The Apple Tree

After tree-hunting, as I mentioned in my last post, I finally decided on the subject for my classes: an apple tree in the school’s orchard. The tree had great character with its expressive branches (sloping, parallel lines, elbows), beautiful foliage, and a bushy ground underneath. Additionally, it was small and offered good views from different angles. My major concern was the sun, but Oliver helped me to move an umbrella around so we could have some shade.

I was glad that I decided on this tree. It was a great subject indeed, although the foliage wasn't so easy grasp and draw - nevertheless, it provided us a lot of information and insights. My students seemed to really enjoy drawing it!

Here's one of my demonstration sheets:

Here's another one, with some notes:

During the days I spent there, I worked continuously in one piece, allowing me to enjoy the subject, while learning from the process and sharing my insights with the students. The final piece was acquired by the school, which have an amazing collection of art by former instructors - this made me very proud.

Next post, I will talk about the classes!

See you soon ;)

Tree-Hunting

During my time in the US, my focus was always on trees, as they were the main subject of most of my activities. 

Following my attempts to find a perfect subject for my classes I went "tree-hunting" around the school premisses (as I told here) and around the island. One subject that stood out was an old weeping willow, by the entrance of the Madeline Island Golf Club. I went there with Jane Blundell to sketch it, but due to the rain, we sketched from inside the car.

The sketch I did there share some similarities with another one I did later in Seattle. I believe this is due to the focus on the branch system. 

In both drawings I used graphite and white pastel Cretacolor pencils and erasers.

The old weeping willow, seen from inside the car

An old tree in the Seattle Arboretum, particularly the branch that extends straight out from the trunk caught my attention - it seemed oddly unnatural.

Tom's Burned Down Cafe at Madeline Island

I believe everyone who steps on the Madeline Island must have a beer or a soda at this funky, hippie bar. Tom's burned down cafe is surviving on the island for decades and has an interesting history behind as you can read in this article.

We went there twice, first on a Friday night, when there was live music and the bar was quite busy. It was one of the funniest bars I've ever been to! I loved the laid-back atmosphere, but what I liked the most was the cool signs! There are dozens of them, hanging around the place, which made me laugh a lot.

We had a great time that night, sketching, drinking and dancing. It was a nice way to relax and sketch, the four of us, together!

Funny sayings everywhere, and lots to sketch

Here's my second sketch, from the outside. The place is so cool to sketch!

And here's my friend's sketches:

Here's Nina Johansson's sketches of the exterior and the interior. Notice how she suggested depth in the one above, leaving ink contour only on the bar (the bar is that tent and stuff!). She uses black areas in both sketches to estabilize the drawings, creating visual anchors and an arrangement of two-dimensional pieces - a dynamic pattern

This is Oliver Hoeller's sketch. We're sketching side-by-side while having a beer and discussing different approaches to on-location drawing. His drawings always have an animated, exciting feeling

Jane Blundell's sketch shows a beautiful balance between elusiveness and description. The blacks under the tent hold the composition too, and the suggestion of the foliage contrasts nicely with the details of the fence and stuff.

US Trip 2024: Getting to know Madeline Island

Whenever instructors give a course on on-location drawing, we need to scrutinize the place, trying to find its best subjects, points of view, seating places, and shadow availability. That's why I arrived a couple of days before the course began, along with my fellow partners.

We were taken around the island, and I saw several interesting subjects, such as an appealing old willow tree. However, I thought it would be smarter to find a good spot on the Madeline School of the Arts premises, making it easier for the students, close to the classrooms and so on. Oliver and Nina found spots outside, which was part of the general plan, and it worked out very well too - the school took care of the transportation and lunch for everybody.

So, my very first pages filled out in the school were these ones.

I found this group of trees in between two small houses and the windmill. A compelling subject, with interesting things to be figured out and solved. I used my painterly approach with pencils. 

I recognized that scene could be challenging because there were too many objects to arrange. I instantly realized the windmill could be a very tricky subject in itself - a dark, rounded shape with fuzzy edges against the sky! Some things must be graphically assessed to be figured out, don't you think?

In the sketch on the bottom, I solved the problem by taking the windmill out of the equation, allowing more focus to be put on the trees themselves (the main topic of my workshop).

I tried a few other options, then I thoroughly read up on the subject. I discovered that would be a great subject for a composition workshop, but it might be too much for one focused on trees. I didn't finish these sketches to save time, but I added a few notes that could be interesting to share with the students.

I found a nice subject a 10-minute walk from the school buildings, still within view. It was a beautiful tree by a pond (featured above, on the right lower corner). Very painterly, but a little too wild. I couldn't handle the bugs, so I moved on.

US Trip to US: A Special Gas Station

 That was not about 'a' gas station, but 'the' gas station. 

I rented a car just to see it. There was no public transportation options when I had the time do visit it, so that was my only way. I even considered renting a bike, but it was almost 50km far which was way too much for me.

So, I get there, parked my car and was immediately transported to the 1950's, when the R. W. Lindholm Service Station was built - 1958 to be exact - after a design by Frank Lloyd Wright (1867-1959). As all FLLW buildings, the sense of originality and unity are remarkable. There are always room for new ideas and exploitation. Here, the framing of the rooftops and the long eaves draw your attention.

I took pictures and found a place to sit and sketch. It was sunny, but not too hot (at least by the time I began). So, I sat at the curb, spread my materials and started. 

I wanted to be as accurate as possible, so I build the drawing carefully, especially in terms of proportions and perspective.

The place was closed due to the holidays, but it is still running. I read somewhere that they receive at least half a dozen of people - everyday! I spent 2,5 hours there, and I can confirm that. A few of them came talking to me - a woman said she worked at the FLLW foundation (I think she mentioned Arizona)! As I gave her a postcard, she reciprocated with two awesome stickers! A man got surprised when I said I was from Brazil - he was so kind! He said the most of the city was burned down in a fire in 1918. As he left, I added him in my drawing.

I sketched for around 2 hours. It has hot when I finished, and I was a little anxious because I needed to check out, return the car at the airport and meet Oliver Hoeller.

US Trip 2024: A cold 4th of July in Duluth

I arrived in the US on 4th of July, the US's most celebrated holiday, in the city of Duluth, north of Minnesota. 

First, I rented a car in the airport for only a day - my plan was vitising Frank Lloyd Wright's gas station in Cloquet, a small town nearby. 

I spent most of the day with a guy I met at the hostel, which was very nice, since he knew most of the city and the good spots for ice-creams and burguers. 

I did a an-hour sketch of the Aerial Lift Bridge of Duluth, a colossal steel structure with gigantic counter weights which impressed me very much. The bridge was inaugurated in 1930.

We got a beer and a hamburguer and moved on to the park to watch the fire-works. It was a great first day. 

 

The next day would be busy, so I wanted to go to bed as early as possible. I would move to Madeline Island, for the so waited week course.

Drawing of a plant, during on-line classes

 I have recently finished a sequence of three classes with my students about the stages of drawing a small plant from either observation or photograph.

The idea was to help the students learn to work in information cycles.

Drawing foliage isn't the easiest thing on earth. It demands a lot of attention, and I believe drawing leaves that come forward in the viewer's direction is challenging. Another problematic aspect is to get the right size of the whole plant.

So, we began by doing a broad, loose sketch. Then we tried to correct some angles and sizes of individual leaves, adding some details and making the values darker little by little (at the same time, we turned the highlights brighter).

I scanned the drawing whenever I felt each cycle was finished.

Here's a tip: when drawing a plant, take a photograph at the end of the first session because the leaves will be different the next day - so you can reference the picture going forward.

'Sketching Haven' at Madeline Island School of the Arts

Great news!!

I am pleased to inform you that I will share my approaches and techniques at Madeline Island School of the Arts, in July 2024!

I will be together with a few fantastic international sketchers: Jane Blundell (Australia), Oliver Hoeller (Austria) and Nina Johansson (Sweden). Participans will sketch with each of us at different new locations daily (check their website and see how impressive the place is!)

The 'Sketching Haven: A Summer Retreat with Four Internationally Renowned Artists' (link here) will happen on July 8th–12th, 2024

"Experience an unparalleled opportunity to enhance your artistic skills with four exceptional instructors. Eduardo Bajzek‘s workshop focuses on capturing trees and landscapes, while Jane Blundell’s workshop specializes in color and botanical sketching. Oliver Hoeller guides participants in telling the story of Madeline Island through sketching, and Nina Johansson immerses you in everyday life in coastal harbor town. With diverse techniques and personalized guidance, these workshops offer a comprehensive learning experience for participants to refine their skills and explore various aspects of sketching and painting. Students will interact with a new instructor and visit a new location everyday."

I will teach the following workshop:

Eduardo Bajzek: Trees and the Island Landscape

Morning Session:

• Discover the essence of incorporating Nature as the predominant theme, exploring its graceful and meaningful presence in crafting artistic compositions.
• Exploring different types of linework, shapes, and edge variety associated with trees.
• Understanding the structure consistency of trunks and branches for a balanced composition.
• Developing the skill to see and sketch tree silhouettes.

Afternoon Session:

• Outdoor sketching session in Madeline Island, combining nature and buildings in unique compositions.
• Demonstrations by the instructor on choosing and framing subjects, organizing layers of tone, and creating depth.
• Participants will create their own landscape drawings, applying the learned concepts and receiving in-person assistance.
• Feedback session for participants to share their work and receive final considerations.

And here's a short description of my fellow partners (see more at Madeline's website):

Jane Blundell: Botanical Sketching

Jane is a member of the Australian Watercolour Institute, Australia’s oldest watercolour society, and an exhibiting member of the Royal Art Society of New South Wales, and a member of the Urban Sketching education committee. She is passionate about watercolour, colour, drawing and sketching.

Oliver Hoeller: Sketching the Story of Madeline Island

Oliver is a skilled sketcher and traveling artist, known for his ability to tell rich stories through his work. Explore Madeline Island, visiting the museum and surrounding areas to gather visual elements that reflect the island’s fascinating history. Oliver provides personalized guidance on arranging elements on the page; presenting demonstrations and giving feedback throughout the day.

Nina Johansson: Everyday Life in a Coastal Village

Nina Johansson, an illustrator and art teacher from Stockholm, Sweden, is a dedicated on-location sketcher with a penchant for capturing everyday life in urban environments. Learn techniques to convey perspective without construction, work from big shapes to smaller details, and create well-composed sketches. Students will grow through individual support and group discussions.

New Zealand Part V - Workshops Preparation

 

Three steps showing the process of the painterly, graphite approach of my workshop "Slow Down, You Sketch Too Fast", which I taught in the 11th Urban Sketchers Symposium in Auckland, New Zealand. (those are not the same drawing, but the sequence represents the process)

As I told in a recent post, I changed my workshop's location a little as the primary subject was a little too hard to draw. I found a pleasant location down the road, with a small open courtyard, with a decent view of the Sky Tower into the distance and a couple of interesting houses near. I started a sketch there and soon realized that was the best location. It was quiet enough, there was some shadow, a good place for the participants to sit and some shelter in case it rained.

I did the same sketch three times: when I teach a painterly approach (with graphite), I like to have prepared at least one advancing step (for each session), so I can show the students a further stage of the process, and work from that on a little more, like in a cooking tv show. I also have a third stage, an almost finished one. This works really nicely, as adds a bit of a surprise feeling to my demonstration - I hide the stages, of course :)

My workshop location - I was pretty happy with it!

Here you can see a few of the drawings I did on location, laying on my bed's hotel in Auckland

New Zealand Part IV - A bit of Máori culture

On April 19th, the Urban Sketchers Symposium instructor's team had the great opportunity to visit "Papakura Marae", a Maori complex near Auckland, in which the temple (wharenui) was inaugurated in 1990. During the short journey to the place, we learned a song from local organizer Eric Ngan (who arranged the tour) to be sang at the temple as a gift to the Maori people.

We then attended to a beautiful ceremony, with touching music performed by the Maori people. They weren't dressed traditionally as one could imagine as it wasn't a presentation for tourists, which made the moment even more remarkable.

After the ceremony was finished, we had a nice meal and had some time to do a sketch, even inside the temple, where I did mine.

I sketched a carving called Tamatea Pokaiwhenua, a leader navigator who arrived in New Zealand in 950 AD. A hill dedicated to leader is called: 

"Te taumatawhakatangihangakoauaupukepikimaungahoronukupokaiwhenuakitanatahu", which means "Tamatea played his flute to lure his young lover to climb the hill without slipping as he waited and prepared a meal for them to share and make love".

Isn't that beautiful?

Later that day, I did a sketch of the city hall. I was a bit distracted by the skateboarders across th street. The weather was changing constantly which was a presage of the rain we got during the symposium. I wanted to make a loose watercolor as I did of the same Queen St. the day before, but I couln't, and I'm not sure why.

New Zealand - Part III: Sky Drawing

On a sunny afternoon, before the symposium started, I went to the Sky Tower, a stunning construction that takes you up to 186 meter high and has lots of attractions. 

I went there because I love being at heights, in first place. I didn't know I would have enough time plus find a good spot to sketch. But I did, even though I had to gave up of a first attempt because someone bumped into me, causing me to make a scratch on the paper - fortunately it was at the beggining! I just turned the page over and restarted...

Anyways, I did a very quick sketch for my standards, with a ballpoint pen. 

New Zealand - Part II: The Flamboyant Impossible Tower

 

Actually, this was the first drawing I did (or start) in Auckland. The Auckland University Clock Tower was one of the subjects entitled to be part of my workshop location, so I went there asap to check it out and do a few sketches. 

I started observing the location, figuring the best spots to sit and draw. Unfortunately, the botton of the building was hidden by renovation works - even if it wasn't, I would have trouble to see it properly due to the cars parked across the street, right in front of me. If I moved a few meters to one side, there was a pedestrian passage; to the other side, a big tree blocked the view. So, I sat down and started - urban sketching is as unpredictable as my cat.

After struggling for an hour, I already realized that subject wasn't the best for my workshop - the building was sooo complicated, with its forms melting into each other (the corners were all somehow disguised). There were dozens of pinnacles in this mixture of Tudor and Flamboyant 19th century bulding. Too hard. I mean, that was an interesting challenge...and as I wrote down on my page : "it's not about the bulding, it's about the scenery".

I also wrote: 

"The pinnacles get all messy" (one couln't easily understand where they did belong to);
"Suggesting vegetation" (so I did);
"Looking for the sillhouete" (the whole body of the building);
"Inside shapes can be open" (so the eye doesn't stop everytime).

The mind wanders and we learn a lot, each drawing.

Eventually, I decided to prevent the parcipants from suffering from that intricate (however interesting) tower.