Bad drawings on GOOD paper

These are the drawings from Day One of my Campaign for Bad Drawing on Good Paper. Last Thursday I went with a friend on this harbour cruise – very different from the usual, as based on the industrial history of Sydney. With our new-ish interest in the demise of the working harbour, we thought it would be an ideal background. It was fantastic. Go, if you can, next time they have it.

I took my sketchbook with the GOOD paper (Stonehenge) and determined that although that ferry was chug-chug-chugging along, I would draw anyway. We had an ideal spot at the very stern, though people kept standing at the rail in front of me I could peer round them. So although these drawing began from the visual world, because of the momentum of the ferry, they were more than half from memory/imagination. I think that was very brave of me – straight with the pen onto Stonehenge.

So, today, I need to do some thumbnail drawings for another Cubist painting so that I can photograph it for a step-by-step project sheet for Matisse Derivan.  Will they go onto the Stonehenge or into the little spiral-bound cartridge paper one?  Who will join the Campaign for Bad Drawings on Good Paper?

‘Good’ paper inhibits me!

Today I was reading on ‘Have Dogs will Travel’ about ‘Cheap Sketchbook Syndrome’. I definitely have it. I’ve been using a handmade sketchbook that I made myself from Stonehenge paper and the pages are prepped with acrylic paint or ink. This ‘good paper’ inhibits me.  All day I’ve been ‘getting around to’ doing a sketch from one of the photos I took when I went to Cockatoo Island. Tonight I decided to draw in a little spiral bound cartridge paper sketchbook that I use for diagrams and notes. Why can’t it all go on the ‘good paper’. That’s what I’d like to know.  My Stonehenge book cost me 2 sheets of Stonehenge paper and that’s not such a lot of money.  How can I stop myself being like this?

Then I came across what Roz had to say….. every word she says is true, but will it change me?

World Wide Sketchcrawl Cockatoo Island

Saturday was the 22nd Word-Wide Sketchcrawl (my 3rd). It was the perfect day for going to Cockatoo Island – not too hot, not too cold. Cockatoo Island is a large island in Sydney Harbour. It is an old shipyard with amazing machinery and old buildings. Everything is rusted and distressed and there were a lot of photo opportunities. There were eight of us. We caught the 10 am ferry out there, and my friend and I were last to leave catching the 3.15 ferry back.

There is a lower and upper area to the island, with the dock facilities being on the lower part (of course). There were many shapes of these old cranes, and one of the sketchcrawlers drew them in a way that each had their own personality. Fantastic. I wish I could do that.

It is always interesting to meet the other Sketchcrawlers and I enjoyed looking at everyone’s work over lunch at the Muster Station. I always learn something – every time. This time I learnt that there is free Life Drawing at the Sandringham Hotel in Newtown on a Monday – maybe 15 minutes walk from my house.

Cockatoo Island is easy to get to – once that you’ve been once. I’m sure I’ll go again. I took many photos, though the light was not great for photography. Maybe I’ll go out early and get some images with long shadows.

Where are my drawings? They’re in the preview. I’ll try again later – maybe there’s a glitch.

Solar plate etching

A couple of weeks ago I went to David Wilsher’s exhibition on an old ferry at Blackwattle Bay. David, who teaches drawing at the Sydney Community College was successful in gaining a residency on this old ferry. What a treasure trove of images in that area. I took many photos on the day, but the sun was high in the sky, and a week later we went to take photos at 9 a.m.

The last two Saturdays, I did a solar plate etching course with Seraphina Martin. Fantastic! Last week we made four plates and this week we printed them in various ways. The first and second ones  have been inked up a la poupee (different colour inks on different areas).  They are also both photographic, with a bit of Photoshop, then after they were printed onto acetate I worked into them with a stylus.

The last one has been inked up  in a dark brown  and viscosity printed. The first colour roll (the blue) was masked with torn paper, then it was rolled with a blend.  This one was drawn onto architects drafting film with Liquid Pencil, then some stronger darks were put in with a very thick propelling pencil.

I am really pleased with these three. Now I know the process I can’t wait to get some more solar plates and make some at home.