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Russ Calver's demonstration was based on a photograph of a mare and
foal and a preparatory watercolour sketch. He stressed the importance of proper
preparation and a measure of stamina. If you are going to work from
photographs, use ones you have taken yourself, preferably of a subject that you
have had the time to get to know. He suggested that a roll of film was not
unreasonable for one painting but that you should still take notes at the
scene. He was not a believer in classes - you learn by doing, not by reading, watching or being told - and spoke rather disparagingly about those of us who barely do any painting between classes. "Professional golfers practice - amateurs only play rounds of golf". Don't try to be good at everything - accept that you will be better in some contexts than in others. |
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Materials also need consideration and/or care. He prefers to work
with soft pastels on the smoother side of a mid-tone pastel paper (warm or
cool, as needed) . Brown wrapping paper is usable in emergency. Pastels
must be stored in a dry place (car-boot condensation can totally destroy
them). Putty rubber is a life-saver and charcoal is excellent for the initial
drawing because it is so easy to rub out. A mirror is good for checking
composition. Amonst others, he recommended Delaney & Smith, 01253 348612 for low-cost quality printing, brochures etc and "Ready Made Picture Frames", 01256 354774 |
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The bounds of the picture were very lightly "charcoaled" in, starting with straight lines but gradually hinting at the shapes of the areas of interest, many-times-adjusted, and rough ovals (for haunches etc.). Just as much as to the subjects themselves, attention, including measurement, needs to be given to the negative shapes . During the demo, analysis of these, and use of the mirror, led to fairly major revision with the putty rubber before firmer lines and some tonal indications were made. |
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Only then was colour first introduced - in extremely roughly-applied swatches (almost experimantally, as if to establish the colour context before actually going out towards the charcoal outlines). He starts with too-pale or too-bright colours first and then modifies them with much darker ones - resulting in a lovely sheen. Thios won't work if you smudge the colours together. These touches of colour were gradually worked up until the painting was ready for last-minute highlights and some darker edges in Schwan Stabilo CarbOthello pastel pencil. |
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