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Message
Posted
In 2009 , as a supporter, I was sent this calender by the charity' FOUR PAWS' which is an international organisation. The photographs were lovely, and I reproduced this one in pastel. I hope to sell it and the proceeds are to go to the charity....I have asked for their permission.
Following our thread re photographic realism, I feel almost as though i should apologise...wish someone would let me know how I am expected to feel. To my mind this pastel cow and calf have, not more, but a softer feeling than a photographic image, and I give full credit to the photographer for his / her lovely composition and skill.
I would appreciate comments of any sort.
http://www.painters-online.co.uk/gallery/picture.asp?id=30955
Posted
A VERY good idea: we've probably all reached this stage - being intimidated by our own equipment, stuffed with a surfeit of information, approaching a canvas with ever-diminishing confidence - you need to break free of it every now and then by just having a good muck about, forget what the paint cost, don't worry about what the thing looks like, just have a real bash at it. And it works! There are times when you have to take care, and be accurate, but that doesn't mean the whole picture has to be applied with niminy-piminy brush strokes with a one-hair brush. Get in there and stir it all abaht........!
Posted
I had another bash at it today and I'm on a roll. I'm definitely swirling it all abaht Robert and long may it continue!! Mind you! What you say about fine work is also a valid point, and as I have just bought some smaller brushes, I think that I will be using them very soon. Hopefully, they will not lead me to tear my hair out when I overdo the detail! Arrrrg!
Posted
I find that if I am doing a town scape and I do to much drawing ,with a lot of detail I start to fill it in as though it were a paint by numbers ,and before I know it I have lost all looseness. even just one
building with detailed windows can throw all the painting out of sinque ,and it becomes to tight, a perfect boat in a loose seascape and sillit bang
its a dust bin job,
Posted
I've been there too Alan! It is the windows, they are hard enough to get right in the first place......The last watercolour I worked on, I thought that it needed a little bit of definition with a pen, and Hey Presto! with one sweep of the nib I had managed to leave some ink on the neck of my main male figure. He is now a very stout she with luxurious long locks that disguise the mistake.
I should have left it alone in the first place :-S
Posted
I had the same problem a few monts ago aswell. My aunt bought me a really great watch, as a present for finishing my studies. It was this beautifull watch with a lot of details which she bought on an online watchmarket. As a gesture of gratitude I wanted to make a painting of it in Acrylics, so it wasn't too detailed. I wanted to add a few of the details afterwards however, and ruined it with a line across the whole clock.. Took me hours the create a new one, and ofcourse that didn't look as beautifull as the one I first made..
Posted
I think alwyn crawl haw was a great inspiration to me and many others.he very
seldom used any more than three colours and always the same ones.there was an
Effortless way about his paintings and he is a very good teacher.every time I buy fa
new art book i am inspired and get a bit of knowledge.howeveri have some art books
which were a waste of time and space in my bookcase.
Posted
I think we all have books which we look at once and never refer to again. Anent Alwyn Crawshaw I must agree he is most enthusiastic and thus very encouraging but every time I look at any of his paintings I want to shout 'TONE' - I would love to get hold of one of his pictures and add just a few real darks just to see how the difference they could make.
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