos, Portugal and  “Rendezvous du Carnet du Voyage” in France.  Currently I have two illustrated book projects in  progress.  www.marugodas.com

Urban Sketchers 2018 Porto Symposium Instructor


The Fundamentals of Sketching: Process and Practice Matthew Brehm, USA   

  WORKSHOP DESCRIPTION:  In any creative pursuit, and at every skill level, a persistent focus on fundamentals will  lead to stronger, more satisfying work. Musicians play scales to initially develop and then  to maintain their dexterity, chefs must first learn and then continue to hone their knife  skills, artists do much the same through regular figure drawing sessions, etc. If you are a  beginner, attention to fundamental skills will help you build a strong foundation for  further development. If you’re already accomplished, regular attention to fundamental 


skills can be the most effective means of maintaining your abilities and even challenging your established habits and limitations. Regardless of your sketching skill level, this  workshop will help you develop and subsequently maintain a sound focus on the  fundamentals of our craft. How we seek out and select subjects for drawing; how we  make decisions about subject scope, sketch size, media, and the time spent sketching;  how we translate essential observations into marks on the page; how we build a drawing  through compositional and/or perspective methods; and how we further indicate  three-dimensional form by developing a value scheme. These are the fundamental  processes and practices of sketching from observation, and are therefore the subjects of  this workshop. 

 

LEARNING GOALS:   As the description states, this workshop will be focused on the fundamentals of  sketching. Participants will complete the workshop with the ability to  ● select subjects, based on interest, intended composition, and the dynamics of  available light.  ● plan their sketches, with regard to scope, size, chosen media, and available time.   ● make the most effective first marks, whether they happen to be points, lines,  and/or shapes.   ● develop accurate proportioning for all the major elements of the sketch.   ● apply a clear value scheme to the sketch, emphasizing contrast and depth.   ● treat sketching as a practice rather than solely as an effort to produce finished  sketches.        


SUPPLY LIST: The principles in this workshop will be applicable to all media preferences, but it will include several exercises in soft graphite pencil (2B-4B). The instructor will come prepared to provide these pencils to all participants, so the only absolutely essential equipment is reasonably large (A4, minimum) sketchbook or pad of drawing paper.

ABOUT THE INSTRUCTOR:

MATTHEW BREHM   Matthew Brehm is a Professor of Architecture  at the University of Idaho, and has been a  correspondent for Urban Sketchers since  May 2009. He received degrees in  architecture from the University of Notre  Dame and the University of Oregon, and has  been teaching architectural design with an  emphasis on freehand sketching since 2000.  Each year since 2007, he has led a 2- to  3-month architecture program in Rome, Italy,  with one of the courses being entirely  focused on sketching on location. He was a  workshop instructor at five previous Urban  Sketchers Symposia, in Portland, Lisbon,  Barcelona, Paraty, and Singapore, and has  served on the non-profit organization’s board of directors. Matt’s sketches have received  several awards at the Design Communication Association's Biannual Juried Drawing  Exhibit and he has received three Awards of Excellence for his observational drawings  from the American Society of Architectural Illustrators. Matt is also the author/illustrator of  three books on drawing techniques: “Sketching on Location,” “Drawing Perspective: How  to See It and How to Apply It,” and “Draw Cities and Buildings in 15 Minutes.” 

www.flickr.com/mtbrehm

Urban Sketchers 2018 Porto Symposium Instructor


Sketch NOW, Think Later Mike Daikubara, USA 

WORKSHOP DESCRIPTION:  

This is a crash course in Urban Sketching for anyone that has limited time and wants to bring more sketching into their already busy daily lives.  Looking for the perfect subject, angle, composition, materials and tools to use can take  lots of time and bog you down even before you start sketching. The workshop approach 


is to bring these down to the essentials of a few tools, few techniques and few approaches so you can enjoy what you like to do in the first place: To jump right into  sketching anytime, anywhere, and in any situation!    We will go sketch the amazing views of Porto at the Ribeira the Gaia, showing how a  scene that complex with various shapes, colors and textures can still be captured NOW  while having a lot of fun. 

LEARNING GOALS: 1) Sketching within a limited amount of time allows you to create better-looking work  since it allows you to concentrate harder.  2) Sketching with a limited amount of tool set allows you to approach sketching situations  faster.  3) Sketching with a limited amount of techniques allows you to capture the moment fast 


SUPPLY LIST: 1. Sketchbook. My personal favorite is the Stillman & Birn Alpha series.  2. Pen – Recommended: Fude fountain pen with converter  Sailor makes a nice one, as well as other manufacturers such as Hero and Duke.  http://www.jetpens.com/Sailor-DE-Brush-Stroke-Style-Calligraphy-Fountain-Pen-Bamboo-Gre en-Nib-Angle-55-Degrees/pd/4541  **Please Note: Most ink cartridges that comes with fountain pens are not waterproof. Please  purchase a converter to fill it with a waterproof ink listed below.  3. Ink: Since we will be using watercolor on top of the lines, it is best to use a converter for the  fountainpens and pick an ink that is waterproof. Noodler’s Lexington Gray works very well,  and so does Platinum Carbon Ink.  4. Water brush. 1 brush will easily last you a couple of years! Medium tip is a nice size.  http://www.jetpens.com/Pentel-Aquash-Water-Brush-Medium/pd/1774  5. Water color kit. Any water kit is fine, but if you do not have one a nice intro kit can be  purchased from Sakura Koi. I used the Koi for years, but then later have continued to use the  outer case with colors removed with new colors added in from Holbein.  http://www.jetpens.com/Sakura-Koi-Watercolor-Field-Box-Set-18-Color-Palette-Water-Brush/ pd/2896    ABOUT THE INSTRUCTOR:  Mike Daikubara 

Industrial Designer & Graphics Designer by profession with over 20 years of experience working in various industries ranging from fashion, cosmetics, Consumer electronics,  plumbing, juvenile products and medical. During this time, I began to sketch daily to get  better and faster at visual communication. Now 17 years later, urban sketching is fully  integrated in my lifestyle of learning to see, understand and to enjoy my everyday life.    Web: www.Daikubara.com

Urban Sketchers 2018 Porto Symposium Instructor


Perspectiva de Guarda-chuva: Umbrella Perspective Paul Heaston, USA 

  WORKSHOP DESCRIPTION:    In this workshop we will apply a specific strategy of approaching space in perspective  called ​umbrella perspective​ to create sketches that appear curved or spherical, not  unlike a photograph taken with a “fish eye” or wide angle lens.    


So-called “curved” perspective has become a fun and novel approach in urban sketching, but it can also feel a bit confusing when it comes to how to begin your sketch.  This workshop will take some of the mystery out of terms like “curvilinear” and  “spherical” perspective and even simple-sounding words like “wide angle” and “fish-eye”  that are descriptive but don’t give the sketcher any insight into where to start.     I’ve started using the term “umbrella perspective” to describe curved perspective  sketching. If you can draw an umbrella, you can draw in curved perspective. Whether you  are trying to capture a tall building or a row of short apartments along a long street,  thinking of the shape of an umbrella can help a sketcher introduce curves and wider  angles in their sketches in a way that makes sense and doesn’t require a vast technical  knowledge of perspective. The way the lines on an umbrella curve as they converge at  the top make it the perfect visual to convey perspective lines curving as they converge at  a vanishing point.     Through a few demonstrations and exercises my workshop will take students through  using just one “umbrella” in a sketch to combining three or more to make a spherical  world and help them understand ideas like scale relationships, foreshortening,  economizing visual information and use of sighting to hone their sketches.      

 


LEARNING GOALS:   ● Basic 1, 2 and 3-point perspective concepts  ● Applying “umbrellas” to receding edges and lines in the cityscape to create  curved perspective drawings  ● *Seeing* relationships between objects versus *naming/defining* objects  ● Understanding scale relationships and proportions  ● Foreshortening and angle-finding through “sighting”  ● Economizing visual information and selecting detail   


SUPPLY LIST:   ● Hard light pencils that are easily erased (recommend 4H - 6H)  ● Durable eraser (white plastic/vinyl recommended)  ● Media of your choice to complete the sketch   ABOUT THE INSTRUCTOR: 

PAUL HEASTON   Paul Heaston is an artist and  educator originally from San  Antonio, Texas. He he received his  MFA in painting from Montana  State University in 2008. Without  access to a painting studio,  Heaston began doing urban  sketches during a semester abroad  in Italy, and continued on his return  home. He spent 6 months  between 2008 and 2009  meticulously drawing every  building in downtown Bozeman, Montana in a pocket-sized sketchbook. He has since  completed several other long-term panoramic sketching projects in Texas and Colorado.  Heaston has been a correspondent for Urbansketchers.org since 2009 and in addition  maintains his own sketch blog, Three Letter Word for Art, as well as a Facebook page  and Instagram account where he posts his sketches. He lives in Denver, Colorado with  his wife and daughter.    https://www.facebook.com/PaulHeastonArtist/ 

Urban Sketchers 2018 Porto Symposium Instructor


BEAUTIFUL EYES –   Let’s Go Window Shopping & Peek Into Beautiful Porto!  Paul Wang, Singapore   

 


WORKSHOP DESCRIPTION: We cannot help but look into the eyes of a stranger or a friend when we meet. Windows  and doors like our eyes are openings to spaces and stories beyond. Just like our eyes  are the windows of our body and soul, windows and door ways are also vital architectural  feature of the building and city. They let light and air into the room. Zooming in and  drawing these openings as strong focal points can help to draw us into the sketch and  hold the gaze of the viewer.  Porto is a perfect location and a melting pot to study these openings. Every window and  door tells a story and inform us of the city’s architectural history and design. The size,  shape and ornamentations of the openings becomes important clues that can tell us how  the climate and way of life may have evolved over the years. So let’s go window  shopping and take a peek into the stories beyond the walls. 

This is workshop is about studying and accurately depicting windows and doors of  buildings so that we can create a sense of time and place. The viewer often is drawn to  the ‘eyes’ of the building and setting them right on the façade is crucial. Openings  behave differently under direct strong sun, cloudy day and sunset back lit conditions.  The workshop will also employ the concepts of RESIST – SOFTEN – BLEND to help  participants find the pleasure of sketching successfully on-location.   


LEARNING GOALS:

    WORKSHOP SCHEDULE:    A. PLAY & WARM-UP (30 mins)  B. CHASE THE LIGHT (60mins)  C. WINK & BLINK - Anomalies, Accent, Rhythm (20mins) – DISCUSSION & DEMO  D. CAPTURE A STREET TOGETHER (60mins) & SHARING (10mins)   


SUPPLY LIST:   ● Pan or Tube Watercolour paint (Include Indigo, Cerulean Blue, Orange, Warm  Yellow)  ● Soluble & Non-soluble Pencil (2B or 4B), Wax Pencil or crayon (White).  ● Loose sheets of Hot or Cold press Watercolour paper (A4) & Watercolour  sketchbook  ● Brushes, mixing palette, spray bottle & paper Towel.  


ABOUT THE INSTRUCTOR:

PAUL WANG     Paul graduated in Interior Architecture &  design from Temasek Polytechnic in Singapore  in 1996 and continued with assistance from  National Arts Council scholarship to study  Technical Theatre in Australia from 1998-1999.  He has taught art in Hong Kong at the  Singapore International School and is now an  adjunct lecturer at Temasek Polytechnic’s  school of design in Singapore.  His sketches are often bursting with dramatic  colours, and my strokes and splashes are  spontaneous but sure. I have a distinctive style  of using vivid colours and convoluted details to tell a story behind each sketch. Plein-air  sketching has become my unique way of encapsulating the fast changing urban  landscape here in Singapore and around the region.  He is an Urban Sketchers’ correspondent for Singapore since 2010. He is also a key  member of the USk’s Singapore group and has facilitated several monthly sketchwalks  and group exhibitions. He was an instructor for USk’s Symposium in Barcelona (2013),  Singapore (2015) and most recently workshop instructor for the 8th & 9th Symposium in  Manchester and Chicago. He also conduct regular drawing workshops for the Geography  Teachers’ Association and for the Singapore Teachers’ Academy.  His sketches have also been featured in Moleskine’s Art Journal series (2011), The Art of  Urban Sketching (2012), Freehand Drawing & Discovery (2013), The Urban Sketching  Handbook (2014), National Geographic Traveller Magazine (2014) and Creative Sketching  Workshop (2015).    paulartsg.wix.com/paulwang  IG: paulwang_sg 

Urban Sketchers 2018 Porto Symposium Instructor


The Stories of Public Realm Objects Pedro Loureiro, Portugal 

  WORKSHOP DESCRIPTION:    We will deal with some of the most overlooked features of the city: ​public realm objects​:  a sidewalk, a café chair, a park bench, a streetlight, a waste bin, a window. All these are  designed, made of materials and parts, moving or otherwise. They usually go by  unnoticed, they have a backstory and a purpose (or they’re obsolete and haven’t been  removed yet). They were created, installed and are used, and will be dismantled by  people​.    


We’ll start by sketching out a panorama of a public square, filtering everything out but the public realm objects, to get the notion of what’s around, and attribute a verb to it, a  function. Then we’ll focus on a single object, scooping out its factual details, materials,  textures, schematics, etc. By taking rich notes, we’ll create a composition between  sketch and text. We’ll finish off by sketching how people and the city interact and relate  to it. In between exercises, we’ll do 60 seconds pitches! The story of your sketch must be  able to be told in a minute.     In the end, participants will be more aware of overlooked subjects, know how to describe  and analyze them in detail and in relation to the people and the city itself. They’ll also be  able to apply these skills to any given subject they happen to sketch.   

 

LEARNING GOALS: ● Attention​ through abstraction - participants will be challenged to enrich their  perspective and panorama skills by focusing on a single category of objects in a  sketch, filtering out all the rest, in a coherent perspective view.  ● Critical analysis​ by sketching - participants will learn how to use their sketching  time to analyze and engage a chosen object, and take notes (graphic and written)  about it.  ● Awareness​ while sketching - participants will tune to their senses while sketching,  learning to be alert to stories that might not relate directly to the object but are  happening around it, and will be creative in incorporating the stories with their  object.  ● Storytelling​ - by having a short time to tell the story of their sketch to everyone,  participants will learn how to keep a story short and interesting, fostering better  and more enticing future blog posts. 


SUPPLY LIST:   ● Participants should bring their own standard gear, that they feel comfortable with. ● Lineworking tools are a must (fineliners, pens, pencils), at least one pen of a different colour (red, for example).

● Color tools are not required but may be used. This is not a technique-driven workshop but color always looks nice.

ABOUT THE INSTRUCTOR:

PEDRO LOUREIRO I'm Pedro Loureiro, architect, working as an architectural  illustrator and living in Lisbon, Portugal, a 2:30 hours train  ride from Porto. I am a USk Portugal correspondent and,  since March 2016, one of the ten admins of the USk Portugal  Association. I'm a writer for Drawing Attention and also the  editor of Agenda dos Sketchers, the monthly newsletter of  USk Portugal community, with ews, reportages, coming  events and sketch meetings, equivalent to Drawing  Attention.   

www.pedromacloureiro.com

Urban Sketchers 2018 Porto Symposium Instructor


Urban Tales… Building Can Talk Too!!   Architectural Scenes Without Actors  Reham M. Ali, Egypt   

  WORKSHOP DESCRIPTION:    This workshop is about sketching human behaviour in our architectural surrounding  When we walk in the street or any outdoor place we are often in a rush to capture the  whole buildings and architectural surrounding us but what if we slow down to notice  what these building and places could say about people’s life and how people could put  their print on their building ,we see the style of the window but the laundry in the balcony  could tell more about the family live in this house more you can tell a lot about the  workers in a small café from the clutter of the back counter much more than the interior  decoration. Sometimes ​non-living​ objects can create a scenario, and in this workshop 


you are the director who will illustrate the script using fast lines ,colours ,lights and shadows.    Participants will learn how to draw people ​interaction​ with the place ​without​ sketching  people themselves we want to emphasis on the human effect on the building and how  certain traces could make a story of a place or even a memory to tell as if creating an  urban scenario without actors !!!    We will sketch the ​scene ( architectural scene) ​ tells a story without the heroes ending  with a sketch full of life.    The workshop will start with introduction to explain what kind of spots could match the  idea then why you can create your own scene .  Starting with focusing to discover what the place could really tell a story ​( he focal point​ )  through details show human life in it the students will be guided to produce sketches  using fast sketching sketch places that look full of life then using watercolour to show the  focal point.  Most of the scene will be simplified but we will show the complexity of the focal point.   

   


LEARNING GOALS:   Conceptual goals :  ● Discover how sketches can tell the story of a place  ● You don’t need to find a “ pretty” building to create a good sketch you will learn  how to discover the beauty of so ordinary elements or even subjects we consider  as “ ugly” then transform them into an art.  Techniques goals :  ● Learn how to connect eyes, mind and hand especially to compose the sketch in  order to capture the essence of the scene, while playing with full and empty  spaces, values, contrasts, relationships between lines and colors.  ● When and how to incorporate details in the building.   

     


SUPPLY LIST:   ● waterproof ink pens (technical or fountain pens)  ● small Watercolour palette  ● Watercolour paints  ● Sketchbook or loose paper, preferably watercolour paper or water-friendly paper  ● Brushes  ● Small plastic container of water  ● Small rag  ● A stool to sit on while working ( optional)  ● Viewfinder or and similar app you can make your own using two L shaped catted  paper   ABOUT THE INSTRUCTOR: 

REHAM M ALI

I was born in Alexandria – Egypt, drawing has always been my favourite hobby which  leaded me to study art and now I have a PhD in Interior architecture from the University  of Alexandria ,I worked as a professor in many universities but currently I teach interior  design at IAU university in Saudi Arabia I also teaches sketching workshops between  Saudi Arabia and Egypt my home land working as a professor give me an opportunity to  teach different courses I consider myself an art enthusiast usually I use social media as a  platform to share my experience specially with my students they are my main audience  and vice versa.    www.instagram.com/reham_m_a 

Urban Sketchers 2018 Porto Symposium Instructor


Playful Composition Exercises With Notan Sketches Renato Palmuti, Brazil 

  WORKSHOP DESCRIPTION:  In this activity, we will develop some black and white thumbnails for choosing the best  crop and having a fast and clear view of the composition. 


They are called Notan Sketches and will be made straight with paintbrush and watercolor, cause the goal is a mass study of shapes and balance of information in the  scene.  At first we’ll make Notans only with the main shapes and when the students are quiet  acquainted with that we’ll make some for balancing light and darks in the scene.   

Notan is an eastern technique that uses black and white to find harmony in a  composition.  Originally it was done as a work of collage but Notan Sketches, as a painting study, can  be made with a black marker or using paint and brush like we are going to do.    After doing these thumbnails, we’ll produce a final sketch based on it. The instructor will  make a demo in watercolor transforming the high contrast information to a spontaneous  watercolor painting, adding depth and color to it.     


LEARNING GOALS:   For a good drawing or painting, it’s very important to study the best framing and element  composition for each theme. Especially when there are lots of planes and details.    Making a fast black and white test before starting the drawing helps a lot to save time  and to plan the steps of the work.    The main goals are:  ● ● ● ●

• Observing and understanding the scene before drawing • Drawing with big shapes at first, not lines  • Simplifying the scene by choosing what is important and what is not  • Transforming the Black and White thumbnail in a color sketch 


SUPPLY LIST:   ● Watercolor set with a good range of colors including a neutral and dark  paint for the Notan Studies, it can be payne’s gray, neutral tint or black.  ● Watercolour brushes, water container and tissues. Pencil 4B or 6B for  drawing  ● Watercolor sketchbook or watercolour paper.      ABOUT THE INSTRUCTOR: 

RENATO PALMUTI I was born in São Paulo, where I’ve been living  since then. I started my career in 1988 as a  draftsman in a small studio, where I had the first  contacts with the profession. In this period I was  just about to finish the Advertising Technical  College and began the course in Fine Arts at the  Mackenzie University. I was a layout-man, a studio  manager and worked as an Art Director in plenty  of Advertising, promotion and design agencies.  In 2001, I focused my work in Illustration, becoming  a partner at 6B Estudio and in 2005 I launched my  own studio, UP Ilustração. There, together with  the staff, I apply my work in projects for advertising agencies countrywide.  In the last years I have released a more sensual, plastic and expressive content in my  personal artwork and studies for painting, drawing, sketching and life model. Participating  in Exhibitions and Salons of Art in Brazil and abroad. And I have developed a series of  watercolor workshops in schools and Art Studios.  www.renatopalmuti.com   

Urban Sketchers 2018 Porto Symposium Instructor


People Party in Porto! Rob Sketcherman, Hong Kong   

  WORKSHOP DESCRIPTION:    Your sketches are a colorful stage, and adding people is like placing actors and  actresses who can give your artwork a huge pop of life! This workshop will show you  how to start being the director of your very own sketching show.    The Praça da Ribeira is full of activity and people from all walks of life. Few stages could  be as colorful, beautiful or dramatic! Having been there, I can tell you this scene  absolutely begs to be drawn! Tourists from all over the world stroll the promenade, get  on and off boats, gawking, talking and take selfies everywhere. People spill out of cafes, 


lounging, eating, drinking and chatting, while buskers leap and sing in the plaza, as merchants weave through the milling crowds, plying their trade, carting goods, selling  wares and going about their business. This delightful hive of activity is set against the  vibrant backdrop of vividly hued, charming architecture and the soaring expanse of the  Ponte Luis.    It may seem intimidating as there are so many details, and I can already hear sketchers  say, “But drawing people is hard!” “They’re always moving!” say some. “I can’t draw  faces!” say others. And so, many of us concentrate on architecture and other urban  features that don’t keep shifting around and disappearing.    Let me assure you that there are a few quick tricks that urban sketchers can use to add  colorful personalities to their sketches, whatever you think your skill level might be.  Inspired by the bustling, bubbling crowds at the Praça da Ribeira, we will seek out a cast  of characters to draw, creating a People Party on our pages.     


LEARNING GOALS: You can expect to:  • Overcome fears of drawing people  • Learn to analyze, simplify and capture figures you see  • Discover how to continue sketching when people move before you’re done drawing  them  • Understand simple keys to making a figure come alive  • Discover how to capture little stories that tie your sketch together with a variety of  distinctive characters    SUPPLY LIST:   Recommendations:  • a basic, cheap sketchbook for fast sketches and experimentation  • a sketchbook with better paper for your final piece  • a way to support your kit so you can comfortably draw standing up sometimes  • iPads not needed, but absolutely welcome too!  • a blue pencil for under-drawings.  • various pens: ball-point, roller-ball, markers,  • brush pens for versatile, juicy strokes  • your favorite choice of color medium  • a stool if you want one  • sun protection : a hat/umbrella/sunscreen  ABOUT THE INSTRUCTOR: 

ROB SKETCHERMAN   Rob Sketcherman is a self-taught artist and  urban sketcher whose work has taken him on  illustration commissions of all kinds, including  documenting an international film festival  through sketches, painting a 5-storey high  mural for a boutique hotel, and live-sketching a  million people celebrating with the Pope in  Fátima, Portugal. He has taught at USk  Symposiums in Singapore, Manchester and 


Chicago, and conducted iPad sketching workshops internationally. Known for his use of dynamic lines, vivid color, and detailed scenes filled with expressive  people, Rob works exclusively with an iPad and the app Procreate, relishing the freedom  and speed his minimalist kit brings, and its ability to let him work inconspicuously  anywhere a good story beckons.    www.sketcherman.com     

Urban Sketchers 2018 Porto Symposium Instructor


A Page of Porto Petiscos!   Signs And Their Setting for A Sense of Place  Róisín Curé, Ireland 

  WORKSHOP DESCRIPTION:    Petiscos are the Portuguese version of tapas, an Iberian smorgasbord. Just like diners,  sketchers can find a whole spread too much of a mouthful. Challenges of perspective  and worrying whether we might “ruin” what we've so painstakingly produced can give us  indigestion. The appetite for sketching can be kept alive and fresh from start to finish by 


maing “petiscos” of sketches, snippets of scenes that come together to make a harmonious whole, using colours that chime. And there is nothing like a sign in its setting  to inspire a sense of place!   In this workshop, we will create a double page spread of tidbits, taking as our subjects  signs in their setting and little cameos of what we see, leaving a space for own written  thoughts using creative lettering. Vibrant colour will be key. We'll be looking out for  colourful houses, ceramic signage and blue tiles     

 


LEARNING GOALS:   ● To develop a simple and effective technique for clear attractive lettering in signs  as a means of anchoring a sense of place.   ● To identify and emphasise repeating colours, and eliminate non-harmonising  colours.   ● To simplify detail.   ● To develop a quick way to write/draw creative lettering as part of your journalling.    Outcome:  To have a double page spread of colourful travel sketches, with signage giving a strong  sense of place. To become more familiar with using a mental grid for accurate  mark-making. We're aiming for something really vibrant and fun, driven by inspiration.   

       


SUPPLY LIST:   ● An empty fountain pen with a charger, as I will be supplying waterproof blue ink.  ● Grey ink in a fountain pen with a very fine or scratchy nib.  ● Black ink in their favourite thicker-nibbed fountain pen. A Sailor 55 degree nib is ideal.  ● Cartridge or watercolour paper in 200g or thereabouts.  ● A sketchbook in at least A5 size that can be painted across a double page. I use the  ● Fabriano Venezia with the red squares on the cover (preferebly not loose sheets as the  aim  ● is to have a sketchbook that is lovely to look through). 

● Bright, strong watercolours. I use Schmincke but you can bring your favourite. ● White gel pen useful but not essential. 


ABOUT THE INSTRUCTOR:

Róisín Curé   Róisín was raised in the beautiful Wicklow  Mountains near Dublin and she now lives by the  sea in Galway on Ireland's West Coast. Although  she has drawn and painted since she was knee  high to a grasshopper, her love of science led  her to university and a Master's degree in  Geology., sepcialising in mineralogy and  hydrothermal activity in granite. Róisín  discovered urban sketching whilst on sabbatical  in Mauritius in 2012, and spent the next six  months travelling the length and breadth of the  island, making sketches and gathering stories of the lives of the people she met. She has  been passionate about urban sketching and storytelling ever since.  Like many artists, her life is her inspiration, and she posts sketches and stories of her  family on social media on a near-daily basis. Her themes include the state of being a  woman and a mother, and, above all, everyday life.  In 2014 she co-founded Urban Sketchers Galway and in the same year became a USk  blog correspondent. Róisín has taught urban sketching through international and local  workshops since 2015, but her main job is teaching art and illustrated reportage  assignments. In 2017 she secured her first publishing deal for a book of urban sketches  and stories based in her hometown of Galway, to be published with Currach Press in  2018. In November 2017, Róisín became a client of the London  literary agency Graham Maw Christie, with the aim of publishing a guide to urban  sketching, also to be completed in 2018.  As well as English, Róisín speaks fluent French, Irish and Spanish and is studying  Portuguese.  Róisín is a committed advocate of sketching as a mindful activity, and is a great believer  in the power of urban sketching as therapy, from personal experience.    www.roisincure.com 

Urban Sketchers 2018 Porto Symposium Instructor


Right Up Your Alley Light, Colour and Shadow in Porto’s Narrow Spaces Shari Blaukopf, Canada

  WORKSHOP DESCRIPTION:    Stand in any of Porto’s historical plazas and look around. From almost any vantage point  you’ll see streets and stairways leading up and away into narrow, twisting alleys.     This workshop will teach you how to recreate and bring order to the exciting patchwork  of lights and darks, shadowed corners and bright tiles, jumbled spaces and fanciful  details that enliven Porto’s narrow laneways.    


These spaces are all about light, colour and shadows — shadows that transcend mere grey. What happens to a shadow as it travels down a building, crosses the narrow ground  and shoots up the building opposite? What is the colour of the shadow cast by laundry  on a yellow wall or a striped awning over a shop front? We will observe and record the  shapes of these narrow spaces, the colour of shadows and the light as it crosses these  complex forms.     Join me as we sketch the mysterious alleyways of Porto.    

 

LEARNING GOALS:    In this workshop you’ll learn how to:  ● Paint scenes that are brimming with light and colour  ● Use shadows to add dynamism to architectural details such as walls, windows and  doorways  ● Record the shape and position of shadows before they shift  ● Simplify and create a focal point in the composition of narrow spaces  ● Deploy shadows as compositional elements linking together parts of a scene 


SUPPLY LIST:     ● Portable watercolour palette with a good variety of colours and lots of room for  mixing colour  ● Good quality watercolour sketchbook  ● Small leakproof plastic water bottle  ● Brushes: rounds and flats in a variety of sizes  ● Pencil for planning sketch, pen for drawing (I use a mechanical pencil and a  Platinum Carbon EF desk pen for drawing)  ● Bulldog clips, kneaded rubber eraser, paper towels  ● Small folding stool 


ABOUT THE INSTRUCTOR:

SHARI BLAUKOPF   Shari Blaukopf is a Montreal-based graphic  design teacher, illustrator, sketch blogger and  correspondent for Urban Sketchers. She has a  BFA from Concordia University with a  specialization in graphic design, but her true  love has always been watercolour painting.     She is co-founder of Urban Sketchers  Montreal and has given many watercolour  workshops both on her own and through the  Urban Sketchers Workshop Program in  Montreal, Portland, Barcelona, Singapore,  Manchester and Chicago. Her watercolours are in corporate, government and private  collections in Canada, the United States and abroad, and she is a signature member of  the Canadian Society of Painters in Watercolour. You can find her online courses  Sketching Landscapes in Pen, Ink and Watercolor and Sketching the City in Pen, Ink  and Watercolor on Craftsy.com, and her sketches are featured in many books on urban  sketching.     These days she spends her winters inside the classroom teaching graphic design to  college students and her summers outdoors, giving watercolour workshops and painting  the urban landscape.    Blog: www.shariblaukopf.com

Website: www.blaukopfwatercolours.com  

Urban Sketchers 2018 Porto Symposium Instructor


Archisketcher’s guide to sketching the Big Picture using the ‘Rule of Thirds’: Gain confidence in sketching cityscapes and panoramas using the beautiful city of Porto as our backdrop

Simone Ridyard, UK

WORKSHOP DESCRIPTION: To truly evoke a sense of place in your sketches, you have to understand the basic principles of composition, and where better to study this than in the beautiful Portuguese 2nd city of Porto. Such a dramatic and complicated architectural cityscape; narrow streets, steep hills, colourful building facades, river views - and that amazing bridge! So much complex stuff to draw, it’s hard to know where to start...so this workshop aims to


demystify composition and explore the theory of the ‘Rule of Thirds’ to help facilitate this. Also this workshop aims to give a better insight into ‘understanding perspective in complicated views, which will help us capture the big picture more successfully. This is an energetic and lively workshop with lots of tips and techniques. It’s aimed primarily at beginner / intermediate sketchers but structured in such a way to be a good and enthusiastic refresher workshop for everyone. Hopefully of interest to anyone who wants to draw ‘The Big Picture’ better!

LEARNING GOALS: ● An understanding to how the ‘Rule of Thirds’ can enhance composition ● An introduction (or reintroduction) to the basic principles of perspective ● Understanding of one and two point perspective; how it works in real life complex cityscapes, rather than just as a theoretical exercise; where to find eye level and the elusive vanishing point etc. ● Improved understanding of scale, massing and context ● Understanding when to add the detail and when to leave alone ● Increased confidence when drawing challenging architectural views


SUPPLY LIST: No specific requirements but; ● Pens or pencils for the exercises. I personally use Mitsubishi Unipen fine-liner pens 0.1-0.8mm (lots of them!) or pencils (B-2B). ● Your favorite sketching materials for the final drawing; colour, mixed media; whatever you prefer welcomed...and encouraged! ● Also a sketchbook, in which you can draw in panoramic format (across 2 pages) so preferably not spiral bound. Ideally it would be good to be working at a larger size - maybe A3 - some loose paper, to get the most out of the session. ● Folding stool would be helpful, where possible we’ll try and draw in the shade .


ABOUT THE INSTRUCTOR:

SIMONE RIDYARD

Simone is an architect and senior lecturer at Manchester School of Art. She founded Urban Sketchers Manchester in 2012. Her research is concentrated around architectural reportage and in-situ drawing. Her book Archisketcher was published in summer 2015 by North Light in the US and Quarto in the UK. Simone was shortlisted for the inaugural UWE / Moleskine Reportager Awards in 2015. Simone is a member of the Society of Architectural Illustration (MSAI) and Manchester Academy of Fine Arts (MAFA). Simone runs drawing workshops in UK and Europe including USK approved workshops with Norberto Dorantes, Isabel Carmona and Swasky. She has taught three day workshops at Tate Liverpool, The Herbert Reade Gallery Coventry and on location in Amsterdam. Simone wrote the bid to bring the 7th Urban Sketchers Symposium to Manchester and was local organiser for the event. She is one of six artists featured in Manchester Sketchbook, published 2016. In 2017, Simone put the USk 10X10 Manchester and Sheffield proposal together and taught 4/10 of the workshops. She ran an Urban Sketching Workshop in Canterbury in June also taught as a Faculty Workshop Instructor at the USK Chicago symposium. www.simoneridyard.co.uk


One Page Says it All. A Reportage on Porto Wine   Simonetta Capecchi, Italy   

  WORKSHOP DESCRIPTION:    For three years I have illustrated the back page column of "Dove", an Italian monthly  travel magazine. My assignment is not only to depict a nice place but to recount an  interesting story about it, both with drawings and words, in a personal way. The subject  has to be related to one of the issue's articles and when possible is about a place I have  visited and sketched. Normally I dedicate more time to texts than to drawing composition  - something that I'm more confident about. Each time I discuss subject and texts in detail  with my chief editor and he asks for a number of changes... and this is the the best part of  it! Finally I have professional feedback and I'm obliged to be more aware of the impact of  my work.    


We all draw to show our pages to someone, even when we think of keeping an illustrated diary just for fun. What if we draw with a reader in mind, does it affect our approach?  How can we best communicate our story to someone who has never heard about it?  Instead of thinking about our work being shared over social media, we will envision it  being printed in hard copy on a travel magazine, trying to capture a distracted reader's  attention with an eye-catching image (an "impactful" image, in my editor's words).     Our mission is to tell a story about Porto wine - more a personal story related to this  wine, not "the" whole story of Porto wine. Drawing on location along the Ribera de Gaia  we can see Rabelo boats in the river, wine cellars and wine shops on the riverfront. We  will combine drawing with a personal text, no matter how long, all on the same page. You  can also add small drawings that you collected the days before (like glass of wine, Porto  bottles, objects found in the Porto wine Museum etc.) to tell your own story.     Since in my experience drawing "on assignment" and having constraints is helpful in  producing an interesting sketched reportage, participants will work for a hypothetical  magazine, following some rules I have to respect in my job for Dove:  - Page size is 21x29,7 cm (A4), vertical / US letter is fine as well.  - Image is composed of drawings (mostly done on location) and texts (hand written) on  the same page. These two elements are equally important.  - The text is written in first person and declare a personal point of view (if you are not  fluent in English, you can write in your mother language and provide an oral rough  translation on the spot).  Prefer unusual, curious or funny notes to infos you can find in a tourist guide. The  drawing is original and unpublished.  - The page has a catchy title on top and the drawing location on the bottom. Texts are  clearly readable, in a proper language. All informations given are exact and updated.  - When a person is clearly represented, ask permission and add her/his real name.    Tips: How about to prepare for your page in advance? This is what I normally do for the  magazine and what I will do once in Porto: visit Porto wine museum (Museu do Vinho do  Porto), not far from Simposyum hub: an opportunity to sketch some objects related to  your "assignment" and to take notes for the accompanying text; drink a glass of Porto  wine, maybe taste different brands, and sketch the glass and the bottle label. Such  details can be cut and pasted or re-sketched on the final page later on; eventually take a  ride on the Gaia cable car (Teleférico de Gaia), to sketch quickly (5 minutes!) cellar  buildings and riverfront with rabelo boats from above - or simply find a viewpoint like  Jardim do Morro to get the same aerial view; or even sketch in the Estaleiro do Rabelo,  rabelo shipyard along the river on Cais de Gaia. 


Some research of course can be done online. Check Porto wine story, Rabelo boats and some videos of those amazing boats in action here, here or here.  In case you don't have time to research or sketch beforehand I'll give some information  on the spot anyway and I will look for locals* to tell us stories. 

   

LEARNING GOALS:   I'd like participants to focus on page layout, making a little draft before filling the page  with a drawing, and to experiment with different compositions of the same subject,  combining a drawing with details and words, or creating a sequence of drawings that  cover the subject, all on one page and each one according to her/his drawing  experience.  The goal is to consider a single page as a proper reportage and to enhance its  storytelling aspect using texts, notes and clouds. Participants will be encouraged to find  a personal point of view, approach and technique.       


SUPPLY LIST:   - some loose sheets of watercolor paper (best if 300 gms) for your final drawing  - some normal paper for warm up, drafts and to try different compositions  - some transparent tracing paper sheets to add texts on the page and eventually make  changes  All these paper sheets (or eventually a sketchbook) should be A4 size (21x29.7 cm). US  Letter (8.5˝ by 11˝) is fine as well. Thecnique is free. You can use any tool you normally use  or you would like to try. I normally use ink, colored pencils and watercolors. A large hat  and a stool can be useful. 


ABOUT THE INSTRUCTOR:

SIMONETTA CAPECCHI  

Simo Capecchi completed her PhD degree at the University of Naples in Architectural  Drawing and currently works as an illustrator. She has curated four editions of "In viaggio  col taccuino", a collective exhibition on travel sketchbooks with conferences and  workshops. Simonetta's sketchbooks have been included in many international  exhibitions and featured in edited collections such as Danny Gregory’s An illustrated life  (2008). She contributes to Urban Sketchers blog from Naples, where she lives. She has  been an instructor in five Urban Sketchers international Symposia and holds local Urban  Sketchers Workshops in Naples and Tuscany since 2010. She is back columnist for the  italian travel magazine "Dove" (Rcs) since 2015.  www.inviaggiocoltaccuino.com 


People at Work: Quick-Capture Vignettes Suhita Shirodkar, USA   

  WORKSHOP DESCRIPTION:    Stepping into a busy market or plaza can be intimidating as a sketcher. Do you feel  overwhelmed by the idea of having to capture it all? But do you have to? 


In this workshop we will look at busy places and then focus on isolating vignettes that tell a story.  We will use people as our focus and learn how to build vignettes that combine a central  figure with addition details like tools/accessories or location details to tell a story of  people and what they do.  Along the way, we’ll cover techniques for quick capture through gesture and shape  drawing.   

     

LEARNING GOALS:   Participants will  1) Learn how to use vignettes, studying positive shapes and negative space for clarity and  focus on our stories  2) Learn people-sketching techniques based on gesture drawing using line and shape.  3) Learn tips and techniques for sketching at close quarters, an idea that is often  intimidating to sketchers  4) We will address simple anatomy and proportions for sketchers and touch on capturing  the figure from different angles 


5) Learn how to tell the stories we want to through choosing what actions and accessories we choose for our vignettes   

Examples of thumbnail sketches at a hair salon, exploring angles and composition. No details,  only shapes. 

A page of my notes on simple proportions (discussion/handout) 


Sample sketches at hair salon, using gesture drawing    

SUPPLY LIST:   - Your regular sketchbook  - Soft Pencils (4B or 6B)  - Pen  - Coloring media  (I will demo using graphite pencils, fountain pen and a compact watercolour kit)    Your sketch kit MUST be light and you might be standing and drawing at times, or  moving from spot to spot at the location. Err on the side of less:  Sketchbook, pencil, pen, small color kit is all that’s required. 


ABOUT THE INSTRUCTOR:

SUHITA SHIRODKAR   Suhita Shirodkar graduated with an MFA in  Communication Design from Pratt, New York.  She now lives in California, USA where she  works as a graphic designer and illustrator.  When she isn’t working, she is an obsessive  sketcher and traveller.  Originally from India, Suhita attributes her love of  color and her fondness for drawing people to  growing up in the bustling metropolis of Mumbai.  She has taught workshops at the Urban  Sketchers Symposiums in Brazil, Singapore,  Manchester and Chicago and teaches sketching  workshops in the San Francisco Bay Area. She  recently was a part of Sketch Tour Portugal.    https://sketchaway.wordpress.com/ 

Urban Sketchers 2018 Porto Symposium Instructor


Gray Matter -   Using Gray to Tie Two Contrasting Colors in Two Washes  for Lively and Quick Sketching  Uma Kelkar, USA   


WORKSHOP DESCRIPTION:   This is a workshop that is open to both digital(Procreate app) and watercolor artists.    Key to rapid sketching is reduced decision making time. For scenes that have clear  foreground, middleground and background, just two washes with two colors are capable  of creating a spectrum of value contrast, color contrast and focus.    This workshop will teach attendees to use variegated washes as means of coloring a  picture top to bottom with a distinct aim of speeding up sketching without the end  product looking hurried. For the traditional watercolorist, the workshop encourages  using the ‘flow’ of watercolors as its strength from top to bottom.    For digital artists, knowledge of Procreate(the tool) is assumed just like we assume the  basic use of watercolors for watercolor sketching workshops. Digital exercises will mirror  the exercises with traditional media. Though flow is not the virtue they will use, they will  see how having a common color between a two color recipe works to unify a sketch.  Reducing choices of colors works to speed up sketching just as it does for watercolorists.  * Within the Procreate app, blur + alpha lock allows for the same blending effect that  watercolorists do when they do variegated washes.   


LEARNING GOALS:   At the end of the workshop, sketchers will be able to -    1. Pick a minimalistic color scheme that uses 2 contrasting colors while using gray as the  uniting color.  2. Will be able to see how two washes can actually build a whole picture while building  depth.  3. Will feel more relaxed crossing boundaries of distinct shapes with either a traditional or  digital brush.   

   


SUPPLY LIST:     TRADITIONAL WATERCOLORISTS    1. Watercolor paper - 140lb cold pressed. Fine grain preferred over rough.  2. Choose a brush type that you are used to - the only criterion needs to be that it be big  and can carry a lot of pigment. No brushes with water cisterns on back of their body  allowed as they don’t let us control water as much.  3. Choose another smaller brush for details.  4. Wet pigments meaning pigments from tubes - 6 tubes are enough to choose from, we  will pick 2 color tubes from your set.  5. Bring a tube of your favorite gray as well. If you don’t own a gray, bring a black + white  tube and we will make one to taste.   


DIGITAL ARTISTS   1. Charged iPadPro with Apple pencil and latest version of Procreate app installed.

ABOUT THE INSTRUCTOR:

UMA KELKAR   Uma Kelkar, a watercolor painter for more  than 7 years, is a multi-award winner for  plein air + watercolor paintings. Having  taken part in multiple national and  international juried shows, she has also  exhibited professional watercolor solo  shows. She is an author of a book on  sketching. Her work has been included in a  Portraiture book and Urban Sketching book  by Virginia Hein. She is a curator of  professional gallery shows and administrator of 1800+ member watercolor painting group  on Flickr.   www.umakelkar.com 

Urban Sketchers 2018 Porto Symposium Instructor


Reportage: Memory of a City Veronica Lawlor, USA 

Little India, Singapore 

WORKSHOP DESCRIPTION:   The word reportage comes from an old French word meaning “to carry back.” In this  workshop we’ll focus on how to carry back our experience and memory of a specific  place and time through pictures and visual storytelling.     First we’ll discuss picture design and the thumbnail: how to “walk through” a location and  document what’s there with small thumbnail sketches. We’ll look at it from different  points of view and think about how to dramatize a feeling or idea with picture design.     Then we’ll choose a moment to focus on– a small story happening within the location  that we can tell in several drawings, by expanding on our idea of the thumbnail. A woman 


hanging laundry, a man selling vegetables at a market, a couple having a coffee together at a café, children playing in a fountain – these types of small everyday stories in the  context of the city create a reportage – an experience that we can sketch and carry back  to show to others.   

Calle Condi, Santo Domingo 


LEARNING GOALS:   ● Learn to embrace the overall environment of an urban setting and find your focus  in a picture.   ● Learn to work with dimension in your picture-making.  ● Learn to make an organic picture of people interacting in a space.  ● Find the story that speaks to you and document your memory of a place. 

Parque Colon, Santo Domingo 

       


SUPPLY LIST:   Any supplies you like to draw with are fine, but here are some suggestions:     A fountain pen (can be a Pilot disposable or low-cost Schaefer pen with cartridges)  A portable brush pen  A few soft graphite pencils (3B or higher)  Some color materials: a small watercolour kit and brush, colored pencils, markers or  pastel pencils are all good choices. Try more than one for variety.     Please bring a sketchbook that is at least 9” x 12’ so you have room to draw several  thumbnails on one page. 11” x 14” is even better if you feel comfortable going to that size.     A small stool is always good for comfort and flexibility on location.   


ABOUT THE INSTRUCTOR:

VERONICA LAWLOR

Veronica Lawlor’s reportage illustrations have led her around the world, completing  assignments for a diverse group of clients, including Brooks Brothers, JP Morgan Chase,  3M, and the Hyatt hotels. Her emotionally charged reportage drawing series of the 9/11  attack on New York City is featured in the Newseum in Washington DC. In 2011, Veronica  was nominated by Canson USA as their representative for the Canson Prix, and her work  was presented at the Louvre in Paris. An urban sketchers correspondent, Veronica is on  the illustration faculty of Parsons the New School for Design and Pratt Institute in New  York City. She is the co-founder of the Dalvero Academy.  Veronica Lawlor is the author of O ne D raw ing A D ay and O ne W atercolor A D ay, as well  as the U rban Sketchers H andbook:R eportage and D ocum entary D raw ing . (Quarry  Books.)  www.veronicalawlor.com  

Urban Sketchers 2018 Porto Symposium Instructor


Minimal Color, Maximum Punch! Saying More with Less  Virginia Hein, USA 

  WORKSHOP DESCRIPTION:    Color brings energy, mood and emotion to a sketch! Composing a dynamic sketch starts  with discovering the visual story that you want to tell, and deciding what to include. In this  workshop we’ll bring two ideas together for more dynamic sketches: focusing and  editing the sketch, and then we’ll use bold color to spotlight what most interests you and  bring emotional impact to the story.   


The city of Porto is rich in history and atmosphere, and its urban landscape is full of stories waiting to be discovered. Spend time in just one location, and you are surrounded  by a multitude of choices. Where do you put your focus? Some things seem to pop out  immediately, while you may not notice other things until you’ve sat sketching in that spot  for awhile. In this workshop we’ll practice shifting our focus, choosing what to emphasize  in different sketches, while practicing the art of eloquently leaving something out. We’ll  use color to describe the mood and bring the energy and feeling of the location.    Why leave something out? Leaving some space around your subject gives it some  “breathing room”. In a sketch, that space gives the eye a place to rest, and the negative  space around your subject can eloquently draw attention to it.    First, we’ll explore the location: We’ll take time to get the feel of the place with all of our  senses—noticing the temperature, the time of day, and the light. We’ll pay attention to  not just the “facts” of the place that we can see, but how it feels: does it feel open,  expansive, or crowded and busy? This helps you begin to discover the character of the  place, and what you most want to capture.    Next, we’ll focus and select: We’ll use a selection tool (“viewfinder” that instructor will  provide), and practice framing the stories that we see.  We’ll do several quick-sketch exercises to practice composing sketches with minimal  color but maximum punch!    Round 1: We’ll begin with thumbnail sketches, drawing with line. Sketch quickly, try  several different little stories. We’ll gather to look at the sketches, and ask: what is the  heart of your story? How can you highlight that by giving it some breathing room/  negative space?    Round 2: More thumbnail sketches—staying with the same location, change your focus:  Are you noticing a different story now? What can you leave out?   Now, bring the impact of color--do more with less! Color not only sets the mood in a  sketch, but can also bring attention to the heart of your story.    Do you want to unify the whole? —try a monochromatic color scheme.  Do you sense energy and excitement? —use contrasting colors and strong value  contrast. Does the location feel quiet and serene? —softer, related colors can create a  sense of harmony. Let line and color play complementary parts in your sketch.    Round 3: Move on to a larger sketch—make key decisions first: What is the most  interesting story here? What’s the overall mood of the location? What can you leave out 


to create some breathing room? Most importantly, what do you want to say about it? Let your color decisions be bold, intuitive and emotional--use color to draw attention to the  heart of your story.   

LEARNING GOALS:   You will…  • Use selection to discover an interesting visual story  • Work more confidently with color to bring emotion and mood to a sketch  • Understand ways to draw attention to your visual story using negative space and  dynamic color         

 


Round 1: Quick line thumbnail sketches to practice editing and focusing your story:


Round 2: Try different approaches to adding color to create different moods and highlight different stories in the same location while leaving some “breathing room”.  Round 3 will be a larger drawing…


SUPPLY LIST:   Suggested Materials:  • Watercolor sketchbook or sketchpad (paper heavy enough to use with wet media—at  least 70lb. paper, 90lb. is even better)  • A travel watercolor set or other portable palette of watercolors with plenty of room for  mixing  • Waterproof ink pen, calligraphy pen or fountain pen with waterproof ink  • Sketching pencils if desired  • Watercolor brushes—flats and rounds in a range of sizes—the larger the better!  • Watercolor markers or other color tools can be used as well.  • Leak-proof water container  • Rags or paper towels   

         


ABOUT THE INSTRUCTOR:

VIRGINIA HEIN   Virginia Hein was born in Los Angeles,  California, and the landscape of the city has  always been her favorite subject. She has  worked as a concept and character  designer for toys and entertainment, and as  art director, illustrator and fine artist.  Currently she teaches drawing at Otis  College of Art and Design in Los Angeles,  and also teaches sketching workshops at  Descanso Gardens and other locations. She  discovered Urban Sketchers in 2009, and  has been a correspondent for the Urban  Sketchers blog since then. She has been  honored to teach workshops at three international Urban Sketchers  Symposiums—Barcelona, 2013, Singapore, 2015 and Chicago, 2017. She has contributed  her work to a number of books about location sketching, and her work was included in  Drawing magazine’s Summer 2016 issue on artists’ sketchbooks, “Sketchbook Insider”.  Her book “5 Minute Sketching Landscape” was published by RotoVision in 2017. Virginia  received an MFA in Drawing and Painting from California State University, Long Beach,  where she also taught Watercolor Painting. Her paintings have been exhibited in the Los  Angeles area and in Santa Fe.     IG: ​@virginiahein 

Blog:​ ​h​ttp://worksinprogress-location.blogspot.com

Flickr:​ ​https://www.flickr.com/photos/virginiaworksonlocation/


Pastel Sketches, A Controlled Mess William Cordero, Costa Rica   

  WORKSHOP DESCRIPTION:    THIS WORKSHOP focuses on creating a method to use a somewhat forgotten  technique to urban sketching: pastel, even farther, it takes that technique as an  approach to try out new things, getting out of our comfort zone and discovering what 


happens when we go beyond our breaking "graphical" point. It won´t be easy, it may not be pretty at first, but it will certainly be a path to new ways of dealing and creating  sketches with this great expressive medium.     I am a true believer that one must recognize when you are too comfortable about your  work and then do something about it, like giving yourself the chance to feel the magic of  discovering how bad you can be on something you have never tried before... At some  point this might create crisis that might end up in a new explosive creative phase.     

LEARNING GOALS:   1-Learn, explore and play with an uncommon medium to urban sketching, while getting  out of your comfort zone.   2-Create explosive and expressive sketches.   3-Learn to simplify complex scenes into value masses.   4-Sketching a sense of place and atmospheres without needing lots of details.     

 


SUPPLY LIST:   -Soft and dry pastel  -Pastel pencils  -Graphite pencils, black pen   -Pastel paper  -Wet wipes 


ABOUT THE INSTRUCTOR:

WILLIAM CORDERO

A graduate of the “Universidad de Costa Rica” and Professor of its school of  architecture since 2009, is also working as an architect for this institution. Interests  include painting, graphic expression and architectural drawing applied to architectural  design. He has participated in the International Urban Sketchers Symposiums of 2012  (Santo Domingo, Dominican Republic),2013 (Barcelona, Spain), and 2016 (Manchester,  UK) and as a workshop instructor during the 5th (Paraty, Brazil) and 8th (Chicago, US)  USK International Symposiums. He is also a graphic correspondent and  co-administrator for the USK Costa Rica chapter.    www.instagram.com/williamcorderoh    www.flickr.com/photos/williamcordero 

Urban Sketchers 2018 Porto Symposium Instructor


Note


Our Manifesto 1.We draw on location, indoors or out, capturing what we see from direct observation. 2.Our drawings tell the story of our surroundings, the places we live and where we travel. 3.Our drawings are a record of time and place. 4.We are truthful to the scenes we witness. 5.We use any kind of media and cherish our individual styles. 6.We support each other and draw together. 7.We share our drawings online. 8.We show the world, one drawing at a time.

USk instructors 2018 Porto Symposium  

Instructors List (updated 19 April 2018)

USk instructors 2018 Porto Symposium  

Instructors List (updated 19 April 2018)

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