I am so very impressed with this prize and particularly the opportunity it gives artists to pursue their dreams. Not just with the support of money and chocolate and the inspiration of  gallery membership – but the confidence gained from recognition by their peers and the public that what they love to do is worthwhile. And that they should continue to do it. While some were practising illustrators and designers, others were simply people with a passion for drawing. It was truly inspiring to see everyone’s work – especially the work of the kids, many of whom were drawing at an adult level.

The entrants responded to a template drawn by the talented Michael Lindell.

And so without further ado…

Drumroll…..

Here are the winners!
Judges Prize: Christine Larsen for “Chocolatl… food of the gods”
People’s Prize: Katja Krummel for “Bubbles”
Junior Prize: Alison Low for “The Great Easter Choco Chook-off”
Special Commendation: Daniella Germain for “Finders, Keepers”
Special Commendation: Maxim Poole for “The Egg Thief”

Huge congratulations to all the winners and to the finalists (you can still see their work in the Royal Arcade in Melbourne and on Koko Black’s website). The quality was sensational – so much drawing talent, imagination and wit. It was a huge challenge for us to choose the winners, but a very pleasurable one. I can’t wait to see what people submit next year! I hope you all enter.

Geoff Pollard, Katja Krummel, Shane Hills, Christine Larsen, Emma Mayall, Elise Hurst, Alison Low.

Missing judge from this picture: Guy Grossi

me & Maxim Poole & his amazing drawing! (centre)

Yes, a drawing prize created and supported by the delicious team at KOKO BLACK, chocolatiers extraordinaire.

Pop onto their website quick-smart and download the entry form and drawing template, or pick one up in person from any KOKO BLACK shop. Drawings must be on A3 paper, so if you’re printing out the template you’ll need access to an A3 printer. Entrants must reside in Australia.

Who, or what is emerging from the giant burrow? It’s up to you to draw it!

You have till Friday 5th March when entries close.

Prizes vary depending on your age but include such things as a fund toward art education/supplies, membership of the NGV, and naturally, their oh so fine chocolate. So give it a go. Why am I posting about this? Because I am one of the judges for this year’s prize and I can’t wait to see all of the incredible drawings.

Although I didn’t know what else would be in the picture when I began with the walrus’ head, I made sure it was placed in the upper right third so that there would be plenty of room for the rest of the picture, whatever it was. Unless I am doing a character study where I want the main character to be staring out at us, front and centre, I usually place main features off-centre. Here’s my reasoning for it: nature is generally wonky – most things that we see are in flux – the sun moves across the sky, people move through their environments, shadows lengthen and flutter, stars in clusters wheel across the heavens, rain falls, wind blows, observers glance about and what we see with our peripheral vision is usually as important as what is in front of us when forming our feelings about a scene. Balance, when it occurs, is something that stands out. If you capture it in a picture it is there forever. Three boats scuttling past each other may line up for a second but that is one moment in a minute of drawing-closer. What moment would best describe the scene? Showing them in a regular line? That suggests that their natural state is order, predictable and stable. That would be false. No, I would draw one dipped, one turning, one close, one far and one passing… Where we place things tells us about their natures.

In this scene, although I started with the walrus, the real focus is on the environment – the whole ensemble. The bird-lady is central but absorbed, she is not engaging our attention. The walrus, although dominating by his size and plainer form (amongst a mass of pattern), is not king of this scene. He is off-centre and asleep. It is not a portrait, it is an illustration. It shows you a moment of a story – it allows you to glance in a carriage and wonder who these people are, where they are going and what their individual stories might be.

As for design… the shapes lead us around the picture fairly evenly.These below images are blurred to signify a trick Ido all the time when I’m painting or drawing… if I make my vision blurry I can better see the shapes, darks and lights and the structure of the piece, rather than getting distracted by the details. So, looking at the picture again, I’ve drawn in some of the things that are intended to direct your gaze a little. Here’s a summary…

All three main figures face the same way and create a diagonal sweep up to the right (arrows). Although the inside of the train is fairly dark, there are passages of light on the figures which are a counterpoint for the outside light. In the same way, outside, there are darker shapes and the dark point of the balloon. Where possible you want light against dark or dark against light. After all it is the presence of shadows that define shapes. It is the clustering of shapes and the passages of light that show us where to look, what is important, and how things relate to each other. In any picture, especially one with lots of detail, you usually need to have something that stands out that says – look over here, I’m important! There are three punctuation points for me here (circled). Three things that intentionally draw the eye: his bowler hat (very dark on a light background), the dark of the lady’s hat in the centre of the picture and the ship outside the window. There are also three small details of similar type, tone and size that hopefully form a chain, leading you into the landscape outside the window.

How much of this is designed and intentional? As I said, I didn’t plan it. But I am drawn to certain ways of doing things. I know I like threes in uneven clusters. I know I like lines that skirt the picture. I know I like to use a rule of thirds for where important lines and shapes should occur (a third up/down and in from an edge). I know that a white space needs a fleck of dark and a dark space needs a fleck of light. I know that relentless detail must be harmonised by something plain. And so whether it is intended or simply occurs, it is much the same. This visual expression is a language we speak with greater fluency the more we practise it. The exciting thing is that every artist speaks a slightly different dialect and would draw the same scene in so many different ways… I love that.

In other news, we had a fun market in the Brunswick Town Hall on Saturday – the Teeny Tiny Sisters Market. I met a lot of lovely people… signed lots of books and sent prints to good homes. For those of you watching me struggle with the rabbit – we’re on the home straight now. I hope to finish her off this week. I have an idea…
We’re back in normal market-mode again from here till Christmas. Check out the dates on the right – there’re some extra ones appearing just before Christmas.

It’s HOT today.

Maybe I’ll get out of the house soon and give myself a chance to do the Mondoodle in cafe comfort. For it IS Mondoodle-day.

I have been playing… and you know how important I think play-time is…

This was done on a Wacom Tablet and captured with CamStudio. I started with a reference photo of a hare and then made up the rest as I went along. I’m basically trying to do some pictures like I do in my Moleskines… but live! I’m still learning how to draw with the tablet… this is my third go. It’s a real mind-twister looking at the screen as you draw, not your hand. Makes some angles and movements a little harder. You can twist yourself and your hand around but the screen doesn’t move with you. That’s ol’ blue eyes singing, by the way. I liked its melancholy air… she’s a melancholy hare.

Of course I wouldn’t do it if it wasn’t fun!

On a different note – market tomorrow at the convent. And what a gorgeous day for it!