EDUARDO BAJZEK

Traço e Forma 2026!!

noreply@blogger.com (Bajzek) — Fri, 05 Dec 2025 12:35:00 +0000

O curso continuado de desenho Traço e Forma está de volta, em sua 3º edição, em 2026!

Estou feliz. Adoro dar aulas pois gosto de compartilhar o que aprendi, de falar de minhas experiências de desenho e de Arte em geral.

Vamos à descrição completa do curso:

TRAÇO E FORMA

O curso Traço e Forma foi concebido com a finalidade de proporcionar um acompanhamento contínuo aos participantes que almejam, mediante prática sistemática e orientada, o aprimoramento de suas capacidades artísticas e o desenvolvimento profissional. Além do conteúdo programático, o curso reúne exercícios, reflexões e experiências, resultantes de 15 anos de atuação no ensino de desenho e 30 anos de prática profissional.

FORMATO DO CURSO

01 aula por semana com duas horas de duração;
ao vivo com o professor e on-line (via Zoom);
42 aulas previstas, divididas em 7 módulos com 6 aulas cada;
assessoria no período entre aulas por WhatsApp;
as aulas ficarão gravadas e disponíveis por 1 ano.

DIA E HORÁRIO

Segundas-feiras, das 19h00 às 21h00

INÍCIO DAS AULAS

19 de janeiro de 2026

PREVISÃO DE CALENDÁRIO:

Todas as segundas-feiras exceto: 16/02-13/07-20/07-31/08-07/09-12/10-02/11

Obs.: caso seja necessário algum cancelamento de aula, a aula a ser reposta será realizada no sábado seguinte, das 09:30 às 11:30;

CONTEÚDO

O curso TRAÇO e FORMA é estruturado em 7 módulos sequenciais, cada um contendo 6 aulas cuidadosamente planejadas. Abaixo estão os módulos que compõem o programa, acompanhados de uma breve descrição de seus conteúdos:

I. Leitura Bidimensional: O formato como fundamento indispensável

Linha: percursos, direções e variações
Reprodução de formatos irregulares, silhuetas e perfis
Formato negativo e preenchimento a lápis

II. Plano e Objeto: Bases da construção tridimensional

Plano em diferentes orientações
Círculo e a elipse
Construção básica dos sólidos e sombras de marcação

III. Volume e Materialidade: Da estrutura da forma ao volume

Criação e desenvolvimento dos sólidos (cortes e rebaixos)
Cubo, esfera e construção do valor tonal
Sombreado, materialidade e texturas

IV. Perspectiva de 1 Ponto: A criação do espaço

Eixos de direção
Conceitos gerais, construção e exercícios práticos
Desenho de observação de um ambiente

V. Perspectiva de 2 Pontos: Edificando a paisagem

Conceitos gerais, construção e exercícios práticos
Conceitos básicos de composição
Desenho da paisagem: construção linear e tonal

VI. Desenho de Vegetação: A natureza como referência

Variações de formato, borda e direção em arbustos e árvores
Silhuetas e estrutura das árvores
Elaboração por camadas de informação

VII. Desenhos Temáticos: Observação e retrato

Abordagens de desenho: gestual, analítico, linear e massa da forma
Desenho de observação de planta com vaso
Desenho de retrato

Pré-requisitos:

Seguem abaixo os pré-requisitos para cada módulo. Caso o/a participante já tenha realizado algum curso comigo ou possua experiência prévia em desenho, poderá entrar em contato para uma avaliação individualizada.

Módulo I: nenhum pré-requisito;
Módulo II: ter cursado o módulo I;
Módulo III: ter cursado os módulos anteriores;
Módulo IV: ter cursado os módulos anteriores;
Módulo V: ter cursado os módulos anteriores;
Módulo VI: ter cursado o módulo I;
Módulo VII: ter cursado o módulo I;

SOBRE OS MATERIAIS

A lista detalhada de materiais será fornecida na efetivação da matrícula.

TÉCNICAS ABORDADAS

Grafite e canetas markers tons de cinzas.

VALORES DOS MÓDULOS E PACOTES

Dica: Observe que quanto mais módulos você adquirir, menor o valor de cada aula ;)

A partir de 01º de janeiro de 2026

1 Módulo: R$ 780,00 (à vista ou em até 2x)
Pacote com 2 Módulos: R$ 1.490,00 (5% de desconto à vista ou em até 2x)
Pacote com 3 Módulos: R$ 2.190,00*(5% de desconto à vista ou em até 3x)
Pacote com 5 Módulos: R$ 3.150,00*(5% de desconto à vista ou em até 5x)
Curso completo (7 módulos): R$ 3.780,00 (10% de desconto à vista ou em até 7x)

* Valores válidos quando os módulos forem comprados simultaneamente;

IMPORTANTE: por se tratar de um curso contínuo, com aulas sequenciais ao longo do ano, não há reposição de aulas. Assim, caso você precise faltar, a aula será contabilizada normalmente dentro do módulo adquirido. Você, entretanto, terá acesso à aula gravada.

Até 31 de dezembro de 2025: 15% DE DESCONTO NO VALOR TOTAL DOS PLANOS*

* Para pagamento à vista realizado até 31/12/2025;

EFETIVAÇÃO DA INSCRIÇÃO:

Por favor entre em contato no e-mail edubajzek@gmail.com

IMPORTANTE: Os valores não serão devolvidos caso haja desistência.

Notes on Perspective Classes

noreply@blogger.com (Bajzek) — Tue, 23 Sep 2025 21:16:00 +0000

As you know, I taught perspective in my last course at Madeline Island, this past summer. I've been reflecting on my experience and here are some notes:

Most people seemed to understand the main concepts of perspective, but a few struggled with the idea of projecting a scene onto a picture plane. Interestingly, even among those who struggled, some completed the classroom exercises correctly - likely because they were following the script or formula I had just given them, rather than fully grasping the concept;

It was an especially good idea to emphasize: eye level, the line of sight, and the picture plane;

The ‘colored box’ helped A LOT!

Lifting and showing my drawing while working on the demos proved to be both important and necessary;

The placement of the vanishing points, as well as the distance between them, seemed to be a particularly challenging issue;

It is essential to emphasize that lines are either horizontal, vertical, or receding toward the vanishing points. Some people forget this and ended up drawing lines that head off to strange, random places onto the page. This problem seems to come from a confusion between the picture plane and the observer’s position, as if the observer sees both the drawing and the scene from above (however, this is just a speculation from my part)

Toned paper as a foundation for atmospheric drawings

noreply@blogger.com (Bajzek) — Tue, 02 Sep 2025 17:50:00 +0000

It hasn’t been very long since I started using toned paper in my urban sketching. I must say, I regret not trying it sooner! It’s just incredible how toned paper can turn any drawing into something much more appealing. I also think it makes the process a little faster, since the middle value is already set — all you have to do is add the darks and the lights.

Well, of course, it’s not that simple 😆. You can easily spend a lot of time building up layer after layer of graphite (or another medium) without really getting anywhere. But once you add the white, the light pops and the full range of values is established. However — there’s always a however — if you bring in the white too soon, it will just get dirty.

As I developed some skills in creating atmospheric drawings with graphite, I thought it would be a good idea to bring this approach to the workshop as well, this time on toned paper.

To introduce this stage of the workshop, I talked about how artists can develop a deeper level of sophistication by nurturing their sensibility. By “sophistication,” I don’t mean simply refining technique — it’s about adding layers of meaning to your work. To illustrate this, I brought up the American artist Andrew Wyeth, whose works expresses this very idea.

Beyond Vanishing Points: Visual Reading

noreply@blogger.com (Bajzek) — Sun, 31 Aug 2025 21:53:00 +0000

Knowledge fuels perception, enabling it to grow stronger. This means we cannot bypass studying essential methods—especially linear perspective, which involves a mechanical process. Yes, it requires patience and effort, but studying perspective builds a useful and powerful repertoire—one that can be accessed at any time (or even consciously set aside).

Yet, there is a tool that might help capture the world before us - what I call “visual reading”.

Visual reading is the act of examining and distilling a scene into an organized collection of angles and measurements – or simply, shapes. These two-dimensional elements are geometric abstractions of planes, volumes, masses, or voids inherent in the scene we observe.

When this specific type of perception is well trained, everything can be translated into rectangles, triangles, ellipses, or any nameless shapes. With experience, this act becomes internalized and employed naturally, without effort or taking up much space in our minds – meaning more room for intuition. The more we create a fertile ground for intuition to grow, the more expressive we become.

I decided to use the main building of the school as a subject as well, especially the section shown in the picture beside, which had deliberated left the bottom of the building off the limits of the frame.

Although it looks challenging, this detail provides valuable opportunities to explore the visual reading method, without neglecting key aspects of mechanical perspective, such as eye level, vanishing points, and the nearest edge.

See in the pictures above the sequence of visual analysis of the subject: first (A), we observe the negative shapes around the bulk of the building, especially around the roof. Second (B), we begin to read the multiple angles against horizontal and / or vertical references. Finally (C), applying our knowledge of linear perspective, we can establish some very important connections (ones we wouldn’t figure out otherwise).

Apart from the workshop’s technical background, I also wanted to share a few ideas to make things more interesting, both in terms of technique and concepts, which I’ll cover in my next post.

Learning Through Demonstrations and Practice

noreply@blogger.com (Bajzek) — Sun, 31 Aug 2025 21:02:00 +0000

Drawing is the result of a union between knowledge and intuition.

Knowledge arises from learning foundational principles such as linear perspective, tonal range, and color theory. It’s also the outcome of acquiring technical skills, developed through consistent and diligent practice.

Intuition is the terrain where insight emerges. It involves using our sensibility and nurturing it by absorbing Beauty, whether from nature or other art forms (literature, music, cinema, architecture…) and by experiencing life itself.

Both these dimensions enhance our visual perception: through study and practice, we train the brain to look beyond common sense or mere facts, infusing new, personal meanings into what we perceive. Seeing negative spaces are a perfect example of this capacity.

Regarding the foundations, here are examples of demonstrations I did during my classes at Madeline School of the Arts, as posted earlier.

One of the demos I did in the classroom, using the colored box

On-location demo - explanation. I stated that we can keep the same structure while changing the visual field, the format, and the position of the eye level within the frame.

Notice the emphasis on the visual reading aspect on this demo - the shapes on the sky, the angles on the ground.

Below, a few photos of classes:

Everyone brought their stools. On the back, you can see Oliver's class going on

Our little, beloved barn we used for studying perspective and visual reading. It was the perfect subject!

More students. On the left you can see a woman 'reading' with her pencil. The building behind is the "Milk House", where there are two big, comfortable classrooms.

Madeline Island School of the Arts - Season 2

noreply@blogger.com (Bajzek) — Sat, 23 Aug 2025 21:09:00 +0000

This July, as I posted before, the Madeline Island School of the Arts held another course led by a great group of dedicated instructors, including yours truly.

Once again, it was an incredible week—full of joy and camaraderie, but also challenges and plenty of learning, and of course the awesome food and the beautiful scenery of both the campus and the island.

My workshop was this: "Visual Reading - Using your Perception to Build Scenes" (see here a description)

The results were great, I must say. For those who already had some experience with perspective, it was a good chance to sharpen their skills or simply practice using the personal approach I’ve developed over more than 15 years of teaching. And for complete beginners, it was the perfect chance to jump in, learn, and start experimenting right away. That’s because we were completely immersed in a calm, inspiring setting—starting in the classroom and then taking the knowledge straight outside, just a few steps from the door.

I believe I’ve developed a good balance between the theoretical and practical sides of perspective, especially since I work on a smooth transition from the mechanical system to the visual/perceptive system, making it easier for the students to understand and depict three-dimensional space.

For explaining the fundamentals, I brought along my beautiful little box of colors, which was a huge help - for both indoors and outdoors activities!

Here are two sketches I made in preparation for the classes. They show the development of my thinking and were used to illustrate, among other things:

Framing: Helps make things smaller so they fit onto the page;
First lines: Eye level, nearest edge—the first lines establish the dimensions of the subject, but can be adjusted until you find the right fit;
Establishing the perspective structure: Add the vanishing points onto the page (I specifically asked them to do this as an exercise);
Measuring distances horizontally first, and then vertically: Use the pencil to gauge proportions;
Check dimensions again: Adjust the frame if necessary and possible;
Start figuring out sloping lines;
As your sketch takes shape, mistakes will pop up—after all, drawing is all about making continuous adjustments until, and this is very important, you fully commit to the new reality you’ve just created and move forward;
The structure is in place—you’ve put in a lot of effort to build everything up. Now it’s time to start adding some details and have fun! (well, I mean, we should be able to have fun at every step of the process of course - I certainly try!)

It's coming soon! Urban Sketching and Beyond: Solid Foundations, Exciting Applications

noreply@blogger.com (Bajzek) — Mon, 26 May 2025 14:14:00 +0000

In this sequence of images, I explain the ideas that guided me in creating the workshop I'll be teaching on Madeline Island next July!

For more information check this link.

Urban Sketching and Beyond: Solid Foundations, Exciting Application

noreply@blogger.com (Bajzek) — Wed, 30 Oct 2024 13:55:00 +0000

I am very glad to announce that I will be at the Madeline School of the Arts again in July 2025!
This is so exciting! I love the time I spent on stunning Madeline Island, in the charming and cozy environment of the school's campus.

Cheers to our 2025 course!

Urban Sketching and Beyond: Solid Foundations, Exciting Application

The same team will be reunited: me, Oliver Hoeller, Nina Johansson and Jane Blundell. We had a great time as friends and teaching together.

Don't waste your time and go check and apply to this incredible course on this link!

This time, I will be teaching a workshop titled:

"Visual Reading - Using your Perception to Build Scenes"

The goal of this workshop is to develop tools and approaches to create a drawing of a building and its setting, with character and atmosphere.

It is based on a perceptive approach to perspective, measurement, proportions, depth and tones.

We will be using the school's beautiful buildings for our studies. There is a charming little storage building that is perfect for exploring perspective and visual measurements. Additionally, there's a good-sized barn with great character (where we enjoy our incredible meals!) that will serve wonderfully as the main subject. Of course, the subjects can change, as there are many aspects to consider while on location.

In addition to nature (especially trees, which is the topic for the 2024 season), I love drawing buildings, as well as exploring architecture and drawing techniques.

This time, I will use all my knowledge to help students improve their skills in creating scenes that involves buildings.

This is how my workshop will unfold:

Morning session

During the morning, we will study, and practice basic concepts related to drawing a scene. We will review the main aspects of perspective both in class and on location, creating small line drawings. Then, we will learn how to measure angles and distances on-site so that we can begin to compose a scene. We will draw some of the charming buildings on the school campus.

Afternoon session

We will start a larger drawing using pencils and/or pens on toned paper. First, we will ensure that the subject fits on the paper and determine how much space will be left for the surroundings. To add character, we will apply white pastel and colored pencils on toned paper to create sophisticated effects.

Below you will find a few examples of this topic.

The Apple Tree

noreply@blogger.com (Bajzek) — Wed, 11 Sep 2024 12:41:00 +0000

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

noreply@blogger.com (Bajzek) — Mon, 09 Sep 2024 13:43:00 +0000

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

noreply@blogger.com (Bajzek) — Mon, 19 Aug 2024 15:17:00 +0000

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

noreply@blogger.com (Bajzek) — Mon, 12 Aug 2024 15:06:00 +0000

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

noreply@blogger.com (Bajzek) — Wed, 07 Aug 2024 12:53:00 +0000

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

noreply@blogger.com (Bajzek) — Mon, 05 Aug 2024 13:22:00 +0000

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

noreply@blogger.com (Bajzek) — Sun, 13 Aug 2023 21:24:00 +0000

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

noreply@blogger.com (Bajzek) — Thu, 10 Aug 2023 00:07:00 +0000

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

noreply@blogger.com (Bajzek) — Sat, 22 Jul 2023 00:39:00 +0000

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

noreply@blogger.com (Bajzek) — Thu, 06 Jul 2023 18:31:00 +0000

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

noreply@blogger.com (Bajzek) — Sat, 01 Jul 2023 14:55:00 +0000

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

noreply@blogger.com (Bajzek) — Fri, 30 Jun 2023 13:58:00 +0000

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.

New Zealand - Part 1

noreply@blogger.com (Bajzek) — Thu, 29 Jun 2023 13:19:00 +0000

Last April, I went to New Zealand to join the 11th Urban Sketchers Symposium, in Auckland. That was the first post-covid international symposium. We were all missing them.

I was one of the instructors - it was my fifth time teaching at one of them! Although I gathered quite some experience as an instructor, it seems that it was my first time again - it never gets old! It's a big responsability to teach at a symposium. People are so eager to learn something from us!

Well, I arrived in Auckland 5 days earlier to acclimatize and to get myself well prepared for the 3 workshops plus one demo. I went to my location 3 or 4 times and sketched there in a variety of point of views, trying to find the best spot to do my demos and for the students as well.

Before showing the sketches I did on this location, I will share the ones that are already scanned. There are lots of histories and sketches to come. I hope I can keep up with it.

I woke up very early one day and decided to do a quick watercolor sketch near the hotel. There was a beautiful 3-story building around the corner at Queen St. I sat down and sketched it for 40 minutes, drawing and painting. I thought I needed that - doing a quick sketch, just to prove to myself I could!

Perguntas Frequentes - Cursos Continuados de Desenho e Aquarela 2022

noreply@blogger.com (Bajzek) — Wed, 05 Jan 2022 22:06:00 +0000

Juntei algumas perguntas que foram levantadas pelos interessados sobre os próximos cursos que começam em fevereiro

Perguntas Frequentes

Quando os cursos começam?

Traço_Forma: 14 de fevereiro, segunda-feira,

Espaço_Cor: 16 de fevereiro, quarta-feira

Eu posso fazer os dois cursos?

Pode, claro. Basta ser disciplinado(a).

Haverá um período de recesso (férias)?

Sim, durante duas semanas no meio do ano (provavelmente em julho) e duas semanas no final do ano.

Quanto tempo durará cada curso?

O número de aulas pode variar um pouco, mas estão programadas 48 aulas em cada curso

Haverá uma grade aulas a seguir?

Sim, eu já tenho um bom roteiro das aulas, semana a semana que espero poder compartilhar com os alunos inscritos em breve. Entretanto, pretendo ser flexível quanto ao roteiro, respondendo às demandas e interesses dos alunos(as).

As aulas ficarão gravadas? Posso assistir somente as aulas gravadas?

Sim, ficarão gravadas. Os links das aulas serão disponibilizados ao longo da semana da aula que foi ministrada. Pode assistir quando achar melhor, pois o acesso será vitalício, embora eu recomende, claro, assistir as aulas ao vivo para ter rotina.

As aulas serão ao vivo?

Sim! Importante ficar claro: as aulas serão ao vivo, via Zoom.

É você que irá ministrar as aulas?

Sim! Embora eu pretendo trazer alguns professores convidados para dar aulas de temas específicos.

E se eu ingressar no Espaço_Cor e resolver mudar para o outro curso, é possível?

Sim, super. O inverso também, caso sinta que pode absorver outros conteúdos

Outra coisa legal será o aluno(a) pode, eventualmente, assistir também as aulas do outro curso, de algum tema que tenha interesse (por uma semana, ou algumas semanas, questão de conversarmos).

Quando eu posso pagar?

As aulas serão pagas no início de cada mês, mas eu tenho flexibilidade de datas. A gente estabelece uma data e segue a programação.

E se eu tiver que parar o curso, como poderei fazer? Posso ter de volta o valor das aulas que não conseguirei assistir?

Tudo é questão de conversarmos. Eu não posso (e não quero) impor um contrato ao participante, mas este terá que levar em consideração que haverá uma programação e que o professor se organizou, de várias formas, inclusive financeira.

No caso de uma interrupção das aulas apenas por algumas semanas, poderá sempre assistir as aulas gravadas, posteriormente.

Estou na dúvida de qual curso seguir...tenho alguma prática com aquarela, por exemplo, mas gostaria de aprender mais desenho.

Para isso podemos marcar uma conversa de meia hora pelo Zoom para eu te ajudar na escolha. E, como dito antes, você poderá migrar caso mude de ideia.

My markers color and brand charts

noreply@blogger.com (Bajzek) — Wed, 05 Jan 2022 17:56:00 +0000

After a long time thinking about this, I finally had the chance to turn my art markers color charts in English and in .jpg files images for you to download and save.

Hope you like it.

The first chart is a very restricted color chart I share with students with low budget as markers are a bit expensive, specially in my country.

The second one has two sets: one with 18 colors and an additional set with multiple options. You will see blank spots, because I only put colors I have tried myself.

Cursos Continuados de Desenho e Pintura

noreply@blogger.com (Bajzek) — Wed, 22 Dec 2021 17:46:00 +0000

Aprenda e pratique desenho!

Potencialize seu processo criativo, aprimore suas pinturas e

desenvolva sua prática de urban sketching!

Os meus novos cursos surgem com a intenção de proporcionar um acompanhamento contínuo dos alunos e alunas que buscam, através da prática constante e assessorada, o aprimoramento de suas habilidades artísticas e aperfeiçoamento profissional.

Serão 3 cursos:

TRAÇO_FORMA: Fundamentos e Técnicas Básicas | segundas-feiras,das 19h00 às 21h00;

ESPAÇO_COR: Aprofundamento Técnico e Intuitivo | quartas-feiras,das 19h00 às 21h00;

COMPOSIÇÃO_PAISAGEM: Desdobramentos Visuais | em breve

Formato dos cursos:

01 aula semanal com duas horas de duração;
ao vivo com o professor e on-line (via Zoom);
prática com feedback do professor durante as aulas;
assessoria no período entre aulas;
as aulas serão gravadas

Início das aulas:

TRAÇO_FORMA: fevereiro de 2022;

ESPAÇO_COR: fevereiro de 2022;

COMPOSIÇÃO_PAISAGEM: final 2022

PARA SABER MAIS E CONHECER O CONTEÚDO, CLIQUE AQUI E BAIXE O PDF

Felsőszölnök - Hungary

noreply@blogger.com (Bajzek) — Tue, 30 Nov 2021 17:19:00 +0000

Watercolor of a scene from 2018, in Felsőszölnök, a tiny but spread village at the borders of Slovene, Hungary and Austria.

The shed on the left is what has left from the Bajzek's property at the hills of Janoshegy, a few miles from the village's centre.

It was really nice to get to know this place and Ms. Anna, who is my grandparent's niece. I hope I'm not mistaken.

---------

Aquarela de uma cena que eu registrei em 2018, na pequena localidade de Felsőszölnök, próxima à fronteira entre a Hungria, Eslovênia e Áustria.

O pequeno galpão à esquerda é a única construção que restou da antiga propriedade dos Bajzek, juntamente com um poço de água.

Foi uma experiência emocionante conhecer esse lugar e a Dna. Anna, sobrinha do meu falecido avô José Bajzek.