This weekend, spring was here! I have been longing to get out sketching but there have been so many days with chilly breezes. Now at last it is warm.
We wanted to sketch ‘the pink building‘, but at this time of the year there is no light on it at 10 a.m. With my obsession with tone, I am not eager to sketch anything without the light falling on it in an interesting way. We wandered around a few streets, looking at the way the light fell and looking to find something to sketch. In Wilson Street, we struck it lucky and found a group of attractive houses. This house was a pale blue, towards the violet rather than the green, so I added a bit of alizarin crimson to liven it up. It is a large drawing (15″ by 7 1/2″) across the two pages of my sketchbook. This house is a lot less elaborate than this previous one and its ‘bookend‘ at the other end of the block. However they are only a few streets apart.
A neighbour talked to us and told us this house is about to have a big renovation out the back. I enjoyed sketching this. I liked the palm tree taller than the house. We will no doubt go back to this street to sketch because there are other houses nearby that are quite different. And there is a coffee shop nearby.
Out sketching in the narrow streets close to where I live, we came across this cute little house, luckily with a patch of shade opposite. The little black notice-board on the left, by the window, puts out a call for female zine artists. One assumes a zine artist (female) lives here. Such an appropriate house for an artist.
This hall, which was once called Coronation Hall, is now the heaquarters of Subud. I had never heard of Subud, though, strange, I had just come back from Ubud. It appears that Subud is a spiritual movement which, not surprisingly, started in Indonesia. The hall itself is more than 100 years old. It was all in shadow, so I plan to go back and sketch it again when there is some light and shadow falling on the facade.
The previous Saturday I was out sketching with Urban Sketchers, Bali. A week later I am with Urban Sketchers Australia in Sydney.
Paddington is a suburb in the inner eastern side of the city. I used to live in this area, back when I rented, but I couldn’t afford to buy here.
My house is on the inner western side of the city, and now my area is almost as expensive as Paddington.
The sketch of the two windows is a restaurant where we eventually ate lunch. It is a Thai restaurant, but had lots of other options. Very good Thai beef salad. I do enjoy that.
Terrace houses in Paddington are known for ‘Paddington lace‘ – elaborate wrought iron, though it is also found in other older areas of Sydney. The second sketch is a typical example of a Paddington house.
Although things have been busy since I got home, I went out sketching at Summer Hill with Chris Haldane recently. Chris showed me some local architectural gems and we both chose this old milk bar to sketch. You can see Chris’ sketch here, and she tells a lot more about the history of the milk bar, that I didn’t know at all. She knows the area much better than I do, though it is not so far from where I live.
It is winter here, but the sun was bright and we could sit outside on a corner without getting cold. We both found this sketch a challenge in the bright sunlight. To me, the point of interest was the pale washed out blue around the upper window. But the sun on the red brickwork was so strong. It was hard to get the tones right. We both want to go again and give it another try.
We made it on the very last day to the old Mungo Scott Flour Mill, in Summer Hill, while the very last people were moving out. It is only about 10-15 minutes drive from where I live but I have never been before. It is one of those buildings that you see in the distance but don’t actually drive right by.
One friend found that you could go there to sketch, and what with one thing and another, four of us went yesterday. It has rained all week, but as you see from the sky on the sketch of the silos, we had sun and some blue sky.
Just have a look at the photos on this blog. You will see what we will be losing. There is a huge development plan. I hate it when we lose these beautiful old places. Thank goodness for Cockatoo Island and the brickworks at Sydney Park. But who knows what will happen at White Bay Power Station.
After drawing the silos with the purple pen, I decided to sketch these huge reels on the opposing page. I cleverly remembered that it could be a good idea to leave some space to write in my sketchbook for once.
The thing that drives me crazy about my own sketchbook is that, unless I plan ahead and draw a line around the page, I always fill the whole page. So with this sketch I cheated, and digitally put a white border around it. Recently while reading Matthew Brehm’s book Sketching on Location, I read what I already knew – sketches look better with white space around them (Flickr, take note).
So why do I do this? A couple of reasons.
I was a painter and drawer long before I became a sketcher. I am used to filling up the canvas. Used to filling up the paper.
The other reason is that I am used to working big. BIG. Before I went to art school I thought A4 (letter size) was big. Immediately when we started in first year, we were onto A1 size and expected to fill the page. That’s around 23 x 33 inches. Then A1 became small, and we were expected to work much bigger.
Cartridge paper – six sheets of A1
Here’s one I did of the studio. I started with one A1 sheet and it grew to six. So the whole drawing is about 99 inches across by 46 high.
Stonehenge paper – nine sheets
The next drawing is on nine full sheets of Stonehenge paper. Each sheet is about 22 x 29 inches. So this one is nearly 90 inches wide by 66 high.
This is probably the reason I can’t fathom the use of tiny sketchbooks. They make me come over all peculiar (more peculiar).
These large drawings were done about ten years ago. The last one may look abstract, but in fact it was an investigation into drawing ‘the bound object’. We all had to bind an object during the holidays as a basis of our drawing for the next term (final year- Advanced Diploma of Fine Art). I got some old metallic helium balloons with congratulatory messages on them, and bound my object (rags? I can’t remember) with yellow curling ribbon. I was the only member of a large class with a coloured ‘bound object’. Beige, white, grey, black…and then mine. I did the realistic colours first and then was instructed to do more in different colourways till I had a large wall full of them.
So on Thursday we sketched around Newtown. In this area is one of the best streets in Newtown. An interesting link on this blog. So is mine by the way, but my street is full of ‘workers’cottages’ whereas this area has large mansions with lots of lovely architectural detail to sketch. I slopped on watercolour first and drew into it. There’s a nice little park opposite where we sat to sketch. Forced to listen to a ‘lovers’tiff’ which, it seemed to me, had only one obvious ending.
Yes, sketching in purple again at the Urban Sketchers February Event on Saturday. I do like to vary the colour I use. It was a hot morning when we met on the steps of Sydney Town Hall. Sketchers scattered for the patches of shade before beginning.
My first sketch was the north door of St Andrews Cathedral. A few sketchers ended up there, because we could be in the shade and there was some light falling on parts of the door. We were surrounded by interesting buildings but not so many fitted the bill for light and shade.
For the next sketch we crossed the road and perched on our stools right next to one of the busiest intersections in Sydney. We sat back in the entrance of Citibank, otherwise we would have been run down by pedestrians. A myriad of wonderful rooflines to explore, hampered only by buses blocking our view when they stopped at the lights.
I enjoyed this sketching because I’ve still got in mind that these buildings are Inma Serrano’s monsters….a bit more organic that I would have done in the past. I think I can go a bit more organic yet.