Tell us a little about yourself.

I am Paulami. I’ve grown up and lived across various parts of India, and speak four languages. I’m a Data and Technology executive with over 20 years’ experience. My authentic work lies in being a good-enough parent to my two lovely children and working every day to become a better, more expressive artist.

What first drew you to the Penciljam community?

I started drawing seriously in December 2023. Since then, art has evolved from curiosity to an integral part of my identity.

I met Pencil Jam serendipitously. While visiting NGMA in May 2024, I found myself sitting alongside a group of animated artists. Upon inquiry, I learned this was Pencil Jam, led by the inspiring duo Smitha and George. Having just begun drawing, it was a godsend opportunity to connect with such talented artists. I’ve attended most sessions since.

Drawing from real life is exhilarating. But with life’s demands, outdoor time is precious. Pencil Jam enables this connection. The founders unearth eclectic, unsung places throughout Bengaluru, inspiring art through discovery.

How has the act of drawing changed the way you observe and experience the city?

For all the monuments, parks, and installations I’ve drawn across Bengaluru, I feel special fondness, like one feels toward a dear old friend. There’s deep knowing that comes from drawing from life—the little nooks in monuments, vibrant colours of fruits, the uniqueness of a face. This intimacy wouldn’t exist without spending hours closely observing and rendering on paper. There’s something charming, almost magical about it.

Can you share the story behind some specific drawings that are particularly meaningful to you?

Pencil Jam has been pivotal in my artistic journey. In these sessions I drew my firsts—my first portrait at MAP, my first monument at Tipu Sultan Palace, my first landscape in Lalbagh. These pieces are special because they’ve instilled confidence that I can grow further artistically. This is no small credit to Pencil Jam members, who’ve been consistently encouraging with their praise and feedback.

Beyond creating art, what personal accomplishment do you find in documenting Bengaluru’s evolving landscape?

Being able to visit so many wonderful, unique places in Bengaluru feels like a gift. I’m not naturally outdoorsy and would spend all my time indoors by my window. Having something that inspires me to immerse in outdoor beauty, week after week, gives me great purpose. It’s also fulfilling to know Bengaluru better each passing week.

Was there a moment during a jam when you felt completely in the flow of drawing?

This happened during an NGMA session. I was captivated by vibrant red, black, and metal condiment bottles in the café and began drawing them. Initially, I felt this was too trivial to sketch. But before I knew it, an hour had passed, and I was amazed by the outcome staring back from my paper. Looking back, I don’t remember what happened between—this is probably what they call flow state. I’m proud of that oil pastel piece. It taught me about the unassuming beauty in everyday things.

Tell us about a hidden gem in Bengaluru you discovered only because you went there to sketch.

There are so many: CV Raman House, St. Andrews Church, Ulsoor Dhobi Ghat, Kaash Gallery, Tipu Sultan Palace, The Royal Equestrian Academy.

The standout is St. Andrews Church—a picturesque church on Cubbon Road, built with red bricks and stark white eaves. Its looming tower is awe-inspiring and magnificent. It made me ponder the ultimate insignificance of our lives and how we need to take ourselves less seriously. I spent hours during the session and many more after, immersing myself in drawing that church.

What’s the most unexpected detail or story you’ve uncovered about a place while in the process of drawing it?

I’d like to share two unexpected findings from various jams:

The RBANMS Educational Charities school was built with patronage from Rai Bahadur Arcot Narrainsawmy Mudaliar, a business tycoon from 200 years ago. He began as a vegetable seller but eventually became one of the wealthiest men of his generation. Most inspiring was his commitment to educational and social welfare reform. He spent much of his wealth building charitable institutes toward this goal, and his legacy benefits people to this day.

The Ulsoor Dhobi Ghat: I’d only heard of Dhobi Ghat before this visit. Actually spending two hours sketching there was sobering. This is where washermen and women work hard, cleaning the city’s dirty laundry. The place itself isn’t appealing, with garbage scattered about. Despite this, it has an aura of integrity, honesty, and hard work that I tried to capture in my scene.

Have you had a memorable interaction with a local resident or a passerby while sketching? What happened?

While I don’t remember deep interactions outside the Pencil Jam community, it’s always heartwarming to be welcomed by locals, sometimes guards or administrators manning locations. Through many jams, I’ve learned that being an artist grants you friendly space, literally and otherwise, with genuine warmth from people.

What does drawing as part of a group add to your creative process?

Drawing with fellow artists is enriching. You observe different styles, and invariably some seep into your own work. It’s an opportunity to learn various techniques from experts. There’s also the consistently encouraging nature of fellow artists—a hallmark of Pencil Jam. There’s no competition or envy, just warm people sharing their love of drawing.

Pencil Jam has deepened my connection with Bengaluru. I now know this city has a unique, exciting personality—like a boardroom honcho who’s also a bestselling DJ. There are massive, prosaic city parks but also quaint small galleries. There are world-class sports stadiums alongside millennia-old temples. I’ve had the privilege of experiencing all of these, thanks to Pencil Jam.

How has being part of this community influenced your artistic style?

I’ve learned immensely from being around fellow artists and receiving steady encouragement and feedback. Until March this year, I’d avoided paint mediums out of fear. But during one jam, two dear friends playfully challenged me to try watercolours. That very evening, I created my first watercolour piece. Since then, I’ve completed around 25 watercolour pieces. This wouldn’t have happened without Pencil Jam.

When you look back at your collection of Bengaluru sketches, what larger story do they tell about the city?

Looking back at my Bengaluru sketches, I hope more people discover how deep Bengaluru runs—deep in natural beauty, human-made constructs, rich history, and the warm, tolerant nature of its people. Bengaluru is beautiful, and I see more of its beauty each passing week.

Someday I’d love to create a booklet of these places to extend the privilege of being part of this community to everyone else.

What advice would you give to someone who is hesitant to join their first Jam?

I joined my first jam just five months into drawing. What struck me was everyone’s welcoming nature and the encouragement I received. There’s nothing to hesitate about. If you love drawing and are ready to fall in love with this city, this is your kind of place.

Is there anything else you’d like to share about what sketching Bengaluru means to you?

Sketching Bengaluru initially was about seeing how well I could draw. Then curiosity about Bengaluru emerged. Now it’s transformed into love for both drawing and Bengaluru, where it no longer matters how I draw. Just showing up and drawing brings me tremendous joy.

Tell us a little about yourself.

My name is J L Anil Kumar. I am seventy years old. I have a BE degree in electronics and communication and M Tech in Reliability Engineering. My professional career has mainly been in two companies and has included Quality Assurance, Engineering, R&D, and Intellectual Property. I am now an IP consultant.

What first drew you to the Penciljam community?

My introduction to Penciljam was through a colleague. She suggested that I try sketching with the community. My first jam was 16 years ago at Lalbag and I was hooked. The informal, free, and encouraging atmosphere and the company of art enthusiasts of all ages and skill levels was irresistible.

How has the act of drawing changed the way you observe and experience the city?

We tend to capture an overall picture of our surroundings. When I sketch, one detail after the other pops out of that picture. It could either be an object, colour, shadow, or value. You practically rediscover a commonplace scene. I feel that over time I have started seeing things I would have missed earlier. For example, sometime ago a friend sent me a photograph he had taken and I commented that a flower in a small part of the picture stood out. He had not seen it!

Can you share the story behind one specific drawing that is particularly meaningful to you?

A simple sketch of a lamp post with some rocks and a plant at its base. We were jamming at Hotel Airlines near Lavelle Road. I had a tendency to focus on getting the outlines right and paid little attention to contrast. One of the Jammers (George) took my sketch and made the darker elements really dark and told me. “That makes the picture pop” and it sure did, and it made me conscious of the value of values in a sketch.

Beyond creating art, what personal accomplishment do you find in documenting Bengaluru’s evolving landscape?

One of my favourite subjects is architecture – especially old buildings. Bangalore has many. Sketching them makes me feel that they have a personality and history and I know them personally. The other aspect to it is that looking at a building and looking at it to sketch it are two completely different acts. The latter reveals things you might not have noticed otherwise. At some level it is satisfying to record some buildings that may soon disappear or already have as Bangalore “develops”.

When you look back at your collection of Bengaluru sketches, what larger story do they tell about the city?

Change! Some good, some bad. Whenever an old landmark disappears it hurts. But some new spaces open up that are positive. Church Street pedestrianisation, Rangoli Metro Art Center, Museum of Art and Photography, come to mind.

Describe a moment during a sketch jam where you felt completely absorbed. Where you, the location, and your art all clicked into place.

I remember one such time while I was sketching granite slabs piled behind the government museum. There was nothing special about the scene, but the simple shapes, the light and shade, the texture seemed to absorb me completely. I don’t even know where that sketch is now!

Tell us about a hidden gem in Bengaluru you discovered only because you went there to sketch.

Some years ago we jammed at a century old house that was going to be demolished. It was near Victoria Road. That was really a gem of a house that I would have never seen but for the jam. We were allowed to explore inside the house, which had ancient electrical fittings and so on.

What’s the most unexpected detail or story you’ve uncovered about a place while in the process of drawing it?

We were jamming near Commercial Street. I was drawing an old building at the junction of two roads. I realised that one of the walls had an elaborate ornamentation that looked like a window but there was no window. It was all plaster, modelled to look like a window. I discovered later, on the net, that it is an architectural decorative element called a faux window. And I have seen a few more of those in colonial era buildings in Bangalore including one on a wall of St Joseph’s college.

Have you had a memorable interaction with a local resident or a passerby while sketching? What happened?

This incident was not while jamming with the group but a solo sketching session in Vishveshwarapuram. I was sketching the upper floor of a beautiful house with a gabled roof. The ground floor was obscured by foliage and I wanted to enter the compound and see, but was not sure if I could. Then an old lady came out of the building pushing a wheelchair bound gentleman. I rushed to them and asked if I could enter the compound and look. She was hesitant. I showed her my sketchbook, and she graciously let me enter, and we had a chat about the history of the house. I was also allowed to take some photographs. A simple interaction with two gracious people.

What does drawing as part of a group add to your creative process?

While I start every day with drawing alone at my desk and enjoy it thoroughly, drawing with a group is always a learning experience, without exception. I see the work of another who has drawn the same subject as I have but treated it completely differently. It is an eye-opener – how the other person has looked it and interpreted it. I also watch other people draw and learn different techniques.

How has being part of this community influenced your artistic style?

Confidence got a boost on the very first jam! Watching others work on the same scene is always a learning experience – some conscious, others subconscious. More than the style and confidence, my patience and perseverance have improved a lot, which in turn, has improved my confidence, sometimes even in attempting drawing something that I would earlier hesitate to do since it would need a lot of time.

What advice would you give to someone who is hesitant to join their first Jam?

Treat the first jam as a test to see if you like it. If you are concerned about your skill level, you can forget about it. You will find the people friendly, encouraging, and appreciative. Then attend at least a few more jams, and I am certain that you will keep coming back.

Is there anything else you’d like to share about what sketching Bengaluru means to you?

I have ended up visiting places that I am most unlikely to have visited on my own. I have seen familiar places with new eyes. I have lost my inhibition about sketching outside and even alone. I attend a lot of music concerts and sketch while listening, and I have become a familiar figure in some of them, and it gives me a sense of freedom.