National Portrait Gallery, Canberra

The weather was truly awful yesterday, but nineteen brave souls made it to the June sketchmeet of Urban Sketchers Canberra at the National Portrait Gallery. We also had four new people make it for first time, which was just fantastic on such a rainy day.

After brief introductions and such we split up to sketch the gallery. My first stop was to sketch the ceramic sculpture of Dr John Yu, by the artist Ah Xian. As is appropriate for a retired paediatrician, Dr Yu’s bust includes small children scrabling over it. The bust itself is made with a celedon glaze, which is apparently a favourite of the sitter.

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Dr John Yu by Ah Xian, National Portrait Gallery, my sketch coloured pencil on paper

It was very pleasant to be inside the gallery looking out onto the rainy weather. My second sketch was of such a view down one of the cross corridors of the gallery.

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I was walking back to join the group for our sketchbook throw down when I decided I had just enough time to draw one of the interesting double views that gallery architecture facilitates.

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Two portraits, coloured pencil. On the left, partial image of Charles Teo by Adam Chang, 2011; and in the foreground, Acacias (stigmata), Tony Carden, by AñA Wojak, 1995

As always our group welcomes new members and visitors to join us. Our next sketchmeet will be on Sunday 3 July, 10.15 am at (New) Parliament House.

Cafe Wednesday – the hat

It only took one look to decide what the subject of this week’s drawing would be. Strong light was delineating the rather dashing hat being worn by a man at a nearby table.

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Magic pencils and white pencil on toned tan Strathmore paper

The light also cast a dramatic diagonal across his face.

Cafe Wednesday – same same, but …

Same name but different location. Our local cafe has contracts for coffee shops at the university. Today, as we were in the area, we decided to try one of these venues.

It was a completely different atmosphere and demographic from our nearby place, which is a ‘hole in the wall’ with a few outdoor tables. This other version was crammed full of students, with obligatory laptops, in the still under construction, College of Business and Economics. It is a lively scene that I plan to go back to again.

Biginelli's @ the College of Business and Economics, the Australian National University, 11 My 2016, Koh-i-Noor magic pencil white chalk and gel pen

Biginelli’s @ the College of Business and Economics, the Australian National University, 11 My 2016, Koh-i-Noor magic pencil white chalk and gel pen

Penciled in

Some recent sketches using coloured pencil and my new toned tan Strathmore sketchbook.

In the coffee shop Saturday morning, coloured pencil on toned tan paper

In the coffee shop Saturday morning, coloured pencil on toned tan paper

Today’s effort from the window of the National Gallery of Australia’ cafe window. This section of the garden has recently been cleaned out and re-planted with grass trees.

Garden at the National Gallery of Australia, coloured pencil on toned tan paper, 9 May 2016

Garden at the National Gallery of Australia, coloured pencil on toned tan paper, 9 May 2016

I’m trying not to resort to ‘colouring in’, hence the vigorous strokes, which I’m enjoying making.

One more from the archive, a sketch in my toned-grey book, a spool of twine at a building site.

A spool of builders twine, coloured pencil on toned grey paper, 11 April 2016.

A spool of builders twine, coloured pencil on toned grey paper, 11 April 2016.

Architectural details

My sketching has taken a sudden swerve into architecture this past weekend. I visited two historic buildings in Canberra from different periods built in very different styles.

On Saturday we were in Kingston near the Fitter’s Workshop. Built in 1916-17, the Fitter’s Workshop is part of a complex of early Canberra industrial buildings that is being converted into an arts precinct. The Fitters Workshop was designed by John Smith Murdoch, better known as the architect of the original Parliament House (commonly referred to now as Old Parliament House). On close inspection it’s apparently simple lines reveal a refinement of detail not normally seen on utilitarian buildings.

Detail of a window, the Fitter's Workshop. Graphite and white chalk on gray-toned paper.

Detail of a window, the Fitter’s Workshop, 1916-17. Graphite and white chalk on gray-toned paper.

On the southern outskirts of Canberra is the Lanyon Homestead.  First settled by European squatters in the early 1830’s the land was granted to James Wright and John Lanyon in 1834. The Urban Sketchers Canberra group had visited here last year, but we weren’t able to make it then so we were finally making up for that outing.

We walked around the buildings and gardens trying to decide what to sketch. My eye kept coming back to the bell on the kitchen building’s roof. The kitchen complex, which also includes a cook’s room and cold store was built in the 1830’s. The bell and it’s supporting structure reminds me of an old south-western US mission bell, although Wright was supposedly influenced by the vernacular styles of his native Derbyshire.

The bell on the kitchen block, Lanyon Homestead, circa 1830s. Coloured pencil and graphite

The bell on the kitchen block, Lanyon Homestead, circa 1830s. Coloured pencil and graphite

I tried several versions of this sketch before I decided to focus solely on the bell and leave the steeply pitched roof and nearby buildings for another time.

After, I moved to sketch the farm buildings on the other side of the homestead. One of these buildings was the housing for the convict labourers who were first grated to Wright in 1835. I found the simple block style a contrast to the farm and bushland that formed the background. I also decided to simplify that landscape to emphasise the contrast with man-made structures.

Convict accomodation at Lanyon Homestead. Coloured pencil and graphite

Convict accomodation at Lanyon Homestead. Coloured pencil and graphite