This is my first, imperfect recording with a GOPRO camera that I want to use for more documentation during this year. At present I am looking for a flexible tripod to be mounted directly on the drawing support. That way I hope to change the perspective to full format, vertical view in coming videos.
One can record up to 2.5/3 hours with that small camera.
Beginning with the outlines of the tree trunks the spatial grid of the picture was established. In a second step I “carved” lines with a brass pen handle into the paper to create “lights”, areas that would not be touched with the piece of black oil pastel that I used in same way as one would draw with a piece of charcoal.
Saint Gervais,Auvergne, was our first stop on the big southern tour through France,Spain and Portugal beginning last year. It is a charming,small, very quiet place with nice restaurants, a romantic hotel, a bakery, a butcher, a bar and a well hidden supermarket close to the cemetery. The landscape is great and full of Charolais steaks.
It was really very chilly on this cold February Sunday morning when I did this small plein air study of bare trees under a grey sky. The rain was drizzling on and off. Each year in February I have enough of the winter season and can’t wait to see the fresh colors of spring. The meadows are so wet that the feet of my chair sank into the clay ground as it was pudding.
Meantime I got a copy of the Kurt Jackson book, which has become my favorite evening read. I regret that the images of the sketchbooks are often cropped and technically refined a bit too much for my taste. But that means nothing compared to the inspiration and motivating energy that the book still can convey to the reader. I love the inventive pencil work and appreciate of course the chapter on trees. Jackson has put some effort in his text which is trying to let the reader take part in the experience of sketching in nature and on his travels. I think that is a major merit of this book and a particular generosity.
I am glad that Jackson’s writing, which accounts for most of the text, is everything else but artsy, which is not natural considered his status in the art world. That helps to get over the introduction essay by art critic Livingston. It has interesting technical information, but also the well-known intellectual praise formulas and art history name dropping that one can usually stand only for 20 minutes on a vernissage.
I was so incredibly fortunate to get an invite by Caran D’Ache to do some demonstration of painting and sketching with the Neopastel oil pastels on the Paperworld Frankfurt 2013. Those four days of painting and talking were exhausting and great. There was the opportunity to speak directly with the professionals of Caran d’Ache about the colours, the pigments and their durability.
Oil pastels are among the most durable media you can get, because the pigment is protected by the oil and waxy binders around the pigment. In dry pastels the pigment is exposed almost naked to the UV-light. Caran d’Ache produces, in fact is casting, 96 different colors now of which only 10 are classified as very good compared to excellent and good. There are no good pastels because all others are in the highest class “excellent”. This was really very good news.
I find the Caran d’Ache oil pastels are easy to use because the consistency of the sticks is the same on each colour, which applies also to the high opacity. From all the different qualities I have used so far the Neopastel is nearest to soft pastel in handling.
Even though the place was very busy and a lot of talk was going on I was able to do some work. Til then I had only used the 48 color set. At Frankfurt I could use the 96 color set which indeed makes a big difference: more warm and cool grays,more browns and greens are great for landscape painting.