Back in January I went down to Melbourne for a short break to catch up with some friends, and in particular sketching friends.
I chose Melbourne Zoo as a location for a day out having not been there since I was probably 16. Its very different from what I remember, a lot more trees and winding paths. The weather never started out well my whole trip but always ended up better as the day progressed.
There was a bit of rain in the morning threatening to ruin the day for us but then the hot humid sun emerged an hour in which made things like finding a good spot to draw more open. However, I ended up scrambling for little scraps of shade anyway!
As I was travelling I wanted to minimise what materials I took down with me. Even just sketching around Sydney I tend to take more than I need and there’s nothing more frustrating than a suitcase full of stuff that’s not used.
I’ve got a new studio space at home now and have since sorted through all my art supplies. I have so much stuff that has barely been touched, a lot from when I was a kid! So my objective was to use some of this stash.
My selected tools were to be oil pastels, chinagraphs, watercolours with brush, ink and dip pen, and a permanent marker.
It was lovely to use oil pastels then brush over them with watercolours to get that nice texture created from the water’s repulsion.
I’m really happy with this elephant. Considering it was through a window with many vertical bars obscuring the view, but my persistence paid off and frankly, I think having a limited view helped me pull back in terms of not overdoing it, i.e. not adding too much detail. I do love the textures I created and the white space, and I seemed to have captured a bit of personality as well.
I’m not sure why I decided to try out chinagraphs. I had a few that had never been touched – don’t even know where they came from. They have a strong colour and application that you would expect from a piece of charcoal or oil pastel but with more control on smaller drawings. They give you an opportunity to put some detail in and it’s not as messy. The black one has nice deep blacks which sometimes I find a 6B pencil won’t achieve. It’s really soft so using it the way I do wears down to the wood quickly but it does feels more fluid.
This last lot I did was with a black Artline permanent marker. I was using it on water soluble paper so it would dry my pen out half way through a sketch – which I was hoping for as it creates a nice texture and a subtle variation in tone as well.
The great thing about working with a permanent marker AND drawing moving objects is that you cannot think too much or linger too long with your sketch. Its permanency and colour intensity means you can’t hide anything. And if you leave a (fresh) marker too long in one spot it tends to bleed making your lines blurry. So its a great medium to practice expressive drawing.
I didn’t see many animals that day but felt like I got some substantial drawing in. The only thing these drawings don’t show are how many other people you have to content with for a good spot as well as how generous an animal is with their time, or lack of.
Then a week later I went horse riding at Centennial Park, Sydney with my work. It was a lead up to a brainstorming session for a new client that specialises in animal products, particularly horse care. I’d never been horse riding before so it was quite an experience. I take my hat off to anyone who rides horses for a living. As it was a work thing, I didn’t think I’d get much time to sketch, but I at least managed to fit this one in.
Anyway, not a bad start to the new year.