Saturday, 29 April 2017

2017 Reading, Part Two

My second batch of books for 2017. There's a bit of a fantasy theme running through them again this time. Usually amongst the six books in an entry there are one or two but this time (and last time, it's getting a habit...) there are four. But at least they are all from different authors and somewhat different subject matter!

So this time I'll set off with the first of the fantasy books. I guess the title at least will not be unfamiliar to most of you. The Hunger Games by Suzanne Collin is a series of three books which spawned a series of four extremely successful films. This is fantasy of the Dystopian Futures kind - a future where things have gone horribly wrong with the world. In this case, the thirteen districts that now cover the continent of North America have at some stage in their past revolted against the rule of the Capital and have been severely repressed in retribution. As a lasting reminder not to challenge the Capital again, District 13 (where the revolt started) has been totally destroyed and the rest of the Districts are required once every four years to send one boy and one girl aged between 12 and 18 to fight in an enclosed arena of several square miles until only one of the 24 combatants still lives. I had seen the films but my daughter kept saying I should read the books (and I almost invariably find the books better than any film anyway). She was right.

Ducking out of the fantasy genre into Historical Fiction for a moment, I continued my journey through the Roger Brook novels by Dennis Wheatley. This also has undertones of Wheatley's other famous genre, Black Magic, as Roger makes an enemy of someone he considers a charlatan but who turns out to have genuine sinister occult powers. Once more sent abroad on secret work for Prime Minister William Pitt the Younger, Roger runs into bother in India before running into both his new enemy and his old adversary, Napolean Bonaparte, in Venice.

Then it's back to the murky world of the 14th century university life in Cambridge. In this our heroes physician Matthew Bartholomew and University Proctor Brother Michael find themselves once more members of an impoverished College and at the mercy of both murderous criminals and also the elements as workmen have removed the roof of their sleeping areas only to leave that work for better paid work elsewhere. A fearsome family headed by a woman feared as a witch and backed up by her ferocious warrior son cause Matt some moments of terror, thinking he's about to be sliced and diced, some moments of exasperation, as the old woman needs a tooth removed but will not permit it, yet expects Matt to cure the pain. Finally the woman's granddaughter has set her eyes on Matt as a suitor and pursues him - which causes him to fear the slicing and dicing at the hands of her father! Add to all this an increasingly malicious series of pranks played by the various Colleges and Hostels of the university upon each other and the result is a very entertaining tale.

Fantasy of the Fairy Story kind now from Neil Gaiman as a young boy makes friends with a family at the farm nearby who seem to have lived there forever. When he inadvertently releases a malevolent spirit into this world who takes (as far as his father is concerned) voluptuous female form, his new friends at the farm have their work cut out to protect him and his family and banish the spirit from the world. A very clever and engaging book. Neil Gaiman's American Gods appears on TV from this weekend, but as it's on a pay-to-view basis I imagine I'll wait for the re-run on a regular channel!

Comedy time now and another of Terry Pratchett's books from the Discworld featuring the Night Watch. I've read them all out of sequence - this is the first as far as I can make out so far - but it hasn't mattered as all the books work well as stand-alones. Here a secret society find out how to conjure up a dragon into the world, but once there the dragon has ideas of its own. Meanwhile Sam Vimes' tattered police force (they creep round dark streets shouting "All's Well" and if it isn't then they run away to somewhere quieter...) have a new recruit - the strangely noble-minded human-brought-up-as-a-dwarf Lance-Constable Carrot. Vimes himself meets the formidable upper-crust lady who aspires to become Mrs Vimes who knows all about dragons - and may just be about to be sacrificed to one...

Wowsers! I bought this in The Works for the magnificent sum of 50p a couple of weeks ago and read it this week in short order, barely able to take my nose out of it. This is once again Dystopian Future fantasy and turns out to be the third in a series but I had no problems understanding what was going on. Aimed at young adults (the only difference is that at least one of the good guys will be a teenager and swearing is absent - not a bad thing...) this has a post apocalyptic landscape where cities have recognisable names, but are variously mobile - traction cities lumber around on tracks and wheels whilst others float. They all seem to prey on each other and there are parallels with today's global corporate takeovers here. Philip Reeve has created a brilliantly intriguing world as the background to this tale of kidnap, slavery and rescue set against the background of a long-lasting war which catches up with the good guys at the point at which they seem about to pull off the rescue of their daughter. I'll definitely be looking to read the other books in this series and found today whilst searching the Internet for more info that a film based around the series is being made by none other than LOTR/Hobbit director Peter Jackson. I suspect it will be well worth seeing.

Thursday, 13 April 2017

Found Photos, 35mm 828 Format Film Negatives

We recently suffered a death in the family and it's fallen to my brother and I to sort out the estate and possessions. My Uncle Geoff had been a keen photographer in the past and whilst few have surfaced so far, I was rather hoping to come across a collection of old photos of family and views showing elements of social life no longer with us.

The other day I found a tiny metal canister and it turned out to have a roll of black and white negatives in it. The film was 35mm wide but with only a single sprocket hole for each frame along the bottom edge of the strip. There were no sprocket holes at all along the top edge. A bit of research tells me this is 828 format film, created by Kodak in 1935 for their Bantam range of cameras.

The image format was 40x28mm, a touch bigger than the standard 35mm film, which itself had only been introduced the previous year in 1934. This is a full-frame from one of the photos. Locomotive 4478, named Hermit was built for LNER at Doncaster, entering service in July 1923.

I've no way of dating these photos but guess they are from the late 1940s or early 1950s. There appears to be evidence of an itchy trigger finger...! Winding on the film would not be as simple as a single action of a lever and would certainly not be motor-driven!

Whilst 35mm film came in its own canister which went into the camera, 828 film was a roll film with backing paper. The spool of film had to be held tight to stop light from getting to it as you loaded it into the camera and then threaded the loose end of the film onto an empty take-up spool - which had come from the previous film to have been shot. Depending on the camera either you wound the film on after taking a shot until the single sprocket encountered a pin that stopped any more film advancing, or you wound it on until the next frame number, printed on the back of the backing paper, showed through a tiny red plastic window in the back of the camera.

The remaining shots are of bands parading through Manchester town centre.

This is Manchester in the immediate post-war years. Gaps in streets are evidence of the work of Hitler's Luftwaffe. Bomb sites in and around Manchester remained common through until the end of the 1960s and sporadically even afterwards.

In the area of Piccadilly Gardens this shot has the Littlewoods department store in the background.

I quite like this shot though as it shows some of Manchester's trolleybuses. I can just about remember riding on them as a child. Manchester had nine routes covered by a total of 189 trolleybuses. Introduced in 1938 the last trolleybuses were withdrawn on 31 December 1966.

Tuesday, 11 April 2017

More Pastel Artwork

After the success of the oil pastel larger scale painting of Villefranche on the French Riviera, I felt curious as to how it would be to use the hard pastel crayons I bought. So over the past few weeks I've experimented and completed a couple of A4-sized sketches. The set of pastel pencils I have is a Derwent set of 12, so it leaves me with a quite limited palette. But I did find that they were quite easy to blend together - certainly much easier than the oils had been to overlay colours and fade from one to another.

This sketch from one of my photographs of a Venice backwater took just two days to complete. This a decidedly sketchy drawing - the overlays are glaringly obvious but it also contains two elements that I usually find very hard to draw. People and water.

The second one was taken from a postcard and is of The Shambles in York. I took a bit more time with this, which was started on 20 March and finished on 9 April. Because of the narrow nature of the street, in real life I have never seen it in anything but deep shadow at this particular point where two medieval buildings look almost to touch across the street. I didn't want to make this a drab painting, so introduced somewhat more colour with the beige than there is in the actual buildings. The brickwork of the building on the right presented its own challenges as the bricks are worn and some of them are almost as smooth as porcelain and tend to reflect light, looking almost blue rather than the dull red that we associate with bricks. The perspective of the rows of bricks was also quite a challenge to me as I tend to draw everything freehand and not think too much about where lines might converge. I made a special effort here! It's not exact and the shop is definitely not called Green's in real life but hey - it might have been once?

I have in mind another larger painting using either the oil pastels or actual oils - I have some paints and brushes but so far the thought of mess is putting me off... For the subject I've got an old early 20th century postcard of Studland in Dorset.

This presents a number of difficulties and challenges. For one thing I'll have to choose the colours myself as the postcard is in sepia monochrome. Then there is going to be so much green, will it swamp the painting? Can I get enough detail into shrubbery and trees? And I've never attempted to cope with drawing a horse before. There are two here, but the format of my painting will not be quite so widescreen and I have in mind to have the cart drawn by just one horse, thus moving the cart forward and away from the edge of the image. It could take a long time and there could be other projects finding themselves squeezed in the middle to let me recharge and take a fresh look at how it comes along.

Friday, 7 April 2017

World War One Era Autograph Book, Part 3

Another look at the autograph book from 1915-1919 bought at a book fair in February 2017. There are more blank pages than used ones and it contains both photographs and pencil sketches besides autographs. The autographs it does contain are of friends and family of whoever owned it rather than of famous people.

We start off this time with a couple of photographs. I've no idea who they are of course, but here are two ladies sitting on a jumble of rocks at the bottom of a sloping field, seen through the gate behind them. The lady on the right is smiling for the camera whilst the lady on the left seems lost in the reverie of a moment as she enjoys the view before her.

A simple sketch of flowers (pansies?) by E.H., some of whose work I've featured from the album before.

This looks like a snapshot taken on a day's outing. I don't know where this is, but whatever the building is, there are several benches for people to sit on outside and under the canopy there is a deck chair and further to the left, almost merging with the row of bushes and trees lining the road where the cameraman is standing, a further group of people are sitting at the very edge of what we can see of the building.

A little bit of World War I humour! A list of "hymns" from the front line.

6:30am - Reveille - Christians Awake
6:45am - Rouse Parade - Art Thou Weary
7:00am - Breakfast - Meekly Wait and Murmer Not
8:15am - Company Officer's Parade - When He Cometh
8:45am - Manouvres - Fight The Good Fight
11:45am - Swedish Drill - Here We Suffer Grief and Pain
1:00pm - Dinner - Come Ye Thankful People, Come
2:15pm - Rifle Drill - Go Labour On
3:15pm - Lecture by Officer - Tell Me The Old-Old Story
4:30pm - Dismiss - Praise God From Whom All Blessings Flow
5:00pm - Tea - What Means This Eager Anxious Throng
6:00pm - Free For The Night - Oh Lord, How Happy We Should Be
10:00pm - Last Post - All Are Safely Gathered In
10:15pm - Lights Out - Peace, Perfect Peace
10:30pm - Inspection of Guards - Sleep On Beloved

Initialled N.M. and dated March 16, 1918

A Tail of Woe! A charming little pencil sketch by E.P. and drawn 21 April 1918.

And here the ladies, in best hats and gloves, take their seats in the charabanc - an open-air early motor coach - perhaps for the return journey from the house we saw earlier. They look well pleased with themselves - I suspect a measure of brown ale or milk stout has been involved somewhere along the line...

We will return one last time to this album sometime soon.

Sunday, 26 March 2017

Golden Wedding Gig With Creeping Bentgrass

Last night we were out on the edge of the Trough of Bowland - a beautiful area of countryside, forests and rivers in Lancashire.

We were playing for the Golden Wedding celebration of Jack and Margaret and the night was a great success.

The Priory at Scorton was the venue for the night. The audience were in fine voice and singing along to all the songs, which is always a good sign!

Then we were asked for The Twist which we have never played before, but I found a suitable backing style on the keyboard and we surprised ourselves - I even pulled off a passable piano solo! Certainly it filled the floor so you can look forward to us playing it at future gigs!

Wednesday, 15 March 2017

Music I Love - 'I'

I was, to be honest, expecting this entry in my A-Z of Music I Love to be a little more difficult. To be sure many artists are here just for a couple of tracks and there are fewer albums featured than I've managed for other letters of the alphabet, but hey... 'I' was not so stressful as I had feared!

I'm going to kick things of with Frank Ifield. A favourite of my Grandma Burke, he was a very pleasant crooner with an unfortunate tendency to suddenly descend into the odd yodelling outbreak. Many people think of him as Australian, but he was born in Warwickshire in 1937. His parents were Australian, however and unsurprisingly when they returned to live in Australia in 1946 he went with them...

He entered the charts in 1960 with Lucky Devil, a song which reached No.22 and which I have still, some 57 years later, yet to hear. He entered my conciousness with I Remember You which I think was one of only three singles my Grandma ever had (the others were both Frank Ifield songs too - told you she was a fan...) It gave him his first No.1 hit. It was by no means a new song. There's a clip from a 1940s wartime film on YouTube where Dorothy Lamour sings it with The Tommy Dorsey Orchestra and I wouldn't like to be pushed on which is my favourite version.

His next two singles followed I Remember You to the No.1 slot. They were Lovesick Blues and The Wayward Wind, which were my Grandma's other two singles. The latter contained no yodelling at all, perhaps because the B Side to Lovesick Blues was called She Taught Me How To Yodel and was almost entirely an Austrian mountain cow-herd's instruction manual with the last verse performed entirely as a yodelling marathon at double speed. His final No.1 came with Confessin' into which a minimal amount of yodelling was inserted, presumably to keep his Austrian audience happy. Today at 79 years of age, Frank is still touring with a show called 'I Remember You' - an intimate audience with Frank Ifield & friends in which he tells his story and sings a few songs including the hits.

Enrique Iglesias is the son of Spain's most successful singer, the great Julio Doubleglesias, whoops I mean Julio Iglesias. Enrique charmed a new generation of Iglesias worshippers with a debut top ten hit Bailamos and followed it with some lip-quivering ballads including a duet with Whitney Houston: Could I have This Kiss Forever. Girls went mad... I don't know what he's got that I haven't? I could be your hero, baby... I could kiss away your pain...

Imaani. The 1998 Eurovision Song Contest. She came second for the UK with Where Are You against a field that was filled with some great songs. 1998 was one of the classic years. We've come nowhere near as close since then.

Once upon a time if you were Australian and cute, the way into a singing career was via a TV soap opera. Natalie Imbruglia was one such racking up three top ten hits, two of which reached No.2, just a smidgeon off the top spot. She also provoked one of the more shocking or amusing, depending on your viewpoint, moments of Britain's Got Talent when a plainly untalented contestant after a rebuttal asked "And who are you exactly???" followed swiftly by her singing partner (obviously a fan) delivering a clenched fist to her chin.

They only had one entry in the charts according to my copy of the Guinness Book of British Hit Singles, but of course there were many other records from The Ink Spots that pre-dated the official charts. The retail index charts based on record sales started in 1960 but the New Musical Express had compiled a weekly chart from 1952, albeit a top twelve only for the first two years. Perhaps the most famous hit these days would be Whispering Grass which resurfaced in later dates courtesy of Sandy Denny and then Windsor Davies and Don Estelle in their personas from TV's It Ain't Half Hot Mum. But there were others such as Java Jive (I like coffee, I like tea...), If I Didn't Care, It's a Sin To Tell a Lie, I Don't Want To Set The World On Fire and more.

The Isley Brothers. I almost think of them as having a career of two halves. The first brought those great Motown hits such as This Old Heart Of Mine, I Guess I'll Always Love You, Behind a Painted Smile, and Put Yourself In My Place. The second came with their move to the Epic label and with it a new sound for hits like That Lady, Highways Of My Life, Summer Breeze (I just love the guitar on that!), Harvest For The World etc.

And finally The Ivy League who had several sixties hits including top ten hits Funny How Love Can Be and Tossing And Turning. See you next time for the letter 'J'!

Sunday, 5 March 2017

World War One Era Autograph Book, Part 2

A second look inside the old autograph book, picked up at a book fair recently.

I mentioned the last time that I thought this book had been carried through the war. All dated entries fall between 1915 and 1919 but there are far more blank pages than used ones. A few have a military theme and here is one of those...

I suspect now that the book was in use during the war, but not actually taken to the front. It's in far too clean and undamaged a state. There are no mud - or blood - stains and no torn or scuffed pages. Perhaps the references to the war were completed during periods of leave or just after demobilisation?

This pencil sketch is titled Directing The Way At The Front and shows one soldier saying "Yer knows the dead 'orse 'cross the road? Well keep straight on till yer comes to a p'rambulation 'longside a Johnson ole."

A Johnson hole was a particularly large shell crater. Named for its size and referring to the World Heavyweight Boxing Champion to 1915, Jack Johnson.

Here's a small photograph print gummed into the book.

I'm no motorbike expert I'm afraid. The closest model to this that I've been able to find going through Google images is of a Sunbeam - see advert below.

This advert dates from 1915 so is the right era. Seventy guineas is £73.50, a considerable sum in those days. You would have to spend roughly £106 in 2017 to buy something that cost £1 in 1915. So today such a motorcycle would cost £7,791 give or take a groat... On the other hand, what would that same 1915 motorcycle be worth now in working condition?

Ah... hang on - a message has flooded in! The motorcycle in your photo is a 1915 AJS D1 750cc 2cyl side valve. You can just make out the AJS logo on the side of the tank. They usually had a rear pillion but this one looks to have a luggage rack instead. All the very best Chris Hartley. Many thanks Chris!

Agh! This photograph has been gummed over some existing writing on the page. The bottom of the page is signed A Waring, May 30th 1918. I was despairing of ever being able to remove the photo safely without damaging what was under it when I had an idea. I took out a bright LED torch and shone it through the page from the other side. A word at a time, moving the LED along the lines I eventually made out this:

I slept and dreamt that life was beauty
I woke and found that life was duty
Never say die
Up man and try

The first two lines come from a poem by Ellen Sturgis Hooper. I've had less success identifying the origin of the, perhaps more familiar, last two lines. They seem to go back to proverb and idiom. If anyone knows better, please let me know!

Along similar poetic lines here's my closing look at the old autograph book for this time.

When it comes your wedding day
A new broom I will send
In sunshine use the bushy end
In storm the other end

Margaret Salt, 12 June 1919

Saturday, 4 March 2017

First Attempt At Art Using Oil Pastels

Yes I know I've been a bit (a bit???) quiet on the blog this year. But this may go some way as to explain why. For some time I've been producing my pencil sketches a few every year, mainly done whilst on holiday. Last year I tried a couple of water colours over the top of existing sketches. I was fancying having a go at something more spectacular and challenging.

And this is it. An oil pastel painting based on a photograph of Villefranche which lies between Nice and Monaco on the French Mediterranean coast. There was a certain amount of preparatory work for this. I had no easel. I had no pastels... And to make it worthwhile it had to be done on a larger scale than anything I've attempted before. So the bits and pieces of equipment and pastel sticks were bought and a pad of pristine white paper in an A2 size sketch pad. I started work on the 24 January 2017 and finished yesterday morning on 3 March 2017. Not that I've worked eight hours a day every day, though... I've stuck little bits on my FaceBook account as I've been going along and a friend suggested I should collate them into an article. So this is it...

24 January 2017. The easel and paper is set up in the conservatory which will give me enough light to work with. I had been wanting to draw a colour sketch of Villefranche for some time so trawling through my photos of various visits over the years I printed one out onto A4 paper and used that as a guide. At this stage there was no real anticipation of producing anything wonderful and I didn't really think I'd be able to fit a load of detail in using pastels, but drew my usual style of pencil sketch anyway, but without any shading or detail such as foliage.

29 January 2017. This being the equivalent of four A4 sheets, there was no way of scanning it so I had to take photos of each stage. Whilst it was in the pure black and white (or grey of pencil) stage this meant I had to tweak the photo quite a bit to bring out the detail at the expense of the paper going dark and looking dirty! It took five days to get to this stage. A lot of the work got done in five minute bursts whilst I was waiting for the kettle to boil... Even as just a pencil sketch, this was still the largest thing I've ever done and I was starting to realise that I didn't want to spoil it!

3 February 2017. Very little had happened this week in fact, as other things were going on that took my attention. I had decided that I was going to use the pastels even though I might lose detail and to test this out a bit I started with the orange building on the left hand side. I tried it out on a piece of A4 paper first to gauge my technique and adjust if necessary. I bought a set of blending sticks which looked a bit like paintbrushes, but with rubber (like pencil erasers) instead of bristles at the end. I was also trying out techniques for the sky area. The first go was a real mess and I bought a cheap book on painting with pastels and tried out on another sheet of paper the techniques they described.

4 February 2017. After a couple of goes on an A4 sheet - one good, one bad - I thought "What the heck!" and went for it. I also tried out an area of distant hillside and a tiny building in the distance.

5 February 2017. I spent the morning adding in defining details to the upper storeys of the orange building and then tackled mountainside. The latter also has a few small buildings here and there. That was it for the day as we'd been invited out to celebrate a 60th birthday. Next steps will be to complete the background and do the cliffs towards the right-hand side. That was going to be another suck-it-and-see test on a fresh piece of paper before committing to the actual painting. I found that small items such as roofs and windows on the background buildings were best done with a tiny smudge of colour and then using one of the blending tools. For thin black lines I chose a blending tool shaped like a paintbrush and applied minute bits of paint by rubbing the blender on the top of the stick of pastel. I got enough pigment to do a millimetre at a time, two at the most. The hillside was done using brown and two shades of green and drawing intersecting wavy lines before blending the colours with my finger. Over on the left hand side a dark red was also added to the mix.

9 February 2017. A close up of the detail in the top left corner. Yet a third shade of green was used quite thickly to suggest trees and foliage. A bit tentatively at first with a couple of lines to suggest footpaths or roads along the mountainside, but then the yellow building got done and the cypress trees at the side of it and they were a sort of happy stumbling on something that made me use that shade quite a lot afterwards for trees and foliage!

11 February 2017. My FaceBook update went: I did quite a bit yesterday and have added to it today, but now getting ready to go hospital visiting and as it's half-term next week and we will have Grace a few days it might have to go upstairs out of the way! More hillside done, more trees and foliage added. A few more buildings done - I learned the hard way you can't mix colours easily. I'm sure you'll be able to spot where I found this out... Lower storeys of the orange building started and the car which Miss Franny said had to be blue. Suspicious now... I've never had that blue a car...

13 February 2017. I spent the previous day on the left hand side, working towards the lower part of the painting. The sea was going to be left until the very end. For one thing it was going to be complicated and needed a lot of layering of colours which I wasn't too sure of as yet. And for another, I suspected it may have to be done as one complete portion to avoid any obvious vertical breaks that might occur if I attempted t do it bit by bit. And for a third and final thing - proving that you can start two consecutive sentences with the word "and" - I always work top left to bottom right so that my hand doesn't smudge bits I've already done. I wasn't yet ready to make myself a long dowel with a small bean bag on the end to act as a hand rest whilst painting over bits already done.

Today I took a very deep breath and headed for the cliffs. One of those "this could ruin it" moments. I used grey and a dark ochre and smeared them together vertically, using the ochre to suggest soil seeping from ledges. I figured they were too far in the distance to start drawing cracks in the rockface so instead used small amounts of black to suggest the shadows caused by clefts and breaks in strata. Adding foliage along the ledges helped the illusion. I was not particularly keen on the far-too-pink building and friends agreed, with one suggesting it stood out like "a dog's..." well, never mind... I will see if I can tone it down any! Half Term starts and I move the easel upstairs for a week where it won't get knocked over accidentally.

21 February 2017. It's back downstairs and being worked. I have to hold my hand up and admit I never expected to manage this amount of detail. The sea still awaits to trip me up though. And the windows and shutters are getting smaller all the time now... I put a darker red pigment over the pink and managed to tone it down a bit.

25 February 2017. By now I was spending more time on it each day as it was starting to get quite exciting! Each time it's noticeable that the white untouched area is shrinking. A couple more foreground buildings to the right, another swathe of hillside and the large building - university, school or just apartments? - done. At the bottom, the sea wall extended and I swapped some concrete for a more picturesque Lake District style wooden jetty. Well they should have done it proper in the first place... The inflatable boat has been done and I gave a huge sigh of relief afterwards I can tell you! It will probably need a bit of tidying after the sea goes round it. And that's another serious psyching-up moment to come!

28 February 2017. The previous three days saw me just about reach a landmark. The next mark will be a seamark! The last few hotels have been done, the remaining buildings on the hillside and what looks like the old town walls at the right hand side (in the real Villefranche they support the railway!) had me trying a new technique for blending colours. I found it very hard to get a suggestion that it was made from large blocks of stone... Now the sea beckons and I need to experiment on fresh paper to get a technique for mixing horizontal splashes of colour for the sea with the verticals of the reflected colours of buildings etc. I commented on FaceBook "The next time you see it, I will either have finished or ripped it up and you will see it in the bin..." I'm pleased to say a number of people begged me not to rip it up!

3 March 2017. Sorry about the copyright notice, but despite the copyright notice already on this blog to the left it is absolutely amazing how many times my photos from this blog turn up without people having the courtesy to mention where they came from. I allow use for non-profit purposes but ask that I am credited. Most people now assume copyright doesn't matter, I've even had someone suggest I was deliberately spoiling his book by refusing to allow him to simply copy the tiny photo on here for a book without any consideration and he dismissed my suggestion that I would need to provide a large scan and then clean it up because old negatives and slides will be dirty. Duh... The Internet works at 72 dots per inch. Books work at least at 600 dots per inch. If you just lift an image for a book off here you could hope to get a good quality image if it was printed no more than half an inch wide. In the end after I refused, he protested that he was going to offer me a discount off his book (it was going to sell priced around £40!!!) Anyway, please bear in mind that I spent the 1980s and 90s freelancing to magazines. My photos were taken when it cost money to take photos and they were taken with the intention of selling them. So sorry about the copyright notice over the pic and the slight rant...

I had been seriously driving myself nuts about starting the sea area. I did a Google search for pastel paintings water reflections video and watched a few to see how people had done them. There are some really good videos about to help artists. So on the 2nd of March at tea time I started drawing horizontal lines of colour onto the sea area. The colours were all of those that would appear reflected from the relevant area above the waterline and positioned where I thought the top of the reflection would start. I ended up with a mess of horizontal lines of colour, lots of white space and my heart in my mouth.

Then where I had room, I used a finger and smeared downwards to the bottom of the paper. An artist friend - I'm going to name her, Christine (Katie) Astbury - gave me loads of help through private messages over FaceBook all the way through this artwork and never protested or dodged any of the naive and sometimes complex questions I fired at her, thank you xxx

Where I didn't have room to use my finger to smear the colour such as in the angles of sea wall and jetty, Katie suggested using cotton buds and that worked a treat. So now I had some quite vivid stripes of colour which looked rather startling. I had to tone them down and then make it appear as though they were reflections on water. I toned them down by scraping vertically downwards with a palette knife which took off quite a bit of pigment, smoothed out any lumps and gave me a fresh working surface to work on the water - as it were. This was achieved using three shades of grey, a silver-blue, a mid and a dark grey to create both short horizontal lines and random wavy lines but only straying from the horizontal a little. The dark grey was used to darken areas of deeper water away from the sea wall. Some white was added to suggest spray or eddies of water around the boats and the sea wall.

I started this as an experiment and never expected to end up with something like this. I'm every bit as flabbergasted as anyone else has professed to be. But quite pleased... My son-in-law has brought me a couple of sets of oil paints and brushes. Miss Franny is looking at the conservatory floor and looking pensive...

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