WEBVTT
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Hello, everyone, and welcome to another virtual workshop
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with the National Portrait Gallery.
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Thank you so much to everybody joining us today
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on Zoom and on Facebook Live.
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I can see everybody streaming in through our front doors.
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It's so exciting to see everybody.
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Thank you so much to everyone who's leaving your cameras on.
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We really love seeing all your faces,
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particularly for these workshops.
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It's a very strange experience that we put our,
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hello, hello, thank you.
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It's a very strange experience
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that we put our artists through.
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Usually our artists are used to doing physical workshops
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where they have people here in the flesh,
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and so for you to leave your cameras on
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is actually a really lovely environment for us
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to bring them into 'cause we can see
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all your beautiful smiling faces and the wonderful art
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that you're gonna create with us today.
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My name's Gill.
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I'm very fortunate to be both living and working
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on the beautiful, and at the moment,
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quite soggy lands of the Ngambri
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and Ngunnawal peoples here in Canberra.
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I'd like to pay my respects to their Elders
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past and present and also extend that same respect
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to any of the traditional custodians of the lands
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on which you're joining us from today.
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So for us, for the National Portrait Gallery staff,
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I think these digital workshops that we do with artists
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are probably some of the most exciting things
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that we get to present as part of our work here
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at the Portrait Gallery.
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Don't tell anyone else that we do programmes for,
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but these workshops are pretty special for us,
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and they're special for a couple of reasons.
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The first one we've already touched on is you,
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the community, the artistic community
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who are joining us this afternoon
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for an afternoon of, this morning,
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I don't even know what time zone I'm in at the moment,
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maybe some of you it's afternoon,
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this morning for a morning of creativity.
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So thank you all for taking the time
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out of your busy schedules to actually refocus
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and celebrate the arts and join in with us here
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at the Portrait Gallery.
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Now there is, we like to keep our workshops fairly casual.
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So it's not a TV production.
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This is very live, and there will be things
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that will probably go wrong or might go a bit askew
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or I might forget what I'm talking about,
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which happens frequently.
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If anything happens in the setup,
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please let us know because we've got an amazing team
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working behind the scenes.
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We have Hector and Mark,
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who are working on our production deck,
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and we have Georgina,
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who's over in the corner who's managing the chat.
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Now, that chat function here on Zoom
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and also the comments in Facebook
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is your connection with us today,
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and we'd love you to use it.
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So while we can't have our mics on,
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because as you can see,
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there's hundreds of people joining us today.
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It would be a little bit too noisy for us,
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but we really encourage you to engage with us in the chat,
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and I will be your voice throughout the programme.
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So if you have any questions, any comments,
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please throw them in there,
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because it makes the programme really interactive,
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and it means that you get that really direct connection
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with Caroline today and with our model
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and with our tech team, so shout out.
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If the camera angle's not working for you, let us know.
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If the sound has some kind of issue, let us know.
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Or if you're absolutely loving it
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and having a great time, please also let us know,
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'cause we like those comments as well.
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Now, the second reason that I think our team
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absolutely adore bringing these programmes to you
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is the diversity of the artists that we get to work with.
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The thing is with these workshops,
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you never know what you're gonna get.
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We've had highly realistic oil painting tutorials.
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We've had sculptures made out of soap.
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We've had photography highlights and tips.
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We've had just about every medium
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and just about every kind of artist,
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and there's never the same workshop every single time.
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Now, this drawing workshop today is very special
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because we have Caroline Zilinsky joining us today,
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and she has her own unique style,
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I'm sure you will have seen
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when the programme was advertised
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and you may have done a little bit
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of Googling and seen her work.
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You may be huge fans.
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I noticed some Facebook comments
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where they were saying she's an utter genius,
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and I have to say I agree.
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So why don't we introduce you to Caroline today
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and our model that we're gonna be working with,
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and then we can get into it.
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Join us, Caroline.
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I'm gonna come sit next to you.
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Hi.
How are you?
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Good, thank you.
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How are you?
Yeah? Good.
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That's weird, isn't it,
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'cause we've been talking for the last half an hour,
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and I'm like, "How are you?"
Yeah, yeah.
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It's very strange.
Yeah.
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Do you wanna tell the people a little bit about,
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you're a finalist in our Darling Portrait Prize,
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which is only open for this weekend, unfortunately.
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So if anyone's in Canberra,
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you might be able to pop in and see it,
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otherwise, jump on our website and have a look.
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But you're a finalist in our DPP.
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Do you wanna tell us maybe a little bit
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about the portrait that's on show at the moment?
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The painting I did was of John Feitelson,
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who's a avid art collector, supporter of,
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a huge supporter of the arts in Australia,
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and he's the publisher of "Artist Profile" magazine
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and "Art Almanack" and-
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He's a bit of a character, too, isn't he?
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Yes, he's a very unusual individual,
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and we've been friends for some time,
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and I painted his portrait,
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and what I wanted, like, we've often had
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like lengthy discussions about how,
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you know, we've had the fortune of sort of living
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two different lives in one lifetime.
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Like, we've both had, like, you know, very unusual pasts.
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And so when I did his portrait,
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I really wanted to try to capture the idea
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of this is the man that sits before you today
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but also embody that, you know, the wholeness of,
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you know, his life experience, which isn't that easy.
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Yeah, so, you know, you've got,
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he's seated there with the empty chair.
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And I did ask for him to be,
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well, I asked if he wanted to disrobe for the,
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it was up to him for the sitting.
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And he said he'll be shirtless,
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and that was it, which was fine.
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And yes, he got COVID the day after
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and lost a whole lot of weight,
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so he was quite disappointed with his girth.
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But yeah, that was okay.
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Yeah, and yeah, and then, yeah,
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he ended up really loving the portrait.
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And we were at the opening for the Darling Portrait Prize,
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and there was, you know, all dignitaries and benefactors,
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and he was so taken by his portrait,
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he took his shirt off in the middle
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of the National Portrait Gallery of Australia and ran around
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to be like his painting, yeah.
I love it.
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Yeah, and is that portrait kind of indicative
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of your style of portraiture, do you think?
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Yeah, very much so, yeah.
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Yeah, for me, I am absolutely not a realist.
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I feel like for me, the process of portraiture
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is in order to capture the entireness of a human being.
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For me, I feel like I have to like go
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beyond realism in a way.
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Like it's, yeah, like the question I ask myself is,
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how do I capture, embody all the characters of a person,
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and a lot of what encompasses a human to me is unseen.
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So it's like sort of how do you capture
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the unseen in an image, yeah.
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And is that something that we're gonna explore today,
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do you think, we'll go down that path?
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Yes, probably, and maybe not by our choice.
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(both laughing)
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So you have a really amazing philosophy.
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When I first met you, I really warmed you
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because I am a failed art student.
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I wanted to go to art school, and I never did.
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And then I gave up and I beat myself up about, you know,
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"Oh, I'm never gonna be good enough.
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I can't draw, I can't paint,"
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all of those kind of things.
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But when we met, you had these sort of ideas
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about leaning into mistakes and those kind of things,
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which I suddenly thought,
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"Oh, maybe I can give it another go."
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Yeah, yeah, well, why I think that, you know,
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well, I'll start, the human mind is like an incredible,
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like, we're like one of the most incredible creations,
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and the fact that we have self-awareness and, you know,
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I just think it's funny that, you know,
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like, you're given all like this genius brain,
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every single one of us, and, you know,
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we tend to like focus on the negative and like, you know,
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like our inclination is towards suffering
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no matter what it is, even in a drawing.
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And yeah, I just think, like, for me,
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creative expression for each individual person,
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it's almost like, you know,
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like every person has their own fingerprint,
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and I feel like our capacity
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to make and create and express ourselves
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is entirely unique to each individual.
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And yeah, and I think that a lot of magic can happen
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when you just embrace your own particular style,
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like whatever that may be,
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whether it's a complete aberration, or you're like,
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you know, a recreative genius and you can,
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you know, duplicate something in exactness
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and everything in between that.
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It's like, you know, like learning to embrace
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your own particular style and whatever that may be,
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and, you know, whether it's fluid or rigid
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or, you know, I think it's like an extension
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of a person's personality,
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and yeah, it should be like a small area
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that we embrace our personalities
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rather than punish ourselves.
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Yeah, easier said than done sometimes, but yeah.
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I think with that philosophy,
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we might introduce our model and start to get into it.
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I am so excited to see what you all create
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when you embrace your own creative DNA today.
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So let's try not to,
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let's try not to mimic completely,
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or if that's your style, that's fine, too.
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Let's just explore and see what comes out.
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We'll take a walk with the line.
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How about that?
Yes, brilliant.
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All right, well, I'll let you set up,
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and we'll introduce our gorgeous model today.
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Sonya, thank you so much for agreeing to sit with us today.
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We're very excited to have you here.
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Thank you.
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So everybody, Sonya's going to get into position now.
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As embracing this idea about not necessarily
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learning to do a style
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that's exactly the same as Caroline's
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or exactly the same as a hyper-real artist
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that we might have brought to you in the past,
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but embracing your own style,
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we're gonna have a camera angle set up on Sonya,
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we're gonna keep that camera angle consistent.
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It may not be exactly the same as the camera angle
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that Caroline sees, but that doesn't matter today.
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We're just gonna, but we're not gonna move it
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so that you can actually work with Sonya
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for the whole time that we're doing the drawing.
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And we're gonna actually have
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an over-the-shoulder camera on Caroline
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so you can exactly see her style
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as it emerges on the page as well,
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and we're just gonna talk through it.
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00:11:24.300 --> 00:11:25.983
So let's get into it.
261
00:11:28.170 --> 00:11:31.323
All right, we're just gonna reset the cameras.
262
00:11:32.160 --> 00:11:36.030
Marky's doing his, working his magic over the shoulder.
263
00:11:36.030 --> 00:11:37.080
Did you wanna have a little chat
264
00:11:37.080 --> 00:11:40.050
about your setup that you've got beside you?
265
00:11:40.050 --> 00:11:44.467
Yep, so the main thing is I've got,
266
00:11:45.897 --> 00:11:47.220
I've got obviously the paper,
267
00:11:47.220 --> 00:11:52.050
and I tend to work on a thicker card
268
00:11:52.050 --> 00:11:55.710
because if I took, for two reasons.
269
00:11:55.710 --> 00:11:59.370
If I, one, you never know when a,
270
00:11:59.370 --> 00:12:02.220
like, I think it honours the work a little more,
271
00:12:02.220 --> 00:12:07.220
like, to use good paper, and also for practical reasons.
272
00:12:08.310 --> 00:12:11.280
If I am going to use this then to,
273
00:12:11.280 --> 00:12:13.410
as a reference for a painting,
274
00:12:13.410 --> 00:12:16.310
it needs to have a bit of thickness to be able to hold it.
275
00:12:17.324 --> 00:12:21.480
And yeah, and I've got,
276
00:12:21.480 --> 00:12:23.340
I've got about 10 pencils
277
00:12:23.340 --> 00:12:27.720
that are already sharpened ready to go.
278
00:12:27.720 --> 00:12:29.760
So I guess for me, the whole thing
279
00:12:29.760 --> 00:12:32.890
is that there's as little interruption as possible
280
00:12:34.170 --> 00:12:39.170
when I'm focusing on the drawing, and yeah, that's about it.
281
00:12:39.690 --> 00:12:44.340
Yeah, so all the tools next to me, and yeah.
282
00:12:44.340 --> 00:12:45.510
All right, so people, make sure
283
00:12:45.510 --> 00:12:47.790
that you lock the dogs in the next room
284
00:12:47.790 --> 00:12:51.270
and the kids in their bedrooms so that we can focus
285
00:12:51.270 --> 00:12:53.760
on our drawing for the next couple of hours.
286
00:12:53.760 --> 00:12:55.230
I'll just check in with the tech team
287
00:12:55.230 --> 00:12:58.920
to make sure everything's going okay and we're all good.
288
00:12:58.920 --> 00:13:01.680
Yep, okay, we might just start getting into it.
289
00:13:01.680 --> 00:13:05.100
Now, any questions or comments and things will,
290
00:13:05.100 --> 00:13:07.830
oh, somebody's noticed your socks, Sonya, isn't that great?
291
00:13:07.830 --> 00:13:09.333
I noticed your socks as well.
292
00:13:14.430 --> 00:13:16.080
And yeah, the only other thing
293
00:13:16.080 --> 00:13:19.860
I should say is, yeah, I guess I'm gonna focus
294
00:13:19.860 --> 00:13:23.640
on where to compose the, yeah,
295
00:13:23.640 --> 00:13:25.590
what I'm gonna include and not include.
296
00:13:25.590 --> 00:13:28.137
Like, if it's a close-up or a full body, I'm gonna-
297
00:13:28.137 --> 00:13:30.180
Oh, good point.
Try to do a full body.
298
00:13:30.180 --> 00:13:34.020
So yeah, I'm just thinking where I'll begin the face
299
00:13:34.020 --> 00:13:36.450
so that the beautiful socks don't end up
300
00:13:36.450 --> 00:13:39.300
on another piece of paper and I've run out of room, yeah.
301
00:13:42.827 --> 00:13:44.983
You ready, Sonya? Feel comfortable?
302
00:14:58.230 --> 00:15:00.210
And we've already noticed
303
00:15:00.210 --> 00:15:01.590
a few adjustments coming through,
304
00:15:01.590 --> 00:15:03.570
so we're gonna make a few adjustments for people.
305
00:15:03.570 --> 00:15:07.050
So we think that it'll be good
306
00:15:07.050 --> 00:15:08.610
if you'd be able to get a bit more
307
00:15:08.610 --> 00:15:10.350
of a full-body shot on Sonya,
308
00:15:10.350 --> 00:15:12.930
'cause that's what Caroline is working with.
309
00:15:12.930 --> 00:15:16.320
So we might just pull that camera back a little bit
310
00:15:16.320 --> 00:15:18.963
so that you get a little bit more of Sonya included,
311
00:15:20.010 --> 00:15:22.168
and hopefully that will be not too disruptive.
312
00:15:22.168 --> 00:15:23.001
Not too much, of course, not too much.
313
00:15:23.001 --> 00:15:24.720
Not too much, okay, good.
314
00:15:24.720 --> 00:15:26.220
Well, we won't do it too much.
315
00:15:27.390 --> 00:15:28.533
How are we there?
316
00:15:34.500 --> 00:15:35.640
Is that looking good?
People say are saying
317
00:15:35.640 --> 00:15:37.917
that they're on a laptop, and it's too tiny.
318
00:15:37.917 --> 00:15:39.480
Ah, okay, all right.
319
00:15:39.480 --> 00:15:42.060
Well, we might have to, let's start with the head,
320
00:15:42.060 --> 00:15:44.310
and then we might see if Caroline starts to move
321
00:15:44.310 --> 00:15:46.350
to other aspects, then we might zoom out
322
00:15:46.350 --> 00:15:47.220
a little bit too far.
323
00:15:47.220 --> 00:15:50.853
That's a bit too far, Marky, come in a bit.
324
00:15:54.090 --> 00:15:56.370
Yeah, I can see a few people peering at the screen.
325
00:15:56.370 --> 00:15:58.570
So we might leave it as it is at the moment,
326
00:15:59.503 --> 00:16:01.290
and then we'll work with that as we go.
327
00:16:01.290 --> 00:16:03.157
These are the things that we're always encountering
328
00:16:03.157 --> 00:16:05.883
(laughs) with different people's techniques.
329
00:16:25.230 --> 00:16:27.330
Caroline, you're working on the face at the moment,
330
00:16:27.330 --> 00:16:30.483
aren't you?
Yeah.
331
00:16:33.360 --> 00:16:34.560
Probably want-
Caroline needs a lot
332
00:16:34.560 --> 00:16:36.480
of concentration for the face.
333
00:16:36.480 --> 00:16:38.730
We're gonna start talking through the process
334
00:16:40.020 --> 00:16:42.813
once we've managed to get a face on the page.
335
00:16:45.690 --> 00:16:48.540
But I can see everybody busily working away.
336
00:16:48.540 --> 00:16:51.093
It's lovely to see people sketching and exploring,
337
00:17:02.640 --> 00:17:04.800
We'll continue to tweak our cameras
338
00:17:04.800 --> 00:17:06.210
and our angles to make sure
339
00:17:06.210 --> 00:17:09.843
that we get the best possible result for everybody.
340
00:17:25.710 --> 00:17:30.710
Ah, oh good.
341
00:17:33.240 --> 00:17:36.527
Thanks, Erica, it's good to get feedback from people.
342
00:19:02.580 --> 00:19:03.870
I think we've had a few questions
343
00:19:03.870 --> 00:19:08.130
about the type of pencils that Caroline is using.
344
00:19:08.130 --> 00:19:10.263
I think they're mainly all HBs.
345
00:19:11.970 --> 00:19:15.420
So I'm using Columbia Copperplate HB,
346
00:19:15.420 --> 00:19:20.420
and what I've found is that like for drawing, to get like a,
347
00:19:20.730 --> 00:19:24.840
like, the difference in different brands is,
348
00:19:24.840 --> 00:19:29.010
like, the variation of HB in different brands
349
00:19:29.010 --> 00:19:32.453
almost goes from like a F to a 2B, like or 4B.
350
00:19:36.600 --> 00:19:38.880
So I've just, these are the ones
351
00:19:38.880 --> 00:19:43.350
that have the best for me for my, what I like to have,
352
00:19:43.350 --> 00:19:46.590
yeah, is the softness appropriate
353
00:19:46.590 --> 00:19:48.270
for the paper sort of thing.
354
00:19:48.270 --> 00:19:49.260
Oh, well, there you go.
355
00:19:49.260 --> 00:19:51.030
Here was I thinking a pencil is a pencil,
356
00:19:51.030 --> 00:19:52.323
but absolutely not.
357
00:19:56.730 --> 00:19:59.340
Be interesting to hear if anybody out there is working,
358
00:19:59.340 --> 00:20:01.140
if everybody's working in pencil.
359
00:20:01.140 --> 00:20:03.240
I know that we sent through a little list
360
00:20:03.240 --> 00:20:07.170
as part of the programme development, sorry,
361
00:20:07.170 --> 00:20:09.180
the programme listing of materials.
362
00:20:09.180 --> 00:20:10.500
But there may be people out there
363
00:20:10.500 --> 00:20:13.170
who've embraced their inner creativity
364
00:20:13.170 --> 00:20:15.990
and are using a charcoal or something else as well
365
00:20:15.990 --> 00:20:17.822
to participate today.
366
00:20:17.822 --> 00:20:19.260
So let us know what you're using
367
00:20:19.260 --> 00:20:22.230
and what you're experiencing
368
00:20:22.230 --> 00:20:24.543
when that line is coming out into your paper.
369
00:20:26.355 --> 00:20:27.360
Is there anything that you're noticing
370
00:20:27.360 --> 00:20:30.333
that is working for you or not working for you?
371
00:20:41.250 --> 00:20:43.650
Oh, another question that I have no idea how to answer.
372
00:20:43.650 --> 00:20:45.993
Is the paper cold-pressed or hot-pressed?
373
00:20:47.520 --> 00:20:48.353
Is that the question?
374
00:20:48.353 --> 00:20:50.160
Are they talking about their coffee or?
375
00:20:50.160 --> 00:20:52.270
Oh, (laughs) maybe they are.
376
00:20:52.270 --> 00:20:54.033
Maybe I've misread that, hang on.
377
00:20:54.960 --> 00:20:56.210
It's Canson.
378
00:20:57.630 --> 00:21:01.590
I think it's 300, 200-gram or 300-gram paper.
379
00:21:01.590 --> 00:21:02.423
Ah ha.
380
00:21:14.820 --> 00:21:16.560
Tammy's making Sonya look like a man.
381
00:21:16.560 --> 00:21:18.120
I think that's perfectly fine.
382
00:21:18.120 --> 00:21:18.970
Yes.
383
00:21:20.760 --> 00:21:22.613
Maybe not for Sonya, but.
384
00:21:25.137 --> 00:21:26.130
(laughs) Maybe not for Sonya.
385
00:21:26.130 --> 00:21:28.560
We did warn Sonya before she came in today
386
00:21:28.560 --> 00:21:32.580
that everybody was going to be experiencing
387
00:21:32.580 --> 00:21:35.400
their version of her in a different way
388
00:21:35.400 --> 00:21:38.670
and that things may not be hyper-real or as,
389
00:21:38.670 --> 00:21:40.170
but every, it's always like that, isn't it?
390
00:21:40.170 --> 00:21:42.030
We don't know how we appear to other people.
391
00:21:42.030 --> 00:21:45.570
So I think it's a fascinating process to sit for a portrait
392
00:21:45.570 --> 00:21:48.420
that people are gonna explore their own creativity with.
393
00:21:48.420 --> 00:21:49.503
It's very exciting.
394
00:21:52.350 --> 00:21:54.003
I'm loving that arm, Caroline.
395
00:22:09.930 --> 00:22:11.043
Such an elegant arm.
396
00:22:25.590 --> 00:22:28.500
Depending on how far through the drawing we get,
397
00:22:28.500 --> 00:22:30.810
we might end up adding colour, is that correct?
398
00:22:30.810 --> 00:22:35.130
Yeah, yeah, if are people happy to add colour.
399
00:22:35.130 --> 00:22:35.963
Yep.
400
00:22:35.963 --> 00:22:38.970
It's not something I would normally do.
401
00:22:38.970 --> 00:22:43.970
I would normally add the colour
402
00:22:44.370 --> 00:22:48.630
at the painting stage, but I'm happy to give it a go.
403
00:22:48.630 --> 00:22:49.480
Awesome.
404
00:23:23.910 --> 00:23:26.880
Oh, we've got people working with archival markers as well.
405
00:23:27.794 --> 00:23:29.627
Oh, nice.
406
00:24:36.860 --> 00:24:40.023
So I'm hesitating on the line, 'cause I wondering, do I,
407
00:24:42.000 --> 00:24:47.000
this is where I would, do I sort of shift from realism to,
408
00:24:50.430 --> 00:24:54.570
yes, like, what am I trying, gonna say with the,
409
00:24:54.570 --> 00:24:57.090
what am I trying to say, and do I, you know,
410
00:24:57.090 --> 00:24:58.860
then go to what I'm trying to say,
411
00:24:58.860 --> 00:25:01.710
or do I follow what's in front of me sort of thing.
412
00:25:01.710 --> 00:25:02.700
I might come back to it.
413
00:25:02.700 --> 00:25:04.177
So that's your thought process.
414
00:25:04.177 --> 00:25:05.640
Yeah.
It's like do I start,
415
00:25:05.640 --> 00:25:07.740
do I, when every time you make a line,
416
00:25:07.740 --> 00:25:09.480
it's like, do I follow the reality
417
00:25:09.480 --> 00:25:11.370
of what my eyes are seeing in front of me,
418
00:25:11.370 --> 00:25:14.940
or do, I shift it somewhere where I,
419
00:25:14.940 --> 00:25:16.857
is that the thought process?
Yeah, yeah.
420
00:25:16.857 --> 00:25:20.373
Or do I like turn this now into, yeah.
421
00:25:23.520 --> 00:25:24.353
So for...
422
00:25:31.577 --> 00:25:33.300
And do you find drawing
423
00:25:33.300 --> 00:25:34.830
is a meditative process for you,
424
00:25:34.830 --> 00:25:36.333
Caroline, in terms of just-
425
00:25:36.333 --> 00:25:41.333
Yeah, I think the whole artistic process if,
426
00:25:42.090 --> 00:25:44.820
yeah, I have no control over my life,
427
00:25:44.820 --> 00:25:46.860
so at least I could control what's happening here.
428
00:25:46.860 --> 00:25:48.727
Okay.
To a certain extent.
429
00:25:48.727 --> 00:25:51.505
(laughs) Which I can't at all,
430
00:25:51.505 --> 00:25:52.955
that's all an illusion, yeah.
431
00:26:05.130 --> 00:26:08.100
I wonder if people are finding it an interesting,
432
00:26:08.100 --> 00:26:13.100
if they are following the line creation style of drawing.
433
00:26:13.800 --> 00:26:16.710
Sonya, I'm wondering if they're finding it different
434
00:26:16.710 --> 00:26:21.180
or more difficult or easier than perhaps a previous process
435
00:26:21.180 --> 00:26:23.760
of kind of shapes and blocking out shapes
436
00:26:23.760 --> 00:26:24.780
that you might have used
437
00:26:24.780 --> 00:26:26.940
when you're creating portraits before,
438
00:26:26.940 --> 00:26:30.210
whether this idea of letting a line wander across the page
439
00:26:30.210 --> 00:26:32.733
is liberating for you or challenging for you.
440
00:26:53.880 --> 00:26:56.583
Liberating, that's great, Marlena.
441
00:27:03.030 --> 00:27:05.580
Often when we have kids programmes,
442
00:27:05.580 --> 00:27:07.855
that's why we have replacement pencils.
443
00:27:07.855 --> 00:27:08.910
(Caroline and Gill laugh)
444
00:27:08.910 --> 00:27:10.470
Often when we have kids programmes,
445
00:27:10.470 --> 00:27:13.740
this is the kind of style of line drawing
446
00:27:13.740 --> 00:27:16.323
that we might get the kids to do when they warm up,
447
00:27:17.284 --> 00:27:18.720
and we sort of tell them just,
448
00:27:18.720 --> 00:27:20.970
oh, actually you know what the A&L people do
449
00:27:20.970 --> 00:27:24.060
when they take a line drawing class?
450
00:27:24.060 --> 00:27:26.490
I've seen them do this project before.
451
00:27:26.490 --> 00:27:29.940
They get people to draw blind, so they close their eyes,
452
00:27:29.940 --> 00:27:32.250
but they're not allowed to lift the pencil from the page.
453
00:27:32.250 --> 00:27:35.220
And so they just sort of draw
454
00:27:35.220 --> 00:27:36.690
whatever's in their imagination
455
00:27:36.690 --> 00:27:39.900
and let their hand move independently of their eyes,
456
00:27:39.900 --> 00:27:42.600
which is always a very interesting result for people
457
00:27:42.600 --> 00:27:44.040
when they take a look.
458
00:27:44.040 --> 00:27:47.859
Mm, when I was, I got quite sick for a while,
459
00:27:47.859 --> 00:27:51.210
and I actually had to learn how to walk again and-
460
00:27:51.210 --> 00:27:52.043
Oh, my gosh!
461
00:27:52.043 --> 00:27:54.897
Yeah, a whole lot of stuff
462
00:27:54.897 --> 00:27:59.897
and like feed myself, and I spent, I think,
463
00:28:00.030 --> 00:28:03.990
like the whole, like confronting an empty page
464
00:28:03.990 --> 00:28:08.313
was so daunting that I, yeah, I spent a year.
465
00:28:09.270 --> 00:28:12.240
I'd start like drawing with my eyes closed,
466
00:28:12.240 --> 00:28:16.023
and it just sort of helped, yeah.
467
00:28:18.229 --> 00:28:20.100
Like, I think it, I think once you've sort of made
468
00:28:20.100 --> 00:28:22.680
a few marks on a page, you know,
469
00:28:22.680 --> 00:28:26.940
you're less anxious about what may or may not happen.
470
00:28:26.940 --> 00:28:31.560
And yeah, I think it's almost relaxing in a way
471
00:28:31.560 --> 00:28:35.160
'cause you're completely, you let go of the outcome
472
00:28:35.160 --> 00:28:36.783
of what might occur.
473
00:28:38.670 --> 00:28:41.460
That's such an interesting philosophy.
474
00:28:41.460 --> 00:28:43.380
I actually have heard quite a few artists say
475
00:28:43.380 --> 00:28:45.690
that the idea of starting with a blank canvas
476
00:28:45.690 --> 00:28:48.450
or a blank page is intimidating,
477
00:28:48.450 --> 00:28:50.460
and once they get that first little bit down,
478
00:28:50.460 --> 00:28:52.530
then you can, you sort of have an anchor
479
00:28:52.530 --> 00:28:53.680
that you can work with.
480
00:28:56.940 --> 00:29:00.013
Especially when it's being recorded. (laughs)
481
00:29:17.575 --> 00:29:18.840
Francis has said that the intro
482
00:29:18.840 --> 00:29:20.820
about embracing mistakes was very important
483
00:29:20.820 --> 00:29:23.103
to set the scene for freeing up her style.
484
00:29:24.600 --> 00:29:27.390
Same. (laughs)
485
00:29:27.390 --> 00:29:29.540
It's like an insurance, can't go too wrong.
486
00:29:40.425 --> 00:29:42.320
I can confirm that, Donna.
487
00:29:42.320 --> 00:29:45.090
So Caroline, because we're wanting to keep the focus
488
00:29:45.090 --> 00:29:48.090
on the hand and the model at the moment
489
00:29:48.090 --> 00:29:51.870
and so you can see, you can observe how Caroline
490
00:29:51.870 --> 00:29:54.600
goes about her mark-making on the page,
491
00:29:54.600 --> 00:29:57.240
we don't have a front-facing camera on Caroline's face,
492
00:29:57.240 --> 00:30:00.120
but she is constantly, I can confirm,
493
00:30:00.120 --> 00:30:03.210
rechecking and looking as she's drawing.
494
00:30:03.210 --> 00:30:06.240
So she's off, her eyes are flicking
495
00:30:06.240 --> 00:30:08.035
up and back constantly.
496
00:30:08.035 --> 00:30:13.035
Yeah, and yeah, I think it's,
497
00:30:14.970 --> 00:30:19.970
I'm just sort of, yeah, I kind of pick one.
498
00:30:20.880 --> 00:30:25.880
To begin, I pick one sort of spot on the face,
499
00:30:26.580 --> 00:30:28.140
be it an eye or an eyebrow,
500
00:30:28.140 --> 00:30:32.700
and just sort of do everything relative to that,
501
00:30:32.700 --> 00:30:36.240
so every angle relative to that, yeah.
502
00:30:36.240 --> 00:30:41.240
Okay, and it doesn't matter if it starts to get,
503
00:30:42.060 --> 00:30:44.580
if perspective gets skewed or if things start to move out
504
00:30:44.580 --> 00:30:46.080
of place.
Yeah.
505
00:30:46.080 --> 00:30:50.550
Yeah, I sort of, well, I kind of believe
506
00:30:50.550 --> 00:30:53.970
that whatever occurs in this moment
507
00:30:53.970 --> 00:30:56.040
is as it's meant to be.
508
00:30:56.040 --> 00:30:59.670
And you know, this is the mark,
509
00:30:59.670 --> 00:31:03.750
like to trust that whatever comes out,
510
00:31:03.750 --> 00:31:05.850
there's a reason for why it's coming out.
511
00:31:05.850 --> 00:31:07.620
Okay.
So to sort of let go
512
00:31:07.620 --> 00:31:12.120
of my own analysis of it and just sort of let it,
513
00:31:12.120 --> 00:31:17.100
yeah, occur, whatever it may be, yeah.
514
00:31:17.100 --> 00:31:18.930
That's fascinating 'cause we're not,
515
00:31:18.930 --> 00:31:20.100
we're never given that freedom
516
00:31:20.100 --> 00:31:21.780
when we're taught how to do art, are we?
517
00:31:21.780 --> 00:31:23.090
No!
518
00:31:23.090 --> 00:31:23.923
Well, I certainly wasn't,
519
00:31:23.923 --> 00:31:26.310
I don't know about everyone on the screen.
520
00:31:26.310 --> 00:31:27.840
Yeah, yeah, I mean, you know,
521
00:31:27.840 --> 00:31:31.863
it's, yeah, there's just no like,
522
00:31:32.820 --> 00:31:35.820
yeah, I think it's interesting, you know,
523
00:31:35.820 --> 00:31:36.870
if you just let yourself sort of go,
524
00:31:36.870 --> 00:31:41.430
okay, well you can analyse it later
525
00:31:41.430 --> 00:31:43.893
why things may or may not have occurred.
526
00:31:46.470 --> 00:31:51.330
And yeah, you know, how you feel on that day,
527
00:31:51.330 --> 00:31:53.640
well, what's going on in your life might affect, you know,
528
00:31:53.640 --> 00:31:58.350
how something, you know, why something comes out
529
00:31:58.350 --> 00:32:01.523
the way it does, and yeah.
530
00:32:01.523 --> 00:32:02.356
And that's okay, too.
531
00:32:02.356 --> 00:32:03.330
Yeah.
Huh.
532
00:32:18.660 --> 00:32:22.980
How many sketches would you normally make for a particular
533
00:32:22.980 --> 00:32:24.390
portrait work?
One.
534
00:32:24.390 --> 00:32:26.371
One, I love it.
One,
535
00:32:26.371 --> 00:32:28.413
and that's the one I work from, yeah.
536
00:32:32.820 --> 00:32:34.950
Yeah, that's why it's like,
537
00:32:34.950 --> 00:32:39.950
like there was this one lady that I sketched,
538
00:32:42.360 --> 00:32:44.010
Anthea Pilko, that was actually
539
00:32:44.010 --> 00:32:49.010
for the Portia Geach,
540
00:32:49.567 --> 00:32:50.880
"Anthea May or May Not,"
541
00:32:50.880 --> 00:32:55.880
and it was the most atrocious sketch.
542
00:32:57.608 --> 00:32:58.441
(Gill laughs)
543
00:32:58.441 --> 00:33:00.540
I thought, "What am I doing?
544
00:33:00.540 --> 00:33:03.339
I should've been a cleaner," but-
545
00:33:03.339 --> 00:33:04.770
(Gill and Caroline laugh)
546
00:33:04.770 --> 00:33:06.093
And I used it.
547
00:33:07.411 --> 00:33:09.840
I just stayed with that rule of like, just,
548
00:33:09.840 --> 00:33:11.973
that's what came out and just use it,
549
00:33:12.990 --> 00:33:14.730
and, you know, I'd made her look
550
00:33:14.730 --> 00:33:17.550
like half horse, half giraffe,
551
00:33:17.550 --> 00:33:20.070
and yeah, won the Portia Geach.
552
00:33:20.070 --> 00:33:22.620
So, but it was like, yeah,
553
00:33:22.620 --> 00:33:25.003
it was a shocking, shocking picture.
554
00:33:25.003 --> 00:33:27.365
(both laughing)
555
00:33:27.365 --> 00:33:30.500
But yeah, I just feel like there's a honesty in,
556
00:33:31.440 --> 00:33:35.370
you know, working with what you have sort of thing.
557
00:33:35.370 --> 00:33:40.260
Yep, and your process of then moving to painting,
558
00:33:40.260 --> 00:33:43.800
would you then just work off that sketch?
559
00:33:43.800 --> 00:33:45.750
Yeah, I just look at the sketch
560
00:33:45.750 --> 00:33:50.130
and yeah, to try to turn it into,
561
00:33:50.130 --> 00:33:54.993
try to keep like as true to the line as possible, yeah.
562
00:34:45.720 --> 00:34:47.889
So we're already half an hour
563
00:34:47.889 --> 00:34:50.970
into our sketching.
Oh, god!
564
00:34:50.970 --> 00:34:54.000
How long do these sketches usually take?
565
00:34:54.000 --> 00:34:57.660
Or is that like asking how long is a piece of string?
566
00:34:57.660 --> 00:34:59.850
Normally if I go to sketch someone,
567
00:34:59.850 --> 00:35:03.243
I'll say, like, reserve an hour,
568
00:35:04.920 --> 00:35:09.240
but like to sort of hold that particular pose.
569
00:35:09.240 --> 00:35:10.073
Yes.
570
00:35:12.164 --> 00:35:14.831
And yeah, it takes-
571
00:35:16.680 --> 00:35:17.610
Takes as long as it takes.
572
00:35:17.610 --> 00:35:19.740
Yeah, it takes as long as it takes and everything.
573
00:35:19.740 --> 00:35:23.190
But yeah, is everyone going okay?
574
00:35:23.190 --> 00:35:24.600
I think, I will ask them.
575
00:35:24.600 --> 00:35:26.220
I think, how is everyone going?
576
00:35:26.220 --> 00:35:27.690
Is everyone exploring their?
577
00:35:27.690 --> 00:35:30.123
Yep, we get thumbs up there, thank you.
578
00:35:31.230 --> 00:35:33.210
I can see a lot of your faces up there.
579
00:35:33.210 --> 00:35:35.460
So we will hold this pose for the hour,
580
00:35:35.460 --> 00:35:36.330
yeah, Caroline?
581
00:35:36.330 --> 00:35:37.680
Yeah.
Yeah, great.
582
00:35:37.680 --> 00:35:39.838
So Sonya's a trooper.
583
00:35:39.838 --> 00:35:40.740
(laughs) Thanks, Sonya.
584
00:35:40.740 --> 00:35:42.953
She's had her Wheaties this morning.
585
00:35:53.940 --> 00:35:56.640
We've seen a few examples of your work,
586
00:35:56.640 --> 00:35:57.960
Caroline, that you've shown us.
587
00:35:57.960 --> 00:36:01.230
And Georg, who's managing the chat,
588
00:36:01.230 --> 00:36:05.070
will be able to drop some of those into the chat
589
00:36:05.070 --> 00:36:08.730
and comments so that they can have a little look
590
00:36:08.730 --> 00:36:13.530
at some extra examples of your work in between sketching.
591
00:36:13.530 --> 00:36:15.253
Or if they, you know, wanna have a look,
592
00:36:15.253 --> 00:36:16.563
a little look later on they can
593
00:36:16.563 --> 00:36:18.413
when they have a break, a cup of tea.
594
00:36:20.430 --> 00:36:24.120
So I guess the thing that strikes me about your work
595
00:36:24.120 --> 00:36:27.660
is that not only is your style completely unique
596
00:36:27.660 --> 00:36:30.510
and enthralling, I absolutely adore it,
597
00:36:30.510 --> 00:36:33.210
I think it's probably one of my favourite styles
598
00:36:33.210 --> 00:36:34.230
that I've come across.
599
00:36:34.230 --> 00:36:36.270
That's quite an honour.
600
00:36:36.270 --> 00:36:38.970
But you seem to meet
601
00:36:38.970 --> 00:36:42.390
the most incredible mixture of people.
602
00:36:42.390 --> 00:36:44.790
Do you go seeking interesting people,
603
00:36:44.790 --> 00:36:47.940
or is it just that they happen to land on you?
604
00:36:47.940 --> 00:36:49.740
Or do you, is it just that you find
605
00:36:49.740 --> 00:36:51.690
the interesting in ordinary people?
606
00:36:51.690 --> 00:36:55.445
Yeah, I think they're probably quite dull.
607
00:36:55.445 --> 00:36:57.210
(both laughing)
608
00:36:57.210 --> 00:37:01.773
No, yeah, I think everybody has like,
609
00:37:02.618 --> 00:37:04.440
you know, like is quite fascinating.
610
00:37:04.440 --> 00:37:07.390
I mean, like, there's certain people that would definitely,
611
00:37:08.940 --> 00:37:13.020
you know, I think everyone, I don't know,
612
00:37:13.020 --> 00:37:14.420
I just think it's like such,
613
00:37:15.541 --> 00:37:18.240
so remarkable that any of us exist
614
00:37:18.240 --> 00:37:22.350
on this like peculiar and hurtling planet
615
00:37:22.350 --> 00:37:26.610
and, you know, how people survive.
616
00:37:26.610 --> 00:37:29.040
You know, like ultimately how people,
617
00:37:29.040 --> 00:37:30.510
you know, what people make of their lives
618
00:37:30.510 --> 00:37:31.470
and how they survive.
619
00:37:31.470 --> 00:37:35.883
And it's such a curiosity and yeah, it's fascinating.
620
00:37:38.070 --> 00:37:39.670
Yeah, I think
621
00:37:43.380 --> 00:37:46.020
a lot of painting for me is a result
622
00:37:46.020 --> 00:37:50.220
of like not quite feeling that I can exist in the world,
623
00:37:50.220 --> 00:37:55.220
so I just observe it instead, and yeah, I really enjoy,
624
00:37:58.530 --> 00:38:02.190
yes, I guess, if you're looking through that lens,
625
00:38:02.190 --> 00:38:05.880
you know, everyone's quite interesting.
626
00:38:05.880 --> 00:38:07.353
But there's definitely been,
627
00:38:08.255 --> 00:38:11.250
I go to the same coffee shop every morning in Sydney,
628
00:38:11.250 --> 00:38:16.080
and I wake up really early, and I go there quite early,
629
00:38:16.080 --> 00:38:19.333
and there's always, I think, you know,
630
00:38:19.333 --> 00:38:24.240
it's such a strange grouping of people there,
631
00:38:24.240 --> 00:38:29.109
and a lot of my subjects have actually come from that cafe,
632
00:38:29.109 --> 00:38:33.210
just observing them, and yeah, and asking
633
00:38:33.210 --> 00:38:38.210
if like if I can paint them or like having conversations,
634
00:38:39.090 --> 00:38:40.931
and then they find out you're an artist and they go,
635
00:38:40.931 --> 00:38:43.620
"Oh, do you wanna paint me?"
636
00:38:43.620 --> 00:38:46.200
And I think, "Oh, okay, why not?" (laughs)
637
00:38:46.200 --> 00:38:49.623
Is anyone particularly surprised by the outcome?
638
00:38:51.000 --> 00:38:52.357
Yes, usually.
639
00:38:52.357 --> 00:38:53.820
(both laughing)
640
00:38:53.820 --> 00:38:58.560
I've had a few like shrieks of horror, yeah.
641
00:38:58.560 --> 00:39:00.240
I think people are very,
642
00:39:00.240 --> 00:39:03.450
I think people have a very particular idea
643
00:39:03.450 --> 00:39:06.540
of how they appear.
644
00:39:06.540 --> 00:39:10.113
Yes, yes.
And they like to,
645
00:39:11.100 --> 00:39:15.960
it's quite confronting to be depicted in a way,
646
00:39:15.960 --> 00:39:18.723
you know, other than what you,
647
00:39:20.113 --> 00:39:21.773
you know, what you think you appear as.
648
00:39:24.035 --> 00:39:27.570
And like, I remember I had a run for a year
649
00:39:27.570 --> 00:39:30.600
of like people being like mortified
650
00:39:30.600 --> 00:39:32.850
by how they'd been painted and, you know,
651
00:39:32.850 --> 00:39:36.273
some very, I had one lady, I won't say who it was,
652
00:39:38.730 --> 00:39:40.230
I painted her, and when,
653
00:39:40.230 --> 00:39:44.910
so she's quite an important figure in Australia,
654
00:39:44.910 --> 00:39:47.790
done a lot, tirelessly worked for, you know,
655
00:39:47.790 --> 00:39:49.290
communities and, you know,
656
00:39:49.290 --> 00:39:51.480
the betterment of Australia's society.
657
00:39:51.480 --> 00:39:54.510
And she was an hour and a half late for the sitting,
658
00:39:54.510 --> 00:39:57.120
and she'd just arrived back from Newcastle,
659
00:39:57.120 --> 00:39:59.763
and she was sitting in this brown Parker chair in a,
660
00:40:00.973 --> 00:40:01.806
I don't wanna give away too much,
661
00:40:01.806 --> 00:40:03.300
and you know, in an outfit,
662
00:40:03.300 --> 00:40:06.960
and fell asleep in the chair while I was drawing her.
663
00:40:06.960 --> 00:40:09.510
So I drew her sort of semi-asleep
664
00:40:09.510 --> 00:40:13.563
and with all the crumples on her jacket.
665
00:40:16.117 --> 00:40:20.760
And what I was trying to portray was this woman
666
00:40:20.760 --> 00:40:23.280
who had fought tirelessly
667
00:40:23.280 --> 00:40:25.920
for the betterment of Australia's society
668
00:40:25.920 --> 00:40:28.500
where most Australians wouldn't even know that
669
00:40:28.500 --> 00:40:31.020
asleep in this chair from exhaustion
670
00:40:31.020 --> 00:40:33.000
and a long-spanning career.
671
00:40:33.000 --> 00:40:36.300
And when I finally showed her the portrait,
672
00:40:36.300 --> 00:40:38.130
I didn't get a response.
673
00:40:38.130 --> 00:40:41.677
And I said to her, I said, "She doesn't like it."
674
00:40:41.677 --> 00:40:42.750
And they're like, "No, you're being paranoid."
675
00:40:42.750 --> 00:40:44.450
I was like, "She doesn't like it."
676
00:40:45.480 --> 00:40:50.160
And then I called, and she was like, "I am a happy,
677
00:40:50.160 --> 00:40:54.180
colourful, happy-go-lucky, colourful, bubbly person,
678
00:40:54.180 --> 00:40:59.070
and you have painted me as cold and malice and calculating."
679
00:40:59.070 --> 00:41:01.960
And I was like, "No, you don't understand."
680
00:41:01.960 --> 00:41:06.060
Like, I had to explain, you know, the whole reasoning.
681
00:41:06.060 --> 00:41:07.860
But her husband really liked the painting,
682
00:41:07.860 --> 00:41:11.700
so at least someone did, yeah.
683
00:41:11.700 --> 00:41:13.653
Anyway, so you never quite know.
684
00:41:14.850 --> 00:41:17.580
I think I've heard a lot of stories,
685
00:41:17.580 --> 00:41:20.850
actually, about John Brack's sitters
686
00:41:20.850 --> 00:41:22.770
having a very similar response.
687
00:41:22.770 --> 00:41:24.330
Really? Yeah, yeah.
Yeah, yeah.
688
00:41:24.330 --> 00:41:29.163
Sort of just not being,
689
00:41:30.666 --> 00:41:31.980
or just being surprised, I think,
690
00:41:31.980 --> 00:41:36.450
by what an artist I brings to your appearance.
691
00:41:36.450 --> 00:41:39.510
So, but the appearance that we know of ourselves
692
00:41:39.510 --> 00:41:40.830
is a construct as well.
693
00:41:40.830 --> 00:41:44.220
We don't see ourselves the way people outside of us.
694
00:41:44.220 --> 00:41:49.220
We see what we see on a selfie or in a mirror.
695
00:41:49.620 --> 00:41:52.830
But people see us in 3D, and they see us,
696
00:41:52.830 --> 00:41:54.390
you know, from their own perspective.
697
00:41:54.390 --> 00:41:57.090
So I always find it fascinating,
698
00:41:57.090 --> 00:41:58.740
our own personal responses
699
00:41:58.740 --> 00:42:01.260
to our appearance and how we look.
700
00:42:01.260 --> 00:42:05.460
Yeah, and yeah,
701
00:42:05.460 --> 00:42:10.140
like, when I had a few like issues,
702
00:42:10.140 --> 00:42:15.040
and I thought, oh, so I did a self-portrait
703
00:42:16.170 --> 00:42:17.523
through my cupboard mirror,
704
00:42:19.998 --> 00:42:23.193
and then because I'm quite a prude sort of, I don't,
705
00:42:24.570 --> 00:42:26.190
like a lot of sittings I've gone to,
706
00:42:26.190 --> 00:42:28.590
people ask to take their clothes off, and sort of,
707
00:42:28.590 --> 00:42:31.230
I'm completely shocked every single time,
708
00:42:31.230 --> 00:42:33.181
like horrified.
(Gill laughing)
709
00:42:33.181 --> 00:42:34.583
But I've gotten used to it now.
710
00:42:36.180 --> 00:42:37.410
So I did this self-portrait,
711
00:42:37.410 --> 00:42:42.300
and like, I had a very similar reaction to,
712
00:42:42.300 --> 00:42:47.110
like, I found it really confronting to do my own portrait.
713
00:42:47.110 --> 00:42:48.840
Okay.
Yeah.
714
00:42:48.840 --> 00:42:51.033
Because again, it's like, you know,
715
00:42:53.577 --> 00:42:56.400
I think, yeah, it's that thing if you have a perception
716
00:42:56.400 --> 00:42:59.610
and I guess it's a fluid perception of self,
717
00:42:59.610 --> 00:43:03.303
and I mean, a painting or a photograph is a very one,
718
00:43:05.490 --> 00:43:08.820
it's not fluid, it's a static presentation.
719
00:43:08.820 --> 00:43:12.180
So it's again, that thing of how do you capture
720
00:43:12.180 --> 00:43:14.070
the entirety of the person,
721
00:43:14.070 --> 00:43:19.070
like, you know, in a static image.
722
00:43:22.183 --> 00:43:23.310
Yeah, and I think-
Actually-
723
00:43:23.310 --> 00:43:24.420
Yeah.
Oh, sorry.
724
00:43:24.420 --> 00:43:27.360
I think the, I do think artists do bring
725
00:43:27.360 --> 00:43:32.250
a lot of their own personality
726
00:43:32.250 --> 00:43:36.573
and experience to the interpretation of a painting.
727
00:43:38.850 --> 00:43:41.670
That leads into your, to a discussion of your,
728
00:43:41.670 --> 00:43:43.920
the symbolism and in your,
729
00:43:43.920 --> 00:43:45.420
that you bring into your portraits, too.
730
00:43:45.420 --> 00:43:47.826
There's always little hidden symbols, isn't there?
731
00:43:47.826 --> 00:43:49.113
Yeah, yeah, I think,
732
00:43:51.570 --> 00:43:56.570
yeah, it's almost like a decoding of the person.
733
00:43:57.030 --> 00:44:01.500
And I'm also aware that, you know,
734
00:44:01.500 --> 00:44:04.830
especially like if it's a commissioned work,
735
00:44:04.830 --> 00:44:08.400
or even when it's not a commissioned work that, you know,
736
00:44:08.400 --> 00:44:11.625
hopefully it doesn't end up in a U-Haul bin.
737
00:44:11.625 --> 00:44:14.370
(Gill laughs)
But you know,
738
00:44:14.370 --> 00:44:17.133
an individual is going to be living with this.
739
00:44:19.200 --> 00:44:21.120
I mean, the whole communication of art
740
00:44:21.120 --> 00:44:24.750
is that it's observed, and so, you know,
741
00:44:24.750 --> 00:44:29.750
how does the painting give more than the initial,
742
00:44:29.790 --> 00:44:31.530
you know, like you have your initial,
743
00:44:31.530 --> 00:44:36.090
like that it can continue the conversation, you know,
744
00:44:36.090 --> 00:44:39.450
for a lifetime, or not a lifetime, like, but yeah.
745
00:44:39.450 --> 00:44:43.650
So it's, again, like I think there's,
746
00:44:43.650 --> 00:44:47.613
you know, like it's quite, yeah, yeah.
747
00:44:50.377 --> 00:44:51.840
Is everyone going okay?
748
00:44:51.840 --> 00:44:56.280
Yeah, somebody has mentioned
749
00:44:56.280 --> 00:44:58.560
that you appear to be pressing hard
750
00:44:58.560 --> 00:45:00.720
while drawing as opposed to sketching.
751
00:45:00.720 --> 00:45:01.830
Would you agree with that?
752
00:45:01.830 --> 00:45:04.803
Yes, I've cracked about four pencils.
753
00:45:08.940 --> 00:45:10.170
I don't know why.
754
00:45:10.170 --> 00:45:14.083
I just always end up pressing very hard, and yeah,
755
00:45:14.083 --> 00:45:15.930
I just had to go back over the face
756
00:45:15.930 --> 00:45:18.660
because the lines of the face
757
00:45:18.660 --> 00:45:22.623
were not as hard as what I'm doing now.
758
00:45:23.618 --> 00:45:26.133
Is it something about the deliberate,
759
00:45:27.347 --> 00:45:29.730
you know, you are embracing the line
760
00:45:29.730 --> 00:45:31.140
regardless of how it comes out.
761
00:45:31.140 --> 00:45:33.890
Is there something about the deliberateness of that or?
762
00:45:35.160 --> 00:45:37.800
Yes, and I think it could be actually
763
00:45:37.800 --> 00:45:42.800
that as I concentrate,
764
00:45:43.020 --> 00:45:46.080
I don't know, maybe it's a, it could be
765
00:45:46.080 --> 00:45:48.590
as I get more anxious I press harder,
766
00:45:48.590 --> 00:45:53.590
or I don't, yeah, or maybe as I concentrate less,
767
00:45:54.270 --> 00:45:56.193
like, I don't know, it just,
768
00:45:58.890 --> 00:46:01.230
maybe as the line becomes more assured-
769
00:46:01.230 --> 00:46:02.400
Yes.
770
00:46:02.400 --> 00:46:05.400
It gets harder, that's probably what it,
771
00:46:05.400 --> 00:46:08.670
I'm trying to figure it out as I talk, but yeah.
772
00:46:08.670 --> 00:46:10.740
Yeah, as I'm thinking less about what I'm doing,
773
00:46:10.740 --> 00:46:13.083
the line definitely gets harder.
774
00:46:15.810 --> 00:46:17.070
Does that answer it?
775
00:46:17.070 --> 00:46:18.720
And do you use an eraser?
776
00:46:18.720 --> 00:46:19.920
No, I don't use an eraser.
777
00:46:19.920 --> 00:46:20.940
I knew that was gonna be the answer,
778
00:46:20.940 --> 00:46:23.213
but I wanted to (laughs), wanted to ask it anyway.
779
00:46:23.213 --> 00:46:25.135
No rubbers and no erasers.
780
00:46:25.135 --> 00:46:26.370
(both laughing)
781
00:46:26.370 --> 00:46:31.267
Sorry, that was uncalled-for.
782
00:46:32.130 --> 00:46:33.600
Abby's finding it incredibly hard
783
00:46:33.600 --> 00:46:35.400
not to shade, which is-
784
00:46:35.400 --> 00:46:39.270
Oh, I'm trying to save the shading,
785
00:46:39.270 --> 00:46:41.250
'cause you said we're halfway through, didn't you?
786
00:46:41.250 --> 00:46:42.840
So-
No, we are sort of,
787
00:46:42.840 --> 00:46:46.560
well, sorry, we're 45 minutes in to-
788
00:46:46.560 --> 00:46:47.580
45 minutes in?
789
00:46:47.580 --> 00:46:48.413
Yes.
Okay.
790
00:46:50.190 --> 00:46:55.190
I will go back and shade at some, like probably after.
791
00:46:55.260 --> 00:46:59.793
I just wanted to get most of it down first.
792
00:47:05.310 --> 00:47:09.153
And do you use a pen, a marker often or ever?
793
00:47:10.380 --> 00:47:12.720
No, I like the traditionalism.
794
00:47:12.720 --> 00:47:17.370
I like the feel and the, if I had,
795
00:47:17.370 --> 00:47:20.760
I view, like, I've used borrows before and stuff,
796
00:47:20.760 --> 00:47:23.280
like, I guess use whatever utensil's available.
797
00:47:23.280 --> 00:47:25.650
But I do like the, I think there's something
798
00:47:25.650 --> 00:47:29.640
very traditional with a pencil, you know,
799
00:47:29.640 --> 00:47:32.643
it harks back to like, it's such a,
800
00:47:33.990 --> 00:47:37.320
it's like the, you know, like the original.
801
00:47:37.320 --> 00:47:40.143
It's an original source, yeah.
802
00:47:47.430 --> 00:47:48.690
One of our friends on Facebook
803
00:47:48.690 --> 00:47:51.540
wonders if you use music when you're working at all.
804
00:47:51.540 --> 00:47:53.340
No, I prefer silence
805
00:47:53.340 --> 00:47:56.943
because I feel like the music,
806
00:47:59.820 --> 00:48:04.500
I feel like music influences what you're doing.
807
00:48:04.500 --> 00:48:07.770
And, well, the only time I play music
808
00:48:07.770 --> 00:48:10.560
is I have a neighbour who blasts
809
00:48:10.560 --> 00:48:15.560
like strange Hare Krishna music every now and then,
810
00:48:16.080 --> 00:48:18.993
and I have to drown it out with my own music.
811
00:48:20.430 --> 00:48:22.053
But yeah, generally silence.
812
00:48:23.970 --> 00:48:25.920
But that's a personal preference
813
00:48:25.920 --> 00:48:28.590
more than anything.
Yeah, yeah, of course.
814
00:48:33.330 --> 00:48:34.860
I'm one of those people who's never been able
815
00:48:34.860 --> 00:48:36.990
to concentrate when there's music going on.
816
00:48:36.990 --> 00:48:38.910
I end up putting, I remember university,
817
00:48:38.910 --> 00:48:40.800
trying to write essays or trying to do a piece of work,
818
00:48:40.800 --> 00:48:42.540
and you end up writing the lyrics to the song.
819
00:48:42.540 --> 00:48:44.314
Yeah, yeah, yeah.
820
00:48:44.314 --> 00:48:46.164
It's like, come on, focus.
Yeah.
821
00:48:55.710 --> 00:48:57.847
Linda's wondering, she says,
822
00:48:57.847 --> 00:48:59.040
"From what you've already told us,
823
00:48:59.040 --> 00:49:01.050
I'm assuming you don't take a reference photo
824
00:49:01.050 --> 00:49:02.430
to take away for the painting?"
825
00:49:02.430 --> 00:49:03.827
Is that right?
Yeah, I do.
826
00:49:03.827 --> 00:49:05.100
I take, I do-
You do? Yep.
827
00:49:05.100 --> 00:49:07.440
Reference photos for the colour.
828
00:49:07.440 --> 00:49:09.190
Ah.
For the colours
829
00:49:11.642 --> 00:49:15.820
and if there's shadows and things like that, yeah, yeah.
830
00:49:17.490 --> 00:49:18.440
Thank you.
831
00:49:24.930 --> 00:49:26.220
If we, how long do we have?
832
00:49:26.220 --> 00:49:28.860
I'm just wondering if I do add colour or keep at pencil.
833
00:49:28.860 --> 00:49:30.530
So it's 20 past 11,
834
00:49:30.530 --> 00:49:33.180
so we have another hour and 10 minutes.
835
00:49:33.180 --> 00:49:34.247
But for this pose?
836
00:49:34.247 --> 00:49:35.633
Oh no, we have another 10 minutes for this one.
837
00:49:35.633 --> 00:49:37.511
Another 10?
838
00:49:37.511 --> 00:49:39.990
So I'm not gonna, oh, I'll see how I go.
839
00:49:39.990 --> 00:49:41.190
It's up to you Caroline, though.
840
00:49:41.190 --> 00:49:42.810
If you wanna keep going on the one,
841
00:49:42.810 --> 00:49:44.520
we can keep going on the one.
842
00:49:44.520 --> 00:49:46.020
How is everyone, are they,
843
00:49:46.020 --> 00:49:48.960
how is every, is everyone sort of done with this pose,
844
00:49:48.960 --> 00:49:53.010
or how are you feeling, you're okay?
845
00:49:53.010 --> 00:49:53.960
It's good.
846
00:49:56.310 --> 00:49:58.230
I can still see a lot of people busily working.
847
00:49:58.230 --> 00:50:01.053
Yeah, well, is there a preference
848
00:50:01.053 --> 00:50:03.750
that people would prefer to work on this for long?
849
00:50:03.750 --> 00:50:06.210
'Cause we can do a shorter pose for the last one, or.
850
00:50:06.210 --> 00:50:07.043
Okay.
851
00:50:10.320 --> 00:50:15.320
Let's leave people to comment, and I'll take a survey
852
00:50:15.690 --> 00:50:18.190
once we've had a few people put their comments in.
853
00:50:20.220 --> 00:50:23.510
We should start a poll, shouldn't we?
854
00:50:23.510 --> 00:50:24.933
We have the technology.
855
00:50:27.210 --> 00:50:29.100
I mean now that, like,
856
00:50:29.100 --> 00:50:32.103
that you've said 10 minutes, so I'm just gonna try and,
857
00:50:34.470 --> 00:50:36.674
I'm not gonna use colour,
858
00:50:36.674 --> 00:50:40.563
and I'm gonna quickly try and add all the shading in.
859
00:50:51.390 --> 00:50:53.130
Oh, my goodness.
860
00:50:53.130 --> 00:50:55.080
We're almost straight down the middle.
861
00:50:55.080 --> 00:50:57.863
Thank you, everybody, for your comments. This is awesome.
862
00:50:59.790 --> 00:51:01.140
I think what we'll do, then,
863
00:51:01.140 --> 00:51:02.940
since we're sort of almost half-half,
864
00:51:02.940 --> 00:51:05.070
is that we'll stick to our hour and our hour.
865
00:51:05.070 --> 00:51:05.903
What do you think?
866
00:51:05.903 --> 00:51:06.870
Yep.
Okay.
867
00:51:06.870 --> 00:51:08.430
So we'll do another 10 minutes on this one,
868
00:51:08.430 --> 00:51:11.790
and then we'll change to the next pose for the last hour.
869
00:51:11.790 --> 00:51:14.340
And have a lot of people used colour?
870
00:51:14.340 --> 00:51:16.830
Nobody, I don't think anyone started the colour yet,
871
00:51:16.830 --> 00:51:19.230
but they'd like to see some, if that's possible,
872
00:51:20.070 --> 00:51:20.910
if you have-
873
00:51:20.910 --> 00:51:23.100
They would like me, to see me add colour?
874
00:51:23.100 --> 00:51:23.933
A little bit.
875
00:51:23.933 --> 00:51:25.530
How long do I have? (laughs)
876
00:51:25.530 --> 00:51:26.640
Well, maybe not for this pose.
877
00:51:26.640 --> 00:51:28.920
Maybe we can have a little, we can change it up.
878
00:51:28.920 --> 00:51:31.220
Anyway, we'll let, it will be informed by you.
879
00:51:32.520 --> 00:51:37.520
Okay, I will finish this bit and then.
880
00:51:39.150 --> 00:51:40.500
We're onto some shading now?
881
00:51:40.500 --> 00:51:41.730
That's great.
Yeah, well,
882
00:51:41.730 --> 00:51:43.323
I'm just shading in the hair.
883
00:51:48.690 --> 00:51:50.250
So yeah, we'll stick to the 10 minutes more
884
00:51:50.250 --> 00:51:52.590
on this pose, and then we'll change it to another one.
885
00:51:52.590 --> 00:51:55.190
Thanks, everyone, for letting me know. That's great.
886
00:51:58.230 --> 00:51:59.670
We've had some people who are using
887
00:51:59.670 --> 00:52:02.010
some coloured oil pastels
888
00:52:02.010 --> 00:52:03.213
and pencils.
Oh, wow.
889
00:52:06.900 --> 00:52:11.410
Yeah, I really like the red on red
890
00:52:12.244 --> 00:52:16.080
of Georgia's dress and, not Georgia, sorry.
891
00:52:16.080 --> 00:52:18.270
Sonya.
Sonya's dress.
892
00:52:18.270 --> 00:52:21.883
I do like Georgia's outfit, too, (laughs)
893
00:52:23.640 --> 00:52:25.443
yeah, of Sonya's dress and,
894
00:52:29.160 --> 00:52:31.060
just gonna you put the fingernails in,
895
00:52:33.840 --> 00:52:35.013
on the red chairs.
896
00:52:47.400 --> 00:52:50.970
What we'll do is when we've finished this,
897
00:52:50.970 --> 00:52:53.553
seven minutes now on this sketch,
898
00:52:54.510 --> 00:52:59.250
is we might ask our audience while we reset to another pose,
899
00:52:59.250 --> 00:53:01.980
we might ask our lovely audience to, sorry,
900
00:53:01.980 --> 00:53:05.280
audience, you're not audience, you're participants,
901
00:53:05.280 --> 00:53:09.000
artists to maybe hold up some of the work
902
00:53:09.000 --> 00:53:09.960
that they've been working on
903
00:53:09.960 --> 00:53:12.630
so we can have a little look at how it's going.
904
00:53:12.630 --> 00:53:16.650
The beauty of these workshops is that we can see,
905
00:53:16.650 --> 00:53:18.300
thanks to those people who have cameras on,
906
00:53:18.300 --> 00:53:19.620
that you're all busily working,
907
00:53:19.620 --> 00:53:21.540
but we don't actually get to see what you're working on
908
00:53:21.540 --> 00:53:24.270
until we have a pause and we hold it up.
909
00:53:24.270 --> 00:53:26.100
So we'll do at the end of this pose.
910
00:53:26.100 --> 00:53:27.750
How does that sound to everybody?
911
00:53:29.250 --> 00:53:30.083
That's great.
912
00:53:34.740 --> 00:53:37.500
Such a inspiring thing to see so many people
913
00:53:37.500 --> 00:53:38.750
busily creating.
Yeah.
914
00:53:41.434 --> 00:53:42.360
We've got people who are working
915
00:53:42.360 --> 00:53:44.130
with family members we can see.
916
00:53:44.130 --> 00:53:47.730
Some people just observing, some people in studios,
917
00:53:47.730 --> 00:53:51.003
some people in their bedrooms.
918
00:53:54.750 --> 00:53:57.540
When we change poses, Michael,
919
00:53:57.540 --> 00:53:59.340
we'll let Sonya have a little look.
920
00:53:59.340 --> 00:54:00.780
She will be able to see the big screen,
921
00:54:00.780 --> 00:54:03.360
but she's determinedly keeping her eyes fixed
922
00:54:03.360 --> 00:54:04.470
for you all at the moment.
923
00:54:04.470 --> 00:54:07.263
So but when we, when I ask people to hold up,
924
00:54:08.300 --> 00:54:10.470
we'll let Sonya have a look at your creations.
925
00:54:10.470 --> 00:54:14.400
Also, if anyone wants to send through
926
00:54:14.400 --> 00:54:17.250
some photos of their work at the end of the workshop,
927
00:54:17.250 --> 00:54:20.070
we adore that, 'cause it's not just,
928
00:54:20.070 --> 00:54:22.470
I mean, we get the fantastic view
929
00:54:22.470 --> 00:54:24.000
of being able to see everyone's work
930
00:54:24.000 --> 00:54:25.230
as part of the tech team on this,
931
00:54:25.230 --> 00:54:28.503
but there's a whole team of NPG people behind the scenes,
932
00:54:29.430 --> 00:54:30.900
our access and learning staff,
933
00:54:30.900 --> 00:54:32.820
and some people who weren't able to join us today
934
00:54:32.820 --> 00:54:34.590
but were really keen to work on this workshop,
935
00:54:34.590 --> 00:54:36.660
and we'd really love to share
936
00:54:36.660 --> 00:54:38.430
some of your creations with them as well.
937
00:54:38.430 --> 00:54:41.580
So if you feel comfortable sharing your creations
938
00:54:41.580 --> 00:54:43.590
on social media, that would be awesome,
939
00:54:43.590 --> 00:54:45.660
and tag us, @portraitau.
940
00:54:45.660 --> 00:54:49.890
Otherwise, Georg is putting our email address,
941
00:54:49.890 --> 00:54:51.060
I know not everyone's comfortable
942
00:54:51.060 --> 00:54:52.230
publicly sharing their work,
943
00:54:52.230 --> 00:54:56.520
but putting our email address into the chat functions
944
00:54:56.520 --> 00:54:59.010
on both places so you can email them through,
945
00:54:59.010 --> 00:55:00.723
and we'll share them to our staff.
946
00:55:02.970 --> 00:55:04.740
There's nothing we like better
947
00:55:04.740 --> 00:55:07.113
than Monday morning show-and-tell.
948
00:55:16.350 --> 00:55:19.260
Caroline, when we first set this
949
00:55:19.260 --> 00:55:21.570
or started to work on this pose,
950
00:55:21.570 --> 00:55:25.830
you were wanting to place Sonya in an environment.
951
00:55:25.830 --> 00:55:29.160
That's a key part of your work is having somebody
952
00:55:29.160 --> 00:55:31.620
in a space or in a location.
953
00:55:31.620 --> 00:55:33.663
Yeah, well, I think, yeah,
954
00:55:35.118 --> 00:55:37.018
it can be a bit more interesting than,
955
00:55:38.970 --> 00:55:43.970
well, I just, I think this just serendipitously worked well,
956
00:55:44.400 --> 00:55:47.280
like Sonya, the red dress, the red chairs.
957
00:55:47.280 --> 00:55:49.713
I liked the repetition of the chairs.
958
00:55:51.662 --> 00:55:55.867
And yeah, sometimes it can be more interesting,
959
00:55:55.867 --> 00:55:58.380
you know, to have the person in,
960
00:55:58.380 --> 00:56:00.393
I just realised I forgot her last foot,
961
00:56:03.024 --> 00:56:06.660
in an actual environment, so yeah.
962
00:56:09.660 --> 00:56:13.590
And if we had more time, I'd do the red.
963
00:56:13.590 --> 00:56:16.080
If I was to turn this into a painting as well,
964
00:56:16.080 --> 00:56:19.893
I'd do the red dress and the red chairs, yeah.
965
00:56:30.570 --> 00:56:33.280
I'm just drawing the love hearts of the socks on
966
00:56:35.160 --> 00:56:36.903
because they're very cute.
967
00:56:38.280 --> 00:56:39.780
We're not able to zoom out enough,
968
00:56:39.780 --> 00:56:40.867
unfortunately.
Oh, okay.
969
00:56:40.867 --> 00:56:42.720
'Cause people lose detail on there.
970
00:56:42.720 --> 00:56:44.940
Yeah, we've got, everyone has different devices.
971
00:56:44.940 --> 00:56:47.580
Some people are logging in on iPads,
972
00:56:47.580 --> 00:56:50.130
and it makes it a little bit tricky
973
00:56:50.130 --> 00:56:54.573
for us to get the distance without losing detail.
974
00:56:57.120 --> 00:57:00.450
But rest assured, there are some very lovely socks
975
00:57:00.450 --> 00:57:02.823
poking out from the bottom of that red dress.
976
00:57:42.540 --> 00:57:43.710
That's wonderful, Lisa.
977
00:57:43.710 --> 00:57:45.780
I love that you weren't able to resist the lure
978
00:57:45.780 --> 00:57:47.010
of the red in the shapes.
979
00:57:47.010 --> 00:57:50.220
Go for it. Run towards the red in the shapes.
980
00:57:50.220 --> 00:57:51.070
Yes.
981
00:58:19.320 --> 00:58:21.783
So a couple more minutes on this pose,
982
00:58:23.130 --> 00:58:25.230
and we'll let Sonya get some circulation
983
00:58:25.230 --> 00:58:26.460
back into her legs and arms.
984
00:58:26.460 --> 00:58:28.060
Yeah, you're right.
985
00:58:57.340 --> 00:58:59.820
Sue's wondering if you treat the inorganic stuff
986
00:58:59.820 --> 00:59:01.950
like chairs exactly the same as the person
987
00:59:01.950 --> 00:59:03.400
when you're drawing the line.
988
00:59:05.040 --> 00:59:07.680
In what? Yeah, I suppose.
989
00:59:07.680 --> 00:59:09.620
Well, no, I think a person's different
990
00:59:09.620 --> 00:59:14.620
to an inanimate object, but yeah, I suppose so, yeah.
991
00:59:14.790 --> 00:59:15.750
Same treatment, though,
992
00:59:15.750 --> 00:59:17.610
in terms of drawing the line.
Yeah, like these chairs
993
00:59:17.610 --> 00:59:22.230
are obviously not, it's more an impression
994
00:59:22.230 --> 00:59:24.360
as opposed to a duplicate.
995
00:59:24.360 --> 00:59:26.214
Yeah, lovely.
Yeah, yeah.
996
00:59:26.214 --> 00:59:27.356
And that's the, yeah,
997
00:59:27.356 --> 00:59:28.860
and that's the same way as we see the human.
998
00:59:28.860 --> 00:59:29.913
Yeah.
Great.
999
00:59:33.300 --> 00:59:34.860
'Cause I think that's what,
1000
00:59:34.860 --> 00:59:38.010
I think if you get, I mean this is,
1001
00:59:38.010 --> 00:59:41.290
like, some people are technically thoughtless
1002
00:59:42.360 --> 00:59:47.360
and obviously, you know, it's a incredible skill.
1003
00:59:48.330 --> 00:59:53.330
I think that, yeah, I think that's what the,
1004
00:59:53.430 --> 00:59:56.460
where the individual expression comes out,
1005
00:59:56.460 --> 00:59:59.013
like in just, yeah, your,
1006
00:59:59.880 --> 01:00:04.880
how your eye or your heart or your mind see an image
1007
01:00:06.780 --> 01:00:10.710
and say how you see the world as, you know?
1008
01:00:10.710 --> 01:00:11.790
Yes.
As opposed to trying
1009
01:00:11.790 --> 01:00:14.431
to duplicate the world, it's just like,
1010
01:00:14.431 --> 01:00:17.973
well, this is my response to it sort of thing, yeah.
1011
01:00:23.190 --> 01:00:24.023
How long?
1012
01:00:24.023 --> 01:00:24.856
All right, we are-
1013
01:00:24.856 --> 01:00:25.689
Oh, done?
1014
01:00:25.689 --> 01:00:26.690
I think we're on time.
1015
01:00:29.190 --> 01:00:31.320
Thank you, everyone. We're gonna reset.
1016
01:00:31.320 --> 01:00:34.950
So Sonya, thank you so much.
1017
01:00:34.950 --> 01:00:36.450
What a wonderful-
Thank you.
1018
01:00:36.450 --> 01:00:38.730
Rigid, I mean not rigid, that wasn't rigid at all.
1019
01:00:38.730 --> 01:00:42.210
What a wonderful still pose you held. Thank you so much.
1020
01:00:42.210 --> 01:00:44.550
Please feel free to have a little shake
1021
01:00:44.550 --> 01:00:45.383
and a move around.
1022
01:00:45.383 --> 01:00:48.660
Ooh, and Gill's just sitting casually in a chair. (laughs)
1023
01:00:48.660 --> 01:00:50.700
I'm kicking back here like having a great time
1024
01:00:50.700 --> 01:00:52.173
watching this process happen.
1025
01:00:54.030 --> 01:00:56.220
Gill, focus, so everybody,
1026
01:00:56.220 --> 01:00:59.550
I can see you up on the big screen here.
1027
01:00:59.550 --> 01:01:02.520
It would be really wonderful if you might be able
1028
01:01:02.520 --> 01:01:06.300
to hold up your creations so that we can have a look.
1029
01:01:06.300 --> 01:01:08.130
Now, get them nice and close to the screen
1030
01:01:08.130 --> 01:01:12.303
so that I can get, oh, yes, fantastic, look at that.
1031
01:01:13.200 --> 01:01:15.705
Oh, that's brilliant.
Oh, wow.
1032
01:01:15.705 --> 01:01:18.540
Oh, wow, oh, my gosh.
1033
01:01:18.540 --> 01:01:21.000
Oh, look at that fantastic blocked-out red.
1034
01:01:21.000 --> 01:01:22.020
I can see that some people
1035
01:01:22.020 --> 01:01:23.670
have brought the red through really strongly.
1036
01:01:23.670 --> 01:01:25.023
That is brilliant.
1037
01:01:25.860 --> 01:01:29.460
Oh, this is so exciting, so many different styles!
1038
01:01:29.460 --> 01:01:32.460
Look at all the different DNA that we've got going on there.
1039
01:01:33.600 --> 01:01:35.340
You know, I've seen some, I see some people
1040
01:01:35.340 --> 01:01:38.010
have almost reversed, and they've worked on that background
1041
01:01:38.010 --> 01:01:42.630
really hard and just left this sort of human-shaped space
1042
01:01:42.630 --> 01:01:44.733
in front, which is super exciting, too.
1043
01:01:48.210 --> 01:01:49.503
Ah, just wonderful.
1044
01:01:51.000 --> 01:01:54.030
I'd really advise or encourage everybody to,
1045
01:01:54.030 --> 01:01:55.800
ooh, and Gill's on camera again.
1046
01:01:55.800 --> 01:01:57.330
Damn. (laughs)
Wow, Kathy.
1047
01:01:57.330 --> 01:01:59.396
I really need to focus.
1048
01:01:59.396 --> 01:02:00.229
Kathy, those are-
I'd encourage everybody
1049
01:02:00.229 --> 01:02:02.210
to flick through on Zoom.
very interesting.
1050
01:02:02.210 --> 01:02:03.660
You can see there're lots of little boxes.
1051
01:02:03.660 --> 01:02:05.250
If you can flick through using,
1052
01:02:05.250 --> 01:02:08.190
there's about five screens I think that you can get through.
1053
01:02:08.190 --> 01:02:09.390
Just flick through and have a look
1054
01:02:09.390 --> 01:02:11.460
at other people's creations
1055
01:02:11.460 --> 01:02:12.870
whilst you're holding up your own.
1056
01:02:12.870 --> 01:02:14.520
It's just such a terrific community
1057
01:02:14.520 --> 01:02:16.323
to see everybody creating together.
1058
01:02:17.400 --> 01:02:21.000
Oh, hello, hello, oh, so beautiful.
1059
01:02:21.000 --> 01:02:23.853
Well done, everyone. That's exciting.
1060
01:02:25.230 --> 01:02:29.280
So we're gonna work with the same dress for the next pose,
1061
01:02:29.280 --> 01:02:31.230
but we're gonna have a different setting.
1062
01:02:31.230 --> 01:02:35.190
So I'm gonna let our guys move the cameras into position.
1063
01:02:35.190 --> 01:02:37.410
Oh, that's gorgeous.
Yes, yes!
1064
01:02:37.410 --> 01:02:38.790
I wanna shout out people's names,
1065
01:02:38.790 --> 01:02:40.470
but I feel as though like some people
1066
01:02:40.470 --> 01:02:43.860
might be using their family members' iPads,
1067
01:02:43.860 --> 01:02:48.600
but there's some fantastic works coming through.
1068
01:02:48.600 --> 01:02:49.863
Thank you, everybody.
1069
01:02:51.030 --> 01:02:54.300
Glorious, oh, I love it!
1070
01:02:54.300 --> 01:02:55.980
There's some awesome orbital lines
1071
01:02:55.980 --> 01:02:58.563
coming out of that one, too, that's fantastic.
1072
01:03:00.270 --> 01:03:04.260
I love seeing everybody challenge themselves to, you know,
1073
01:03:04.260 --> 01:03:06.750
find their own style and their own personal expression.
1074
01:03:06.750 --> 01:03:08.160
This is exciting!
1075
01:03:08.160 --> 01:03:10.830
I think this is probably one of the first programmes
1076
01:03:10.830 --> 01:03:12.750
that we've done where people have been free
1077
01:03:12.750 --> 01:03:15.030
to experiment with their own style
1078
01:03:15.030 --> 01:03:18.840
instead of trying to mimic Caroline's down to a T,
1079
01:03:18.840 --> 01:03:21.780
you know, and it's exciting to see that come through.
1080
01:03:21.780 --> 01:03:23.730
I hope everybody's finding that as valuable
1081
01:03:23.730 --> 01:03:26.883
as well as we are observing it, it's terrific.
1082
01:03:29.460 --> 01:03:32.160
We've just got the cameras being relocated.
1083
01:03:32.160 --> 01:03:35.163
We're gonna get Mark to have a little look.
1084
01:03:36.450 --> 01:03:38.343
Caroline, you can talk if you like.
1085
01:03:39.630 --> 01:03:41.790
We're just trying to pick out a pose.
1086
01:03:41.790 --> 01:03:43.350
Pick out a pose, that's fine, too.
1087
01:03:43.350 --> 01:03:46.743
Oh, we've got, we can watch.
Do people have opinion?
1088
01:03:46.743 --> 01:03:48.712
No, they don't-
Do you want to keep her?
1089
01:03:48.712 --> 01:03:50.370
Yeah, it's okay, we'll have a chat to Caroline.
1090
01:03:50.370 --> 01:03:53.065
That's, okay, Caroline, you set her, and we'll work
1091
01:03:53.065 --> 01:03:54.540
with your decision.
I guess we're being
1092
01:03:54.540 --> 01:03:55.770
a bit more organic at the,
1093
01:03:55.770 --> 01:03:58.650
we're just deciding on a second pose.
1094
01:03:58.650 --> 01:04:02.010
I guess if anyone has a preference,
1095
01:04:02.010 --> 01:04:04.920
if they'd like it more formal seated or-
1096
01:04:04.920 --> 01:04:06.330
Oh, I think we had a formal one.
1097
01:04:06.330 --> 01:04:08.670
So this one looks pretty great to me.
1098
01:04:08.670 --> 01:04:11.710
Hopefully we'll have a little look at people.
1099
01:04:11.710 --> 01:04:13.673
We're gonna get the cameras set.
1100
01:04:13.673 --> 01:04:15.000
There'll just be a little bit of fiddling
1101
01:04:15.000 --> 01:04:17.070
while we set up the best shots.
1102
01:04:17.070 --> 01:04:18.320
Do you want me to grab a,
1103
01:04:19.632 --> 01:04:22.170
do you want me to grab another piece of paper for you?
1104
01:04:22.170 --> 01:04:23.003
Or you've got one under there.
1105
01:04:23.003 --> 01:04:24.653
I think I've got one under there.
1106
01:04:26.506 --> 01:04:29.490
Great.
1107
01:04:29.490 --> 01:04:30.323
Terrific.
1108
01:04:32.070 --> 01:04:34.765
Is that your grandmother's watch?
1109
01:04:34.765 --> 01:04:35.674
It's my grandfather's watch. (laughs)
1110
01:04:35.674 --> 01:04:37.770
Oh, your grandfather's watch, that's fantastic.
1111
01:04:37.770 --> 01:04:39.470
Oh, I'm glad that your grandfather's watch
1112
01:04:39.470 --> 01:04:40.860
is gonna be represented in these shows.
1113
01:04:40.860 --> 01:04:43.497
Well, it does match my socks, so it's good.
1114
01:04:48.298 --> 01:04:50.215
All right.
It's ready.
1115
01:04:52.308 --> 01:04:53.970
You've already set your materials.
1116
01:04:53.970 --> 01:04:56.220
I'm wandering around. Oh goodness, where am I?
1117
01:04:56.220 --> 01:04:57.990
I'm standing in shot. I'm out of shot.
1118
01:04:57.990 --> 01:05:00.393
Dear me, clearly I'm not professional presenter.
1119
01:05:01.860 --> 01:05:06.213
All right, how are we going there, team?
1120
01:05:07.350 --> 01:05:08.700
Yeah, you're happy with that?
1121
01:05:08.700 --> 01:05:10.590
This fits me around, right?
1122
01:05:11.847 --> 01:05:13.620
Are we happy with that?
1123
01:05:13.620 --> 01:05:14.500
If you're happy, Caroline, we're happy.
1124
01:05:14.500 --> 01:05:16.650
Or is that very similar to,
1125
01:05:16.650 --> 01:05:17.580
is that too similar?
1126
01:05:17.580 --> 01:05:19.233
Do people have an opinion?
1127
01:05:20.177 --> 01:05:21.570
No.
1128
01:05:21.570 --> 01:05:22.403
Yeah, that's fine.
1129
01:05:22.403 --> 01:05:24.400
If we can, sorry, G, what was that?
1130
01:05:25.375 --> 01:05:27.120
If we can turn slightly.
1131
01:05:27.120 --> 01:05:28.920
Which way?
1132
01:05:28.920 --> 01:05:31.230
Yeah, the other, yeah?
1133
01:05:31.230 --> 01:05:33.020
Yeah, that you move there.
1134
01:05:33.020 --> 01:05:34.347
How we going?
1135
01:05:34.347 --> 01:05:36.957
Oh, thank you so much, that's very kind.
1136
01:05:36.957 --> 01:05:38.933
Are people happy with that?
1137
01:05:40.621 --> 01:05:41.571
All right.
1138
01:05:43.112 --> 01:05:43.950
Okay.
They're asking,
1139
01:05:43.950 --> 01:05:45.480
are you happy with another side on?
1140
01:05:45.480 --> 01:05:47.190
We've had somebody say maybe a front.
1141
01:05:47.190 --> 01:05:48.640
Front one, yeah.
1142
01:05:49.573 --> 01:05:51.455
All right.
1143
01:05:51.455 --> 01:05:53.310
No, I'll move you, how about that?
1144
01:05:53.310 --> 01:05:56.023
That sounds like a good plan, here I am.
1145
01:05:56.023 --> 01:05:56.856
Okay.
All right.
1146
01:05:56.856 --> 01:05:58.773
We'll just slightly adjust this way.
1147
01:06:01.410 --> 01:06:03.690
And how's that?
1148
01:06:03.690 --> 01:06:05.190
Are you happy with that, Caroline?
1149
01:06:05.190 --> 01:06:06.213
Yep.
Good.
1150
01:06:07.380 --> 01:06:09.745
And I can hold it here, actually.
1151
01:06:09.745 --> 01:06:10.578
Yeah.
1152
01:06:10.578 --> 01:06:11.430
(Mark speaking faintly)
1153
01:06:11.430 --> 01:06:16.230
All right, lovely, beautiful.
1154
01:06:16.230 --> 01:06:18.240
And hopefully with this background,
1155
01:06:18.240 --> 01:06:21.060
people will be able to see your gorgeous dark hair as well,
1156
01:06:21.060 --> 01:06:24.000
Sonya, because we blended into the background
1157
01:06:24.000 --> 01:06:25.150
a little bit last time.
1158
01:06:28.060 --> 01:06:30.657
(indistinct) did you put it around her?
1159
01:06:30.657 --> 01:06:32.510
Yeah.
1160
01:06:32.510 --> 01:06:35.120
Do you have a spot to focus on?
1161
01:06:35.120 --> 01:06:37.230
Okay.
1162
01:06:37.230 --> 01:06:38.310
Jay's wondering if you use
1163
01:06:38.310 --> 01:06:41.340
a waterproof pencil or know of one.
1164
01:06:41.340 --> 01:06:43.029
A waterproof,
1165
01:06:43.029 --> 01:06:44.370
you can spray with hairspray after.
1166
01:06:44.370 --> 01:06:47.310
Ah, okay, we can spray with hairspray afterwards.
1167
01:06:47.310 --> 01:06:50.493
Or actual professional-
1168
01:06:51.780 --> 01:06:52.930
Lovely.
hairspray.
1169
01:06:55.885 --> 01:06:57.160
Good.
1170
01:06:57.160 --> 01:06:58.660
Yeah, yeah, yeah.
1171
01:07:05.640 --> 01:07:09.660
All right, I think we're just about good to go.
1172
01:07:09.660 --> 01:07:14.660
So we have about just under an hour on this pose.
1173
01:07:22.410 --> 01:07:24.093
I'm gonna relocate myself.
1174
01:07:28.560 --> 01:07:30.240
Under an hour? How long do we have?
1175
01:07:30.240 --> 01:07:34.620
Just under an hour, Caroline, unfortunately.
1176
01:07:34.620 --> 01:07:36.920
We would love to be able to spend longer, but.
1177
01:07:54.810 --> 01:07:58.180
I mean, the beauty of this workshop
1178
01:07:59.070 --> 01:08:02.490
is that people can continue to explore
1179
01:08:02.490 --> 01:08:03.930
their own style afterwards.
1180
01:08:03.930 --> 01:08:05.433
You know, this is not the be-all or end-all.
1181
01:08:05.433 --> 01:08:07.113
It's just a start, isn't it?
1182
01:08:10.530 --> 01:08:12.150
I'd actually love it if we inspired people
1183
01:08:12.150 --> 01:08:14.250
to continue drawing all day.
1184
01:08:14.250 --> 01:08:15.150
Yeah.
1185
01:08:18.120 --> 01:08:19.870
I think definitely the more you do,
1186
01:08:22.387 --> 01:08:27.387
the more comfortable you get, the more comfortable it feels.
1187
01:09:15.390 --> 01:09:17.640
I think that would be fine, Francis.
1188
01:09:48.000 --> 01:09:50.970
All of our staff behind the scenes drink mineral water,
1189
01:09:50.970 --> 01:09:54.330
so our cameraman is very quietly trying to open his bottle
1190
01:09:54.330 --> 01:09:57.390
of mineral water without making a massive noise.
1191
01:09:57.390 --> 01:09:58.983
It's entertaining me no end.
1192
01:10:15.540 --> 01:10:19.620
People are enjoying this pose. It's a good one.
1193
01:10:19.620 --> 01:10:22.170
I hope it's a more comfortable seat for Sonya, too.
1194
01:11:30.957 --> 01:11:32.430
Ah, that's a good question, Abby.
1195
01:11:32.430 --> 01:11:34.590
There isn't usually a centralised place
1196
01:11:34.590 --> 01:11:39.590
where we pop all of the people's contributions afterwards.
1197
01:11:40.740 --> 01:11:44.010
Usually it depends on, some people like to share with us
1198
01:11:44.010 --> 01:11:46.020
but may not like to publicly share.
1199
01:11:46.020 --> 01:11:49.230
But I think the best way is to tag us in social media,
1200
01:11:49.230 --> 01:11:52.350
and that way we can kind of group them all together.
1201
01:11:52.350 --> 01:11:54.870
Georg will do that work behind the scenes.
1202
01:11:54.870 --> 01:11:57.570
So if you'd like to publicly share your work,
1203
01:11:57.570 --> 01:12:00.540
please do tag us on either Instagram
1204
01:12:00.540 --> 01:12:02.790
or Facebook, @portraitau.
1205
01:12:02.790 --> 01:12:04.640
You can also get us there on Twitter,
1206
01:12:06.660 --> 01:12:08.970
and Georg will do all of the work
1207
01:12:08.970 --> 01:12:12.933
to make sure that they're all grouped together for us.
1208
01:12:23.730 --> 01:12:26.460
Do you always start with the face, Caroline?
1209
01:12:26.460 --> 01:12:30.240
Yeah, yes, because-
1210
01:12:30.240 --> 01:12:31.500
Yes.
If it doesn't,
1211
01:12:31.500 --> 01:12:33.840
if the face doesn't work,
1212
01:12:33.840 --> 01:12:36.712
there's not much point any of the rest of it working.
1213
01:12:36.712 --> 01:12:39.212
(Gill laughs)
1214
01:12:53.190 --> 01:12:54.360
That's a good question, Marin.
1215
01:12:54.360 --> 01:12:56.433
We'll go into that throughout this pose.
1216
01:13:03.870 --> 01:13:05.187
What's the?
1217
01:13:05.187 --> 01:13:06.310
The question, sorry,
1218
01:13:06.310 --> 01:13:09.840
I was not wanting to interrupt your face concentration.
1219
01:13:09.840 --> 01:13:12.270
The question was if you could talk through the transition
1220
01:13:12.270 --> 01:13:16.113
from pencil to oil when you work in painting,
1221
01:13:17.400 --> 01:13:19.503
whether you redraw the lines in oil.
1222
01:13:26.503 --> 01:13:29.550
Well, what's the, do I, what's,
1223
01:13:29.550 --> 01:13:31.170
can you repeat the question?
1224
01:13:31.170 --> 01:13:33.000
Whether you can talk through your transition
1225
01:13:33.000 --> 01:13:35.403
from the pencil sketch to your painting.
1226
01:13:36.810 --> 01:13:40.860
I follow the drawing very exactly.
1227
01:13:40.860 --> 01:13:45.860
And I have like a, I basically etch it
1228
01:13:46.590 --> 01:13:49.560
sort of into every layer of the work.
1229
01:13:49.560 --> 01:13:53.903
So for me, the drawing is, yeah,
1230
01:13:55.620 --> 01:13:58.950
it becomes etched into every layer of the,
1231
01:13:58.950 --> 01:14:01.800
that layer of the painting, yeah.
1232
01:14:01.800 --> 01:14:04.050
So it's almost a drawn painting.
1233
01:14:04.050 --> 01:14:09.050
Yes, it's very much the line that, but yeah.
1234
01:14:24.759 --> 01:14:28.320
I'm gonna try and work fast enough to add colour,
1235
01:14:28.320 --> 01:14:29.520
so it's gonna be...
1236
01:14:32.010 --> 01:14:34.170
We're putting you under pressure today, aren't we?
1237
01:14:34.170 --> 01:14:35.003
Huh?
1238
01:14:35.003 --> 01:14:36.673
We're putting you under pressure today.
1239
01:14:36.673 --> 01:14:38.130
I would've very much liked
1240
01:14:38.130 --> 01:14:40.350
to have added colour to the last one,
1241
01:14:40.350 --> 01:14:44.563
but that like, there's also, I mean, if this was in,
1242
01:14:47.850 --> 01:14:51.330
like, if I was drawing someone up,
1243
01:14:51.330 --> 01:14:55.410
that's why I'd sort of leave the colour aspect to home,
1244
01:14:55.410 --> 01:14:58.543
so to speak, 'cause it does take so much longer.
1245
01:14:58.543 --> 01:15:00.213
Yeah, and you know,
1246
01:15:00.213 --> 01:15:03.450
that just gives us the opportunity to bring you back again.
1247
01:15:03.450 --> 01:15:04.283
Oh, yeah, yeah.
1248
01:15:04.283 --> 01:15:06.060
So we do drawing the line today,
1249
01:15:06.060 --> 01:15:08.550
and we work on colour next time.
1250
01:15:08.550 --> 01:15:09.787
Actually, I'm gonna-
Caroline's like,
1251
01:15:09.787 --> 01:15:11.220
"I'm gonna run screaming from the building
1252
01:15:11.220 --> 01:15:12.510
after this experience.
1253
01:15:12.510 --> 01:15:15.687
I'm never coming back again." (laughing)
1254
01:15:16.576 --> 01:15:19.411
I'll go, "I've given up on it." (laughs)
1255
01:15:19.411 --> 01:15:21.744
"That's not worth my paper."
1256
01:15:26.040 --> 01:15:28.623
Oh, wait, there we go.
1257
01:15:44.220 --> 01:15:45.210
Yeah, this is a,
1258
01:15:45.210 --> 01:15:47.490
I don't normally add colour at this stage,
1259
01:15:47.490 --> 01:15:50.636
so it's a bit out of my element,
1260
01:15:50.636 --> 01:15:55.636
so I'm just gonna give it a go, destroy it IRL.
1261
01:16:10.047 --> 01:16:12.000
Are you more comfortable with the chair,
1262
01:16:12.000 --> 01:16:13.680
with your materials on that side,
1263
01:16:13.680 --> 01:16:15.990
or is it possible for me to move it to the other side?
1264
01:16:15.990 --> 01:16:16.823
No, it's fine.
1265
01:16:16.823 --> 01:16:18.670
That'd be awesome, thank you.
1266
01:16:21.330 --> 01:16:25.590
Just means that we won't block the camera if you reach over.
1267
01:16:25.590 --> 01:16:26.703
Oh, okay.
1268
01:16:27.870 --> 01:16:29.020
Thanks, Marky.
1269
01:16:38.490 --> 01:16:42.090
And that's a set of coloured pencils,
1270
01:16:42.090 --> 01:16:43.950
the same brand as the lead?
1271
01:16:43.950 --> 01:16:46.620
These are Faber Castell.
1272
01:16:46.620 --> 01:16:48.573
Faber Castell.
Pencils, yeah.
1273
01:16:49.470 --> 01:16:52.953
And you can like, yeah, I mean you can get boxes of,
1274
01:16:54.040 --> 01:16:55.863
that have like 500 different colours.
1275
01:16:56.700 --> 01:17:01.053
I think this is a wide enough range for,
1276
01:17:02.640 --> 01:17:05.127
you know, if you're doing something like this,
1277
01:17:05.127 --> 01:17:07.000
and you suddenly need a colour
1278
01:17:08.910 --> 01:17:11.253
without necessarily having to mix colours.
1279
01:17:14.940 --> 01:17:16.590
Does anyone else remember the joy
1280
01:17:16.590 --> 01:17:21.590
of being gifted a set of Faber Castell coloured pencils
1281
01:17:21.870 --> 01:17:24.420
and just thinking it was the most joyous present
1282
01:17:24.420 --> 01:17:26.550
they could ever possibly hope to get? (laughs)
1283
01:17:26.550 --> 01:17:28.103
How exciting, yeah.
1284
01:17:33.360 --> 01:17:34.797
Never grew out of it.
1285
01:17:34.797 --> 01:17:37.080
No, I'm still looking enviously at that box.
1286
01:17:37.080 --> 01:17:38.830
I might have to seal it afterwards.
1287
01:17:42.150 --> 01:17:44.343
Ah, Christine's a Derwent pencil person.
1288
01:17:45.750 --> 01:17:48.660
Is it like Ford and Holden? (laughs)
1289
01:17:48.660 --> 01:17:51.300
No, I think Derwent would definitely
1290
01:17:51.300 --> 01:17:53.015
have the final say.
1291
01:17:53.015 --> 01:17:54.515
(laughs) Derwent win.
1292
01:18:03.360 --> 01:18:05.040
So with this,
1293
01:18:05.040 --> 01:18:07.230
the question I'm sort of thinking again
1294
01:18:07.230 --> 01:18:09.090
is how much time do we have?
1295
01:18:09.090 --> 01:18:11.610
Another 40 minutes.
1296
01:18:11.610 --> 01:18:12.720
40 Minutes? Okay.
1297
01:18:12.720 --> 01:18:17.530
Yeah, is again, do I draw
1298
01:18:18.450 --> 01:18:21.450
Sonya as is there, or do I try to turn it
1299
01:18:21.450 --> 01:18:25.290
into what am I, you know,
1300
01:18:25.290 --> 01:18:27.690
what am I gonna say with the image,
1301
01:18:27.690 --> 01:18:30.183
and do I turn it into something else that,
1302
01:18:32.291 --> 01:18:33.990
yeah, which is based on Sonya
1303
01:18:33.990 --> 01:18:38.753
but more of an expression of Sonya, sort of.
1304
01:20:38.550 --> 01:20:40.380
Caroline, we were talking before the programme
1305
01:20:40.380 --> 01:20:43.380
about your painting "Original Sin."
1306
01:20:43.380 --> 01:20:45.720
Was that part of the "Barren Land" exhibition
1307
01:20:45.720 --> 01:20:46.920
that you've just put on?
1308
01:20:46.920 --> 01:20:49.650
No, that, oh, "Original Sin."
1309
01:20:49.650 --> 01:20:51.270
Which one's that?
1310
01:20:51.270 --> 01:20:54.270
It's my new favourite portrait.
1311
01:20:54.270 --> 01:20:57.510
No, that was for Sydney Contemporary,
1312
01:20:57.510 --> 01:21:01.050
for part of the series "Roe versus Wade."
1313
01:21:01.050 --> 01:21:01.883
Ah.
Yeah.
1314
01:21:04.560 --> 01:21:06.930
I adore this painting,
1315
01:21:06.930 --> 01:21:10.950
and Georg is gonna share it with you all.
1316
01:21:10.950 --> 01:21:15.950
It's just got that incredible Middle Ages,
1317
01:21:16.050 --> 01:21:18.480
earlier Renaissance kind of style of,
1318
01:21:18.480 --> 01:21:20.760
it reminds me of Mother and Christ, you know,
1319
01:21:20.760 --> 01:21:25.560
with the babies that looked like little men.
1320
01:21:25.560 --> 01:21:30.207
They didn't look like what our idea of a baby is.
1321
01:21:30.207 --> 01:21:33.150
And I love it so much because I know both my children
1322
01:21:33.150 --> 01:21:36.690
didn't look like my perception of cherubs
1323
01:21:36.690 --> 01:21:37.523
when they came out.
1324
01:21:37.523 --> 01:21:41.010
They certainly looked like other-world aliens
1325
01:21:41.010 --> 01:21:42.540
and little old men.
1326
01:21:42.540 --> 01:21:47.540
So I adore this painting of "Original Sin" that you've done.
1327
01:21:47.610 --> 01:21:48.903
It's fantastic.
1328
01:22:08.910 --> 01:22:10.560
I wanna say symbolism in the carpet
1329
01:22:10.560 --> 01:22:11.613
for this one as well?
1330
01:22:12.750 --> 01:22:14.520
Yeah, I think, it was sort of,
1331
01:22:14.520 --> 01:22:16.923
so it was based on like the whole like,
1332
01:22:17.790 --> 01:22:20.040
like Roe versus Wade sort of,
1333
01:22:20.040 --> 01:22:22.020
the controversy that was happening in,
1334
01:22:22.020 --> 01:22:24.330
it's sort of like meant to be
1335
01:22:24.330 --> 01:22:28.140
like sort of seething blood lines of, you know,
1336
01:22:28.140 --> 01:22:30.123
like in, like, you know,
1337
01:22:31.890 --> 01:22:33.960
is the woman sitting there by choice,
1338
01:22:33.960 --> 01:22:38.960
like with her child, or what, you know,
1339
01:22:39.941 --> 01:22:41.310
like, and questioning the, you know,
1340
01:22:41.310 --> 01:22:44.640
such a fundamental question of like human life
1341
01:22:44.640 --> 01:22:46.770
and you know, who decides,
1342
01:22:46.770 --> 01:22:48.990
you know, like the decision around human life
1343
01:22:48.990 --> 01:22:51.720
and who, and the carpet,
1344
01:22:51.720 --> 01:22:53.370
so it's like seething blood lines
1345
01:22:53.370 --> 01:22:57.720
that then look like a bit like hearts and worms
1346
01:22:57.720 --> 01:23:02.720
and all sort of pulsing together,
1347
01:23:03.270 --> 01:23:05.070
so to speak, yeah.
1348
01:23:05.070 --> 01:23:05.940
Brilliant.
1349
01:23:05.940 --> 01:23:08.390
And that sort of visceral, you know,
1350
01:23:10.770 --> 01:23:13.353
life force, those decisions around life.
1351
01:23:33.420 --> 01:23:35.310
I mentioned the "Barren Land" exhibition
1352
01:23:35.310 --> 01:23:36.513
as well briefly.
1353
01:23:37.650 --> 01:23:40.350
Did you wanna tell us a little bit about that project?
1354
01:23:41.220 --> 01:23:42.630
Yeah, so that was part
1355
01:23:42.630 --> 01:23:47.630
of the Evelyn Chapman Award, and I followed a trip
1356
01:23:47.850 --> 01:23:51.360
that Russell Drysdale took in 1944
1357
01:23:51.360 --> 01:23:54.723
to Outback New South Wales.
1358
01:23:56.700 --> 01:23:58.200
And he went with Keith,
1359
01:23:58.200 --> 01:24:00.480
he was commissioned by the "Sydney Morning Herald"
1360
01:24:00.480 --> 01:24:04.590
to go with Keith Newman and record drought conditions
1361
01:24:04.590 --> 01:24:08.850
and I proposed to just follow the research
1362
01:24:08.850 --> 01:24:11.250
and follow the exact route he took
1363
01:24:11.250 --> 01:24:16.250
and then do my own interpretation of the land out there.
1364
01:24:16.350 --> 01:24:18.743
And yeah, it, yeah,
1365
01:24:22.380 --> 01:24:25.020
and then I spent, and I live in the middle of the city,
1366
01:24:25.020 --> 01:24:26.637
so it was, you know, quite a life,
1367
01:24:26.637 --> 01:24:31.143
and I spent almost two years painting, yeah,
1368
01:24:33.249 --> 01:24:36.267
the paintings that came about from there, yeah.
1369
01:24:36.267 --> 01:24:37.710
And the characters.
1370
01:24:37.710 --> 01:24:39.240
Yeah, and yeah,
1371
01:24:39.240 --> 01:24:41.440
I found it very hard to let go of the people
1372
01:24:43.050 --> 01:24:45.903
and just paint the land, so yeah.
1373
01:24:47.460 --> 01:24:49.410
That was, I've just finished that,
1374
01:24:49.410 --> 01:24:53.910
and yeah, I feel like I've, I'm still recovering,
1375
01:24:53.910 --> 01:24:55.710
so to speak, yeah.
(Gill laughs)
1376
01:24:55.710 --> 01:24:58.260
You retreated back to the city.
1377
01:24:58.260 --> 01:25:00.300
Oh, yeah, yeah, yeah.
1378
01:25:00.300 --> 01:25:01.650
I'm still landing, I think.
1379
01:25:03.382 --> 01:25:04.215
That was a big one.
1380
01:25:13.380 --> 01:25:14.880
I don't know about everybody out there,
1381
01:25:14.880 --> 01:25:18.060
but if Georg is able to find the picture
1382
01:25:18.060 --> 01:25:21.100
from "Barren Land" of the characters in the pub
1383
01:25:22.800 --> 01:25:24.303
at the family hotel.
1384
01:25:25.530 --> 01:25:27.780
I'm pretty sure I've met most of those people
1385
01:25:29.243 --> 01:25:30.693
at some point in my lifetime,
1386
01:25:33.450 --> 01:25:35.790
particularly the grumpy old lady at the front.
1387
01:25:35.790 --> 01:25:38.400
She was the public and the owner,
1388
01:25:38.400 --> 01:25:39.813
Melissa Thompson, yeah.
1389
01:25:40.770 --> 01:25:42.030
She's brilliant.
1390
01:25:42.030 --> 01:25:45.161
Yeah, you'd have to be pretty tough to,
1391
01:25:45.161 --> 01:25:48.363
you know, survive out there, I think.
1392
01:26:01.670 --> 01:26:04.500
Do you spend long getting to know your subjects
1393
01:26:04.500 --> 01:26:06.033
for your portrait commissions?
1394
01:26:09.510 --> 01:26:11.910
Not really, like a lot of them
1395
01:26:11.910 --> 01:26:16.910
I've known for a while, and others, yeah,
1396
01:26:20.025 --> 01:26:22.290
I mean, you can, yeah,
1397
01:26:22.290 --> 01:26:24.480
it's more just through conversation.
1398
01:26:24.480 --> 01:26:28.263
What John, who's in the gallery, actually,
1399
01:26:29.190 --> 01:26:33.000
he said he thinks that the paintings of people
1400
01:26:33.000 --> 01:26:37.950
are no better, there's more in them,
1401
01:26:37.950 --> 01:26:40.077
but I think they're different.
1402
01:26:40.077 --> 01:26:43.920
Like, they're, you know, there's a, I guess,
1403
01:26:43.920 --> 01:26:46.920
yeah, there's an initial response
1404
01:26:46.920 --> 01:26:50.273
and not an initial response, so to speak, yeah.
1405
01:26:51.999 --> 01:26:53.820
Yeah, okay, so there's like maybe
1406
01:26:53.820 --> 01:26:56.730
a little bit of depth, of familiarity
1407
01:26:56.730 --> 01:26:58.267
that comes through with the people
1408
01:26:58.267 --> 01:26:59.220
that you know a little bit more.
1409
01:26:59.220 --> 01:27:00.150
Sometimes it's harder
1410
01:27:00.150 --> 01:27:02.700
when you know someone more because there's,
1411
01:27:02.700 --> 01:27:04.797
I think they have expectations of,
1412
01:27:04.797 --> 01:27:08.907
you know, like, and you, yeah.
1413
01:27:08.907 --> 01:27:10.320
But sometimes it's easier
1414
01:27:10.320 --> 01:27:12.933
to have like a sort of neutral palette of, yeah,
1415
01:27:14.640 --> 01:27:18.663
sort of making an impression of the individual, like, yeah.
1416
01:27:27.330 --> 01:27:29.160
Sonya's chosen a terrific dress
1417
01:27:29.160 --> 01:27:30.150
for today's session.
1418
01:27:30.150 --> 01:27:32.103
It does fantastic angles, doesn't it?
1419
01:27:33.330 --> 01:27:34.180
It's really good.
1420
01:27:54.810 --> 01:27:57.000
How much time is there?
1421
01:27:57.000 --> 01:27:58.765
We have 32 minutes.
1422
01:27:58.765 --> 01:28:03.765
Oh, okay.
1423
01:28:51.690 --> 01:28:52.940
People enjoying the pose?
1424
01:28:55.430 --> 01:28:58.080
Do you find the pressure of the pencil for colouring
1425
01:28:58.080 --> 01:29:00.060
is similar to the pressure of the line?
1426
01:29:00.060 --> 01:29:01.203
Yes.
Yes.
1427
01:29:03.990 --> 01:29:05.310
Except these are a bit more solid,
1428
01:29:05.310 --> 01:29:07.110
so they're not gonna hopefully snap.
1429
01:29:28.440 --> 01:29:31.417
Christine, "Hands and fingers are hard."
1430
01:29:31.417 --> 01:29:36.330
Yeah.
1431
01:29:36.330 --> 01:29:40.432
How much can they see? Is there a full?
1432
01:29:40.432 --> 01:29:43.724
You can look behind you.
1433
01:29:43.724 --> 01:29:45.453
Ah, beautiful, yeah.
1434
01:29:47.010 --> 01:29:49.993
Oh, that's on my picture, it's daunting. (laughs)
1435
01:29:58.230 --> 01:30:02.553
Is it weird, Sonya, to see the image appear next to you?
1436
01:30:04.080 --> 01:30:05.233
Sonya can actually see-
1437
01:30:05.233 --> 01:30:06.066
Yeah, oh, you can't actually talk.
1438
01:30:06.066 --> 01:30:09.343
Can see the screen this time. (laughs)
1439
01:30:29.460 --> 01:30:31.240
Yeah, I think there's,
1440
01:30:32.215 --> 01:30:36.840
I think, yeah, there's something very innate in people
1441
01:30:36.840 --> 01:30:41.840
that I think seeing your reflection of themselves
1442
01:30:42.060 --> 01:30:46.440
is, you know, like, it's our way
1443
01:30:46.440 --> 01:30:49.137
of trying to understand why we exist.
1444
01:30:49.137 --> 01:30:53.400
And I think that's why portraiture is still so, you know,
1445
01:30:53.400 --> 01:30:55.980
I think that's why people are obsessed with selfies as well.
1446
01:30:55.980 --> 01:30:59.940
But like, you know, like why portraiture remains
1447
01:30:59.940 --> 01:31:04.940
such a fascinating field or area.
1448
01:31:07.590 --> 01:31:08.590
Absolutely.
1449
01:31:15.300 --> 01:31:17.587
Very existence of a National Portrait Gallery
1450
01:31:17.587 --> 01:31:20.400
indicates we haven't solved that problem yet.
1451
01:31:20.400 --> 01:31:21.420
No!
We're still fascinated
1452
01:31:21.420 --> 01:31:22.800
with trying to figure ourselves out.
1453
01:31:22.800 --> 01:31:23.700
Yeah.
1454
01:31:59.280 --> 01:32:00.660
I wonder if there's a world record
1455
01:32:00.660 --> 01:32:05.660
for the number of people drawing at the same time.
1456
01:32:06.450 --> 01:32:10.200
There must be. I reckon we should go for it.
1457
01:32:10.200 --> 01:32:11.100
Yeah.
1458
01:32:21.000 --> 01:32:21.990
It's not often, Sonya,
1459
01:32:21.990 --> 01:32:24.370
that you'd get 200 portraits of yourself done
1460
01:32:25.860 --> 01:32:26.700
in a morning.
1461
01:32:26.700 --> 01:32:28.020
Should put up a PO box
1462
01:32:28.020 --> 01:32:30.955
and have them all set, make a shrine.
1463
01:32:30.955 --> 01:32:33.420
(laughs) Yeah, a shrine, a Sonya shrine.
1464
01:32:33.420 --> 01:32:34.253
Yeah.
1465
01:33:04.952 --> 01:33:05.823
I don't think our audience members
1466
01:33:05.823 --> 01:33:08.670
have to look far to find interesting locations
1467
01:33:08.670 --> 01:33:10.440
to place their portrait subjects.
1468
01:33:10.440 --> 01:33:11.340
Everyone seems to have
1469
01:33:11.340 --> 01:33:14.013
such fantastically creative environments.
1470
01:33:14.850 --> 01:33:16.050
Yeah, well.
1471
01:34:19.710 --> 01:34:21.270
Is there anybody in the world
1472
01:34:21.270 --> 01:34:23.580
that you would love to paint?
1473
01:34:23.580 --> 01:34:24.630
I would love to do
1474
01:34:24.630 --> 01:34:27.830
a reclining nude of Barnaby Joyce.
1475
01:34:27.830 --> 01:34:30.840
(both laughing)
1476
01:34:30.840 --> 01:34:34.865
Well, that's prompted a reaction.
1477
01:34:34.865 --> 01:34:37.944
(both laughing)
1478
01:34:37.944 --> 01:34:38.981
Oh, dear.
I don't think
1479
01:34:38.981 --> 01:34:40.372
it would be fitting.
1480
01:34:40.372 --> 01:34:43.142
Probably have John Bower in there too, but.
1481
01:34:43.142 --> 01:34:45.809
(Gill laughing)
1482
01:34:47.220 --> 01:34:49.533
Anyone in the world I would love to paint.
1483
01:34:52.470 --> 01:34:54.993
Leave it with me, there's a lot of people.
1484
01:34:59.580 --> 01:35:04.560
I won't say, yeah, I think Australia,
1485
01:35:04.560 --> 01:35:06.270
I think, yeah, there's a,
1486
01:35:06.270 --> 01:35:10.893
oh, I like allowing it to come to me sort of thing.
1487
01:35:15.270 --> 01:35:19.440
But yeah, I think for the moment, maybe David Lynch.
1488
01:35:19.440 --> 01:35:21.240
Oh, oh yes!
1489
01:35:21.240 --> 01:35:22.590
He'd be amazing to paint.
1490
01:35:22.590 --> 01:35:24.457
Oh, your style would be amazing!
1491
01:35:24.457 --> 01:35:25.830
Yeah.
1492
01:35:25.830 --> 01:35:26.850
All right, shout out,
1493
01:35:26.850 --> 01:35:28.950
who's got any contacts with David Lynch?
1494
01:35:28.950 --> 01:35:29.850
Yeah.
1495
01:35:33.551 --> 01:35:35.070
You could go strange with him.
1496
01:35:35.070 --> 01:35:36.150
Oh, yeah.
1497
01:35:36.150 --> 01:35:38.250
It'd be like mandatory, yeah.
1498
01:36:30.880 --> 01:36:32.610
Have there been any major influences
1499
01:36:32.610 --> 01:36:36.780
on the development of your style as an artist?
1500
01:36:36.780 --> 01:36:38.400
Influences, yeah.
1501
01:36:38.400 --> 01:36:41.160
Well, could be people or films
1502
01:36:41.160 --> 01:36:45.963
or a particular genre of arts or family members.
1503
01:36:46.950 --> 01:36:49.100
No, definitely family members.
1504
01:36:51.225 --> 01:36:52.710
If my mother didn't make me so neurotic,
1505
01:36:52.710 --> 01:36:55.296
I might've been able to do finance or something.
1506
01:36:55.296 --> 01:36:57.180
(laughs) Well, that would've been a loss.
1507
01:36:57.180 --> 01:36:58.013
Yeah.
1508
01:36:58.013 --> 01:36:59.101
Thanks, Mum.
1509
01:36:59.101 --> 01:37:01.023
Yeah, thanks, Mum, no.
1510
01:37:04.800 --> 01:37:07.593
I mean, I have the artists that I really love,
1511
01:37:09.600 --> 01:37:14.600
like, which are all quite traditional artists.
1512
01:37:15.060 --> 01:37:16.290
That's interesting.
1513
01:37:16.290 --> 01:37:18.753
Yeah, but I, yeah, I think,
1514
01:37:20.669 --> 01:37:25.669
I think like painting and art, so to speak,
1515
01:37:25.830 --> 01:37:29.460
it's always sort of just been like an escape
1516
01:37:29.460 --> 01:37:33.600
or a sort of salvation of sorts, and yeah.
1517
01:37:35.600 --> 01:37:40.600
It went from, it turned into a occupation,
1518
01:37:41.250 --> 01:37:42.483
so to speak, yeah.
1519
01:37:48.000 --> 01:37:49.920
I think that'll probably resonate with quite a few
1520
01:37:49.920 --> 01:37:52.713
of our audience members today, participants.
1521
01:37:56.460 --> 01:37:59.100
You don't take two hours out of your Saturday morning
1522
01:37:59.100 --> 01:38:03.030
without being, getting something significant
1523
01:38:03.030 --> 01:38:07.023
out of the idea of creation or creating something.
1524
01:38:14.819 --> 01:38:19.773
Worried about the time adding colour.
1525
01:38:21.840 --> 01:38:22.800
Oh, I think it's been lovely
1526
01:38:22.800 --> 01:38:24.623
for people to see your colour working progress, too.
1527
01:38:24.623 --> 01:38:27.150
Really?
Yeah, absolutely.
1528
01:38:27.150 --> 01:38:28.770
It's two different settings.
1529
01:38:28.770 --> 01:38:30.191
They don't have to be,
1530
01:38:30.191 --> 01:38:31.950
you don't have to have finished products at the end.
1531
01:38:31.950 --> 01:38:34.110
People have the journey.
1532
01:38:34.110 --> 01:38:35.486
It's all about the journey,
1533
01:38:35.486 --> 01:38:36.984
isn't it? (laughs)
Yes.
1534
01:38:36.984 --> 01:38:38.342
The horror of the journey.
1535
01:38:38.342 --> 01:38:41.850
(laughs) Horror of the journey.
1536
01:38:41.850 --> 01:38:42.870
I'm waiting for the journey
1537
01:38:42.870 --> 01:38:44.013
to not become horrid.
1538
01:39:00.120 --> 01:39:02.130
Yeah, these pencils are soft enough
1539
01:39:02.130 --> 01:39:05.860
that you can kind of mix the colours together
1540
01:39:07.500 --> 01:39:08.673
with the actual,
1541
01:39:12.390 --> 01:39:15.393
yeah, as you press them down slightly.
1542
01:39:20.910 --> 01:39:24.057
What are most people, are most people using pencil or?
1543
01:39:29.040 --> 01:39:31.190
I'll let you know when they reply.
1544
01:39:32.400 --> 01:39:34.500
Rowena has said to say, "Please tell Sonya
1545
01:39:34.500 --> 01:39:36.630
she's a fantastically drawable model."
1546
01:39:36.630 --> 01:39:38.373
Yes, beautiful.
1547
01:39:46.230 --> 01:39:47.830
Tiffany's using pencil.
1548
01:39:49.440 --> 01:39:54.150
Oh, and a big apology to our Western Australia Zoom user.
1549
01:39:54.150 --> 01:39:55.680
I'm sorry, I don't know,
1550
01:39:55.680 --> 01:39:58.800
there's no name to refer to you as, so Zoom user.
1551
01:39:58.800 --> 01:40:02.250
Apologies, yes, we do know that this is a terrible time
1552
01:40:02.250 --> 01:40:07.250
for WA people, and normally we wouldn't have done
1553
01:40:07.830 --> 01:40:09.120
our online workshop this way,
1554
01:40:09.120 --> 01:40:13.500
but unfortunately, the tech team have another task,
1555
01:40:13.500 --> 01:40:15.510
another event that they have to go to this afternoon,
1556
01:40:15.510 --> 01:40:18.180
so we had to bring this one forward.
1557
01:40:18.180 --> 01:40:20.340
But yes, definitely next time it'll be more
1558
01:40:20.340 --> 01:40:23.190
of an afternoon session for the online ones.
1559
01:40:23.190 --> 01:40:26.193
We don't like to disadvantage our WA friends.
1560
01:40:33.645 --> 01:40:35.670
We've got a lot of pencil,
1561
01:40:35.670 --> 01:40:39.210
Derwent drawing pencils, watercolour pencils.
1562
01:40:39.210 --> 01:40:41.253
Ooh, nice.
Prismacolor pencil,
1563
01:40:43.080 --> 01:40:45.713
Inktense watercolour pencils.
1564
01:40:45.713 --> 01:40:48.463
Ooh, Inktense, well.
1565
01:40:56.580 --> 01:40:58.983
Charcoal, pastel pencils,
1566
01:41:02.160 --> 01:41:04.503
Polychromos pencils, lots of pencils.
1567
01:41:05.351 --> 01:41:07.743
We've got pens and some water-soluble crayons.
1568
01:41:14.310 --> 01:41:17.130
Oh, lots of different mixtures of pencils.
1569
01:41:17.130 --> 01:41:18.543
Everyone's getting creative.
1570
01:41:19.860 --> 01:41:21.360
That's exactly what we wanted.
1571
01:41:26.580 --> 01:41:28.410
Linda's noticed that her drawings don't look
1572
01:41:28.410 --> 01:41:29.250
anything like the model,
1573
01:41:29.250 --> 01:41:31.470
but she supposes that's not an issue.
1574
01:41:31.470 --> 01:41:33.870
No, as long as she's happy with the end result.
1575
01:41:33.870 --> 01:41:35.238
Exactly.
Sonya might not be happy.
1576
01:41:35.238 --> 01:41:37.905
(both laughing)
1577
01:42:17.987 --> 01:42:19.570
Yeah, I think it's,
1578
01:42:20.971 --> 01:42:23.490
it depends on what your end result is like.
1579
01:42:25.620 --> 01:42:28.860
I mean, if you're, just say you're giving your mom
1580
01:42:28.860 --> 01:42:32.287
a portrait of her, you know, you may not want to,
1581
01:42:32.287 --> 01:42:35.370
you know, you wanna be more precise,
1582
01:42:35.370 --> 01:42:38.070
but if you're creating something that you're, you know,
1583
01:42:38.070 --> 01:42:43.070
maybe gonna have at home or it's like the model
1584
01:42:43.530 --> 01:42:47.643
is a springboard almost for a work.
1585
01:42:50.730 --> 01:42:54.810
Yeah, I think, yeah, the main thing
1586
01:42:54.810 --> 01:42:59.433
is to enjoy the process, if that's possible.
1587
01:43:01.830 --> 01:43:06.063
Rarely is for me, but encouraging others.
1588
01:43:28.320 --> 01:43:30.120
It's good that Sonya brought the clock,
1589
01:43:30.120 --> 01:43:31.410
because every time I look at it,
1590
01:43:31.410 --> 01:43:36.043
I'm reminded we're on the clock. (laughs)
1591
01:43:37.080 --> 01:43:38.160
17 minutes.
1592
01:43:38.160 --> 01:43:40.143
17 minutes, okay.
1593
01:43:48.240 --> 01:43:49.260
Oh, we've had a few comments
1594
01:43:49.260 --> 01:43:51.360
from some people from WA who are happy
1595
01:43:51.360 --> 01:43:54.333
with the early-morning start, that's interesting, good.
1596
01:43:55.800 --> 01:43:57.540
And they have the rest of the day to-
1597
01:43:57.540 --> 01:44:00.240
Yeah, or you know, if they have to work,
1598
01:44:00.240 --> 01:44:03.083
they can do a bit of creativity before heading into work.
1599
01:44:05.100 --> 01:44:06.690
It's always been a very tricky thing for us,
1600
01:44:06.690 --> 01:44:10.230
trying to work out what the best time is
1601
01:44:10.230 --> 01:44:12.753
for these online workshops.
1602
01:44:20.940 --> 01:44:24.330
But we're so grateful that people set aside the time,
1603
01:44:24.330 --> 01:44:26.220
whatever time we put them on,
1604
01:44:26.220 --> 01:44:31.203
to come in and be creative with us.
1605
01:44:33.240 --> 01:44:34.710
Yeah, I think engagement
1606
01:44:34.710 --> 01:44:38.073
in any kind of creative activity is always,
1607
01:44:39.150 --> 01:44:40.923
is so, you get so much out of it.
1608
01:44:43.920 --> 01:44:47.850
I do a live drawing, well, I attempt to,
1609
01:44:47.850 --> 01:44:52.850
every Tuesday, and yeah, it's something very unique
1610
01:44:53.550 --> 01:44:58.550
about sitting with a group of people all drawing,
1611
01:44:59.099 --> 01:45:00.690
'cause it is quite a solitary practise.
1612
01:45:00.690 --> 01:45:04.712
So it's nice to have that, you know,
1613
01:45:04.712 --> 01:45:06.712
engagement now and then.
1614
01:45:19.553 --> 01:45:21.810
Donna's wondering if you paint and draw
1615
01:45:21.810 --> 01:45:23.430
other subjects like landscapes
1616
01:45:23.430 --> 01:45:28.020
or still life as well as portraits.
1617
01:45:28.020 --> 01:45:32.433
Yes, but not often.
1618
01:45:33.930 --> 01:45:37.410
The people are, there's definitely the,
1619
01:45:37.410 --> 01:45:40.500
one of the main elements in the work is always people.
1620
01:45:40.500 --> 01:45:41.333
Oh, okay.
1621
01:45:41.333 --> 01:45:42.166
Yeah.
1622
01:45:44.160 --> 01:45:46.380
I did, for the "Barren Land" series,
1623
01:45:46.380 --> 01:45:50.703
I did a few landscapes, and they are,
1624
01:45:53.970 --> 01:45:57.093
yeah, they included people in the end, yeah.
1625
01:45:58.620 --> 01:46:00.510
I love how you describe that.
1626
01:46:00.510 --> 01:46:01.343
What?
1627
01:46:01.343 --> 01:46:02.850
That they just included people in the end,
1628
01:46:02.850 --> 01:46:06.027
just sort of, that's where you ended up, with people.
1629
01:46:06.027 --> 01:46:07.230
(laughs) Yeah.
1630
01:46:07.230 --> 01:46:08.880
That encapsulates your process
1631
01:46:08.880 --> 01:46:10.113
in a nutshell, I think.
1632
01:46:11.880 --> 01:46:14.550
We've just had a comment on Facebook
1633
01:46:14.550 --> 01:46:16.950
from your old art teacher, Leslie Snelgrove.
1634
01:46:16.950 --> 01:46:18.480
Oh, hi, Mrs. Snelgrove!
1635
01:46:18.480 --> 01:46:20.430
She says she love, love, loves your work,
1636
01:46:20.430 --> 01:46:23.010
and she's so enjoying to see the process again, oh.
1637
01:46:23.010 --> 01:46:25.880
Thank you for tolerating me as a teenager.
1638
01:46:25.880 --> 01:46:28.547
(both laughing)
1639
01:46:38.670 --> 01:46:41.037
How long do we have? 17 minutes?
1640
01:46:41.037 --> 01:46:43.600
Well, we had 17 minutes three minutes ago, I think.
1641
01:46:43.600 --> 01:46:44.433
Okay.
No,
1642
01:46:44.433 --> 01:46:46.560
it's about 14 minutes left.
1643
01:46:46.560 --> 01:46:47.603
All right.
1644
01:47:24.420 --> 01:47:26.850
Well, because I'm not familiar with these colours,
1645
01:47:26.850 --> 01:47:29.430
I feel like I've made a horrendous mistake
1646
01:47:29.430 --> 01:47:33.510
with the choice of the brown, and in 15 minutes,
1647
01:47:33.510 --> 01:47:35.333
I'm not gonna be able to correct it, so.
1648
01:47:37.980 --> 01:47:41.120
You're gonna run into, run towards brown for this.
1649
01:47:41.120 --> 01:47:43.120
Yeah, yeah, it's a bit too,
1650
01:47:44.160 --> 01:47:46.293
anyway, see what happens.
1651
01:47:47.280 --> 01:47:49.024
It was meant to be.
1652
01:47:49.024 --> 01:47:50.550
Yeah, let's hope.
1653
01:47:59.423 --> 01:48:02.430
Another question for our participants.
1654
01:48:02.430 --> 01:48:04.290
I'm interested to hear, there's a few people
1655
01:48:04.290 --> 01:48:06.330
I could see creating together.
1656
01:48:06.330 --> 01:48:07.800
We were talking about it, you know,
1657
01:48:07.800 --> 01:48:09.480
drawing being a solitary experience,
1658
01:48:09.480 --> 01:48:13.200
or being an artist in general, being a bit lonely.
1659
01:48:13.200 --> 01:48:15.840
But are there many people out there who have people
1660
01:48:15.840 --> 01:48:19.080
that you can create with in your lives?
1661
01:48:19.080 --> 01:48:24.080
Or do you tend to prefer to create in solitude,
1662
01:48:24.300 --> 01:48:25.353
peace and quiet?
1663
01:48:34.020 --> 01:48:36.273
Oh, with kids, lovely.
1664
01:48:38.010 --> 01:48:39.690
I couldn't get my kids to sit still enough
1665
01:48:39.690 --> 01:48:40.833
to create with me.
1666
01:48:46.830 --> 01:48:48.423
Tina, we can be your tribe.
1667
01:48:51.420 --> 01:48:54.243
With pets, with art group, oh, I love it.
1668
01:48:55.350 --> 01:48:56.550
Oh, plenty.
1669
01:49:06.570 --> 01:49:09.303
Co-creating with a piece of inspiring music.
1670
01:49:11.460 --> 01:49:14.490
Oh, Colleen, thank you, husband,
1671
01:49:14.490 --> 01:49:16.923
for joining Colleen to paint, that's awesome.
1672
01:49:22.350 --> 01:49:25.113
Shout out to Elsa. Thank you for drawing with Kit.
1673
01:49:30.114 --> 01:49:33.390
(laughs) Cats, do you have pets, Caroline?
1674
01:49:33.390 --> 01:49:34.650
Yes, I have two dogs,
1675
01:49:34.650 --> 01:49:38.400
and I feel like they get quite neglected.
1676
01:49:38.400 --> 01:49:40.803
They sit under my easel while I paint.
1677
01:49:42.330 --> 01:49:43.920
I feel like the only affection they get
1678
01:49:43.920 --> 01:49:47.741
is when I drop a paint brush on them by accident.
1679
01:49:47.741 --> 01:49:50.820
(laughs) Is one of your dogs,
1680
01:49:50.820 --> 01:49:55.620
the picture that you have as part of the promo material?
1681
01:49:55.620 --> 01:49:57.397
Is that one of your current-
1682
01:49:57.397 --> 01:49:59.130
Yes, yes, that's Foxy.
1683
01:49:59.130 --> 01:49:59.963
Furry animals?
1684
01:49:59.963 --> 01:50:00.796
Poor dog, yeah, he's-
1685
01:50:00.796 --> 01:50:04.587
Oh my gosh, he is, has the best expression.
1686
01:50:04.587 --> 01:50:06.480
(laughs) I can't imagine you owning any other dog.
1687
01:50:06.480 --> 01:50:08.130
It's awesome.
Yeah, he's so traumatised
1688
01:50:08.130 --> 01:50:09.180
by all the paintings.
1689
01:50:10.080 --> 01:50:13.593
So is everyone else. It's terrible.
1690
01:50:17.070 --> 01:50:19.170
No, he's good company. He just sits there.
1691
01:50:26.490 --> 01:50:27.960
Oh, I missed a question,
1692
01:50:27.960 --> 01:50:29.820
'cause everybody chimed in
1693
01:50:29.820 --> 01:50:34.820
with their awesome drawing preferences.
1694
01:50:34.950 --> 01:50:37.590
Deidre was wondering, "You mentioned shadows before.
1695
01:50:37.590 --> 01:50:39.480
Where would you put shadows on this drawing?
1696
01:50:39.480 --> 01:50:41.520
Under the nose or chin or?"
1697
01:50:41.520 --> 01:50:43.320
I've got a tiny bit of shadowing
1698
01:50:43.320 --> 01:50:45.153
under the nose and around the,
1699
01:50:46.890 --> 01:50:51.330
between the eye and the nose, the eyes and the nose.
1700
01:50:51.330 --> 01:50:56.330
And I am attempting to shadow with the colours,
1701
01:50:57.210 --> 01:50:59.370
so like where there's a darker red
1702
01:50:59.370 --> 01:51:04.370
as as opposed to the lighter red and how hard I've pressed,
1703
01:51:04.620 --> 01:51:07.140
and that went atrociously wrong there.
1704
01:51:07.140 --> 01:51:11.490
But there's a bit of darkness in there as it gets lighter,
1705
01:51:11.490 --> 01:51:16.490
and I'm making, although that's actually darker than that
1706
01:51:16.890 --> 01:51:19.260
because I only have probably 11 minutes now,
1707
01:51:19.260 --> 01:51:22.651
I'm just gonna shade it in light, yeah.
1708
01:51:22.651 --> 01:51:24.900
(both laughing)
1709
01:51:24.900 --> 01:51:28.350
Just to get a difference in colour,
1710
01:51:28.350 --> 01:51:30.090
so there's a block of colour in there.
1711
01:51:30.090 --> 01:51:31.173
Yeah.
Yeah.
1712
01:51:33.240 --> 01:51:36.120
What I envisaged in my mind was the,
1713
01:51:36.120 --> 01:51:37.860
which you can't really get with a pencil,
1714
01:51:37.860 --> 01:51:42.240
is the vibrancy of the, if I was painting this,
1715
01:51:42.240 --> 01:51:46.230
I would do Sonya's milky, delightful skin
1716
01:51:46.230 --> 01:51:49.680
and then the vibrancy of the red dress
1717
01:51:49.680 --> 01:51:54.527
and then the slight nuance of the slightly browner lounge,
1718
01:51:55.710 --> 01:52:00.540
which is still red but reddy-brown, yeah.
1719
01:52:00.540 --> 01:52:03.840
And the shading is really just enough
1720
01:52:03.840 --> 01:52:08.673
to make it look like a three-dimensional, bigger, yeah.
1721
01:52:14.250 --> 01:52:16.640
If there's any other questions, I'm happy to...
1722
01:52:18.300 --> 01:52:21.480
Yeah, we have eight minutes, eight minutes left.
1723
01:52:21.480 --> 01:52:23.100
So if anyone wants to throw
1724
01:52:23.100 --> 01:52:25.503
any last-minute burning questions at Caroline.
1725
01:52:27.120 --> 01:52:30.810
I'm adoring, we will send all of your comments
1726
01:52:30.810 --> 01:52:31.980
through to Caroline afterwards.
1727
01:52:31.980 --> 01:52:33.660
She doesn't get to see them.
1728
01:52:33.660 --> 01:52:37.380
I'm relishing all of the contributions
1729
01:52:37.380 --> 01:52:38.550
people have been putting in today.
1730
01:52:38.550 --> 01:52:42.540
It's so fantastic to see all the variety.
1731
01:52:42.540 --> 01:52:43.500
This is the thing, I think,
1732
01:52:43.500 --> 01:52:45.810
that's the, the word that has struck me today,
1733
01:52:45.810 --> 01:52:49.350
the diversity, of not only the creations
1734
01:52:49.350 --> 01:52:52.203
but people's creating experience.
1735
01:52:53.490 --> 01:52:54.543
That's just terrific.
1736
01:52:58.680 --> 01:53:03.680
Yeah, it's an incredibly human experience,
1737
01:53:04.200 --> 01:53:07.713
I think, it's uniquely human, creation.
1738
01:53:09.330 --> 01:53:10.830
Which is odd 'cause this is such
1739
01:53:10.830 --> 01:53:14.280
a constructed environment that we're all working in
1740
01:53:14.280 --> 01:53:16.750
via technology, but it does actually feel like
1741
01:53:18.120 --> 01:53:20.570
there's quite a good deal of connection going on.
1742
01:53:23.310 --> 01:53:26.310
Sally's wondering what the best advice you've ever received.
1743
01:53:27.240 --> 01:53:28.668
I don't if that's in art or in life.
1744
01:53:28.668 --> 01:53:30.903
Oh, best advice?
1745
01:53:30.903 --> 01:53:32.751
When in doubt, don't.
1746
01:53:32.751 --> 01:53:35.418
(both laughing)
1747
01:53:37.980 --> 01:53:40.890
Well, oh god, in art or-
1748
01:53:40.890 --> 01:53:42.660
I think, yeah, yeah, let's do art, otherwise
1749
01:53:42.660 --> 01:53:44.463
it might get weird.
Let's do art?
1750
01:53:44.463 --> 01:53:49.080
Yeah, me too, I think the best advice I got
1751
01:53:49.080 --> 01:53:53.310
was to actually, to do it, you know?
1752
01:53:53.310 --> 01:53:58.230
Like, I think that I, yeah, there was a,
1753
01:53:58.230 --> 01:54:00.900
when I was a, I was sort of forced to do it
1754
01:54:00.900 --> 01:54:02.670
when I was younger at school,
1755
01:54:02.670 --> 01:54:07.560
and then when it came to university,
1756
01:54:07.560 --> 01:54:08.910
I was gonna do something else,
1757
01:54:08.910 --> 01:54:12.840
and my godfather said, "If you don't do art now,
1758
01:54:12.840 --> 01:54:16.020
you'll never go back and do it, and just do it now."
1759
01:54:16.020 --> 01:54:18.210
And I think if that's your,
1760
01:54:18.210 --> 01:54:19.980
what you wanna do, just do it.
1761
01:54:19.980 --> 01:54:24.840
That's like, yeah, and let it work itself out
1762
01:54:24.840 --> 01:54:26.103
sort of thing, yeah.
1763
01:54:27.180 --> 01:54:29.030
Excellent advice, godfather.
1764
01:54:30.503 --> 01:54:33.594
I wish somebody had given me that advice once.
1765
01:54:33.594 --> 01:54:35.413
And just do it daily, yeah.
1766
01:54:47.850 --> 01:54:49.590
Other than that, the only advice I'd say
1767
01:54:49.590 --> 01:54:51.540
is don't listen to any advice I give
1768
01:54:51.540 --> 01:54:56.540
because it's very bad, the outcome is bad.
1769
01:55:05.580 --> 01:55:07.230
We've got five minutes left to go.
1770
01:55:07.230 --> 01:55:09.120
Hush. (laughs)
1771
01:55:09.120 --> 01:55:09.983
Probably.
1772
01:55:15.668 --> 01:55:18.180
We have an observation that your style
1773
01:55:18.180 --> 01:55:20.550
has eyes being quite high in the face
1774
01:55:20.550 --> 01:55:24.870
and the jowl sort of been a bit larger than the forehead
1775
01:55:24.870 --> 01:55:26.790
and was wondering about the evolution
1776
01:55:26.790 --> 01:55:27.993
of that in your career?
1777
01:55:29.100 --> 01:55:33.583
Complete mistakes. (laughs)
1778
01:55:36.180 --> 01:55:41.180
Yeah, I don't think it's necessarily intentional,
1779
01:55:41.310 --> 01:55:42.540
to be honest.
1780
01:55:42.540 --> 01:55:44.140
I haven't actually noticed that.
1781
01:55:47.010 --> 01:55:48.840
Have you seen your style develop
1782
01:55:48.840 --> 01:55:50.697
or evolve over the years?
1783
01:55:50.697 --> 01:55:52.900
I think it's refined a bit
1784
01:55:54.660 --> 01:55:59.400
just with, yeah, it's, yeah.
1785
01:55:59.400 --> 01:56:01.200
I think it's just refined a bit more
1786
01:56:02.400 --> 01:56:06.180
just with the hours and hours of doing it.
1787
01:56:06.180 --> 01:56:07.023
Yep.
Yeah.
1788
01:56:54.120 --> 01:56:55.920
A couple more minutes,
1789
01:56:55.920 --> 01:56:58.390
and then we'll give everybody the opportunity
1790
01:56:59.974 --> 01:57:01.100
to share again, if that's okay.
1791
01:57:03.808 --> 01:57:05.891
Sonya's leg might've gone to sleep.
1792
01:57:05.891 --> 01:57:07.050
You all right, Sonya?
1793
01:57:40.980 --> 01:57:42.000
Lizzie's wondering
1794
01:57:42.000 --> 01:57:44.190
if you draw every day, Caroline.
1795
01:57:44.190 --> 01:57:47.373
Is it working in the studio every day?
1796
01:57:48.450 --> 01:57:52.200
Yeah, I don't, I do draw a lot, but I don't,
1797
01:57:52.200 --> 01:57:54.870
if I'm painting, like, if I'm painting,
1798
01:57:54.870 --> 01:57:59.403
I tend to paint the entire day.
1799
01:58:01.650 --> 01:58:03.843
Yeah, but I'm in the studio every day.
1800
01:58:37.020 --> 01:58:39.120
Damien's wondering if you found
1801
01:58:39.120 --> 01:58:41.070
the race against time, the time pressure
1802
01:58:41.070 --> 01:58:44.520
we've put you under frustrating for your process.
1803
01:58:44.520 --> 01:58:45.462
Yes.
1804
01:58:45.462 --> 01:58:46.590
(both laughing)
1805
01:58:46.590 --> 01:58:48.590
We love frustrating you, sorry.
1806
01:58:49.620 --> 01:58:51.093
No, it's okay.
1807
01:58:52.499 --> 01:58:55.890
I think, yeah, it helps to know how much time you have
1808
01:58:55.890 --> 01:58:59.250
in order to know what you can do,
1809
01:58:59.250 --> 01:59:00.083
but you can always like, oh,
1810
01:59:00.083 --> 01:59:04.795
like I can go home and do more, you know, like.
1811
01:59:04.795 --> 01:59:07.140
Yeah, I think, I mean, I think two hours
1812
01:59:07.140 --> 01:59:09.210
is sort of a, it is a journey, isn't it?
1813
01:59:09.210 --> 01:59:13.380
It's not about being able to get something finished down,
1814
01:59:13.380 --> 01:59:15.660
but I'm hoping that people have managed
1815
01:59:15.660 --> 01:59:17.430
to experiment a little bit.
1816
01:59:17.430 --> 01:59:18.880
I reckon that's us, Caroline.
1817
01:59:18.880 --> 01:59:20.130
Yeah?
Yeah.
1818
01:59:20.130 --> 01:59:23.280
I reckon, I'm gonna try and turn off these lights,
1819
01:59:23.280 --> 01:59:25.380
and we're gonna have a little look,
1820
01:59:25.380 --> 01:59:30.090
give Sonya a stretch, and if I turn down the lights
1821
01:59:30.090 --> 01:59:31.950
a little bit on us, sorry, Marky,
1822
01:59:31.950 --> 01:59:33.720
we look like we've gone into the dark.
1823
01:59:33.720 --> 01:59:35.490
That means that when we come round,
1824
01:59:35.490 --> 01:59:38.340
have a stretch, how's your leg?
1825
01:59:38.340 --> 01:59:39.960
We can come round and have a little look up
1826
01:59:39.960 --> 01:59:41.403
at this screen over here,
1827
01:59:42.720 --> 01:59:44.908
and Mark might be able to get our shot behind us.
1828
01:59:44.908 --> 01:59:45.870
I don't know if they can.
1829
01:59:45.870 --> 01:59:49.440
Come in, Sonya, come in, and you can have a look,
1830
01:59:49.440 --> 01:59:53.133
if people would like to hold up their creations.
1831
01:59:53.970 --> 01:59:54.803
Gill.
1832
01:59:54.803 --> 01:59:55.636
Yes.
Move forward.
1833
01:59:55.636 --> 01:59:56.469
Oh, sorry.
Keep coming forward.
1834
01:59:56.469 --> 01:59:58.050
You just gotta shout at me if I'm in the wrong spot.
1835
01:59:58.050 --> 01:59:59.370
Everyone's hiding behind me.
1836
01:59:59.370 --> 02:00:02.190
Sonya's hiding behind me, come forward.
1837
02:00:02.190 --> 02:00:03.180
Here we go.
1838
02:00:03.180 --> 02:00:05.310
Wow, they're brilliant.
1839
02:00:05.310 --> 02:00:06.760
Oh, they're so good.
1840
02:00:07.860 --> 02:00:09.600
Look at you!
1841
02:00:09.600 --> 02:00:11.460
It's like, it's like looking at you
1842
02:00:11.460 --> 02:00:13.850
through their eyes of a, is it a fly? (laughs)
1843
02:00:13.850 --> 02:00:15.904
Someone gave-
1844
02:00:15.904 --> 02:00:17.100
That doesn't sound very good, doesn't it?
1845
02:00:17.100 --> 02:00:19.410
Someone gave you sunglasses.
1846
02:00:19.410 --> 02:00:21.780
That's awesome.
Which is very cool.
1847
02:00:21.780 --> 02:00:24.423
Oh look, that's fantastic!
1848
02:00:25.260 --> 02:00:27.990
Great work, everybody.
Yeah, really incredible.
1849
02:00:27.990 --> 02:00:30.510
Oh my gosh, I can see some hyper-real.
1850
02:00:30.510 --> 02:00:33.873
I can see some painterly in there.
1851
02:00:35.940 --> 02:00:37.203
This is terrific.
1852
02:00:38.190 --> 02:00:39.903
Thank you so much, everyone.
1853
02:00:40.860 --> 02:00:43.320
Please share, share, share with us
1854
02:00:43.320 --> 02:00:44.700
if you feel comfortable, if you don't-
1855
02:00:44.700 --> 02:00:46.410
Love Erica Campbell's.
1856
02:00:46.410 --> 02:00:48.150
I'm just trying to see if that,
1857
02:00:48.150 --> 02:00:51.893
the squares move around so fast, so it's, yeah.
1858
02:00:56.070 --> 02:00:59.347
Jacques, yeah, trying to see.
1859
02:01:01.141 --> 02:01:03.660
Harry's, I mean, they all look amazing.
1860
02:01:03.660 --> 02:01:05.850
It's amazing that you can get, like,
1861
02:01:05.850 --> 02:01:07.660
everyone's can look so different
1862
02:01:08.802 --> 02:01:12.240
and so nuanced, you know?
1863
02:01:12.240 --> 02:01:14.490
Oh, nice one, Tina, that's terrific.
1864
02:01:14.490 --> 02:01:15.323
Yeah.
1865
02:01:16.740 --> 02:01:19.650
And Paul, that's fantastic, too.
1866
02:01:19.650 --> 02:01:20.483
Yeah, wow.
1867
02:01:20.483 --> 02:01:21.316
Look at them all.
1868
02:01:21.316 --> 02:01:22.500
I can't call out everybody's names.
1869
02:01:22.500 --> 02:01:25.353
They're all brilliant, Al's iPad there.
1870
02:01:28.350 --> 02:01:29.523
Rosa.
Wow.
1871
02:01:31.230 --> 02:01:32.266
Yeah, I think it was-
Michael.
1872
02:01:32.266 --> 02:01:33.184
Thank you.
a brilliant choice
1873
02:01:33.184 --> 02:01:34.413
of dress colour.
1874
02:01:34.413 --> 02:01:35.330
Ah, good work.
1875
02:01:35.330 --> 02:01:36.163
As well.
1876
02:01:36.163 --> 02:01:37.486
It was your choice. (laughs)
1877
02:01:37.486 --> 02:01:39.524
Yeah, oh, oops. (laughs)
1878
02:01:39.524 --> 02:01:41.130
(all laughing)
1879
02:01:41.130 --> 02:01:43.230
Oh, lovely, Irene.
1880
02:01:43.230 --> 02:01:44.430
Yeah.
1881
02:01:44.430 --> 02:01:46.560
Oh, look at that punchy one up at the top there.
1882
02:01:46.560 --> 02:01:48.090
We keep losing people's names.
1883
02:01:48.090 --> 02:01:51.540
Yeah, and down, this one on the corner.
1884
02:01:51.540 --> 02:01:54.090
Anyway, yeah, they're all brilliant, they're all...
1885
02:01:54.960 --> 02:01:57.030
Thank you, everybody.
1886
02:01:57.030 --> 02:01:59.280
All right, I'm afraid we're gonna have to say goodbye.
1887
02:01:59.280 --> 02:02:01.530
I don't know which camera I'm looking at or where I am.
1888
02:02:01.530 --> 02:02:03.270
There I am, that camera!
1889
02:02:03.270 --> 02:02:07.380
So everyone's hiding behind me. (laughs)
1890
02:02:07.380 --> 02:02:09.450
On behalf of the National Portrait Gallery,
1891
02:02:09.450 --> 02:02:11.430
thank you so much for joining us this afternoon.
1892
02:02:11.430 --> 02:02:13.680
I tell you what, it's given me the energy
1893
02:02:13.680 --> 02:02:14.700
to leap into my day,
1894
02:02:14.700 --> 02:02:17.220
so I hope it's done the same for you as well.
1895
02:02:17.220 --> 02:02:18.510
Thank you so much for being
1896
02:02:18.510 --> 02:02:21.630
such a brilliant model for us today, Sonya.
1897
02:02:21.630 --> 02:02:24.491
Everybody really enjoyed drawing you, and thank you,
1898
02:02:24.491 --> 02:02:25.431
so much.
Thank you.
1899
02:02:25.431 --> 02:02:27.240
Thanks Sonya, thanks, Gillian.
For all of your insights,
1900
02:02:27.240 --> 02:02:29.310
for everything, Caroline, that was so much fun.
1901
02:02:29.310 --> 02:02:30.660
Thank you, I really appreciate it,
1902
02:02:30.660 --> 02:02:32.160
and I hope we haven't traumatised you too much.
1903
02:02:32.160 --> 02:02:34.110
No, not at all, yeah.
1904
02:02:34.110 --> 02:02:36.000
Thank you, everybody, please jump on our website,
1905
02:02:36.000 --> 02:02:38.550
portrait.gov.au for all of the programmes
1906
02:02:38.550 --> 02:02:39.720
that we've got coming up.
1907
02:02:39.720 --> 02:02:41.850
Tag us, @portraitau, on social media
1908
02:02:41.850 --> 02:02:44.880
so you can share all your wonderful drawings with us.
1909
02:02:44.880 --> 02:02:47.940
And yeah, everybody's been asking about our recording,
1910
02:02:47.940 --> 02:02:49.320
but we'll talk to you about that afterwards,
1911
02:02:49.320 --> 02:02:50.520
and we'll see how we go.
1912
02:02:50.520 --> 02:02:54.690
So thank you, everybody, and join us next time, please.
1913
02:02:54.690 --> 02:02:56.130
We've loved having you, thank you.
1914
02:02:56.130 --> 02:02:57.333
Take care, bye-bye.