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Title : Symposium, day 3: A fully workshopped journey
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Symposium, day 3: A fully workshopped journey

[By Paulo Mendes, Symposium Correspondent, in Porto] Looking into the Symposium program, I always saw the third day as the most difficult, with workshops happening both morning and afternoon. I had six of these to visit and sketch, some of which requiring the tough climb from Alfândega to the city centre through the old streets and stairways not made for the unfit. I planned my day in order to start from the highest locations, moving towards the riverside and starting all over again after lunch.

“It's all in the details”, by Liz Steel, was the very first, requiring the feared ascent; But no ascent of any kind will be hard enough in the joyful company of Liz. Some stops on the way were used to give precious tips and advice, and once the top was reached, we were even treated with a small pastry. Baroque facades demand sweetness!

The first exercise was to pick a detail and draw it from different directions. At this point, with the students immersed in the complexities of Nazoni's masterpiece, I also had to follow my own different direcion, as It was time to move away for my next workshop in the not very distant São Bento station.

“Draw less, show more” by José Louro was my next stop. I found his group gathering after their first exercise, consisting in sketching a human figure deprieved of superfluous elements, in order to keep a focus in the essential.

Another figure, elements from the surrounding scenario and a connection between them  was the next exercise. I still could sketch some of people and a sample of the station plattform before moving back to Miragaia for my last visit in the morning.

“Right up your alley – Shadow, color and light in Porto's narrow spaces”, by Shari Blaukopf was happening in Cidral de Baixo street, almost in front of the Symposium. Several colorful houses in a narrow space, their shadows impregnated with the reflections of the neighbor colors were the perfect set for the final exercise. I wanted to catch those lights and shadows while sketching the workshop itself, this being also for me an excuse to come back to color, something I've been missing

Shari was happy with the final result. Her student's lunch was well-deserved. After all the morning up-and-downs, I dare to say mine too.

My first in the afternoon was “Frame your sketch”, by Pedro Alves. I'm a huge fan of Pedro and love the efficient lightness of his workshops, a quality assigned only to great communicators. Once arrived at Virtudes and after a rest from another climb, he treated us with a masterful watercolor demo of a manor house across the street.

An exercise, consisting in pairs of students sketching each other in two versions, the better and the worse they could make, was just finished when it was time to move to my next workshop just five minutes away.

“Umbrella perspective”, by Paul Heaston, a very recognizable feature of his work. An exercise iusing a single point of view had just finished and Paul was commenting the results when I came by.

After a few explanations, the students moved into a more complex 3-umbrellas point of view exercise, and I tried to capture them at work within the same spirit.

“Urban tales: Buildings can talk too. Architectural scenes without actors”, by Reham Ali. The old houses of Miragaia are excellent story tellers, with their balconies overloaded with planters, hanging laundry, sattelite dishes and many other visual goodies. No human presence is necessary, as these buildings do all the talk. My sketch, with a focus in her group spreaded along the stairs, was quite the opposite of this topic, but how to resist this composition?

Reham's wise remarks on the excellent final results.

The day ran really fast, for me the fastest since the Symposium opening. It was time to go back to the "sketcher's nest in the top floor" before a well deserved short moment with good old friends at the Drink and Draw. But having this post to write, it was more like Drink and Go to me.

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