Colin Bradley Art Cast: Recent Episodes
Colin & Steve Bradley
Father and Son team Colin & Steve Bradley offer Pastel & Watercolour Tips to artists via this weekly Podcast. Submit your questions and Check out Colin's Free Courses on his website: ColinBradleyArt.co.uk
In this episode Stephen and Colin discuss Colin's latest art project, a challenging dog portrait. They explore the creative process, the techniques involved, and the artistic choices made to enhance the final piece. Colin shares insights into overcoming challenges in interpretation and the importance of making the artwork appealing. The conversation also touches on the philosophy of original art versus prints and concludes with a look at future plans for art classes and demonstrations.
Chapters
(00:00) Introduction and Family Update
(02:41) New Art Project Overview
(05:51) Challenges in Artistic Interpretation
(08:40) Techniques and Artistic Choices
(11:52) Progress and Artistic Insights
(14:56) Conclusion and Future Plans
In this episode , Stephen and Colin Bradley discuss various topics related to art, including the challenges of creating cat art with reflections, the intricacies of miniature art, and updates on new classes and the online shop. Colin shares insights into his creative process, the techniques he uses, and the joy of exploring new artistic challenges.
Chapters:
00:00 Welcoming Summer and Family Updates
01:55 Exploring the New Cat Picture
12:50 Diving into Miniature Art
21:25 New Classes and Shop Updates
In this episode of the Colin Bradley Art Cast, Stephen and Colin Bradley discuss various updates in the art community, including the revival of their online shop, the discontinuation of Fabriano Ingres paper, and the exploration of alternative papers. They also showcase Colin's recent artwork, particularly a cat portrait, and delve into the techniques used in pastel art, emphasising the importance of colour shapers. The episode concludes with a call for community engagement and feedback.
Chapters:
(00:00) Introduction and Updates
(03:00) Reviving the Online Shop
(05:53) Challenges with Fabriano Paper
(08:49) Exploring New Paper Options
(11:58) Colin's Recent Artwork
(17:57) Techniques and Tips for Artists
In this episode Colin discusses his newest Kitten painting. We dissect the techniques and decisions he’s made when producing this beautiful picture including the balance of warm and cool colours.
In this episode we receive an updated portrait from Geoff and Colin discusses his newest shadow picture.
In this podcast we dissect Colin’s latest picture and discuss the various techniques and pastel applications that went into creating the effects we see on paper.
In this episode Colin dissects his latest portrait of a woman in a straw hat. He discusses the reason behind the choices he made, why he sticks to his golden rule of sticking to what you see and signing a picture in the medium he uses.
In this episode Colin helps 2 of his students with their pictures as well as talking about his most recent portrait picture.
In this episode Colin talks about the predicament he faced with his recent portrait work and why he had to abandon his picture.
In this episode Colin talks about his finished duck landscape and how he achieved such a realistic outcome. He also offers advice for a student on their dog portrait.
In this episode Colin discusses his new picture in a challenging surround. He discusses the importance of "rehearsing" the colour applications and experimenting so you can achieve the correct tone.
In this episode Colin discusses the rock picture he has painted to help others with this tricky landscape feature.
In this episode Colin shows us his finished Sphinx Cat and the challenges he faced when drawing such an unique subject.
In this episode Colin discusses his newest challenge - a sphinx cat. We talk about how the picture's going and the techniques he using. We also discuss drawing one of the hardest features in landscape art - rocks.
In this episode Colin talks about his latest pastel pencil picture of a lion. Watch the video version of this episode on YouTube and Facebook.
In this episode Colin talks about his latest pastel pencil picture of a lazy bear. Watch the video version of this episode on YouTube or Facebook.
In this episode Colin talks about his latest forest animal picture using Pastel Pencils. Watch the video version of this podcast on our Facebook Page or YouTube Channel.
In this Q & A episode Colin talks about future PanPastel projects, his approach to using the various brands of pastel pencils and how to do stripes on a ginger cat.
Watch the video version of this episode on our Facebook Page and YouTube Channel.
In this episode Colin discusses his latest flower painting using beautiful reds and pinks. He discusses the various effects he achieved and why this is one of his favourite paintings. Watch the video version of this episode on Facebook or YouTube
In this episode Colin discusses his boxer dog including the choices he made on the background and the challenges he faced. Watch the video version of this episode on our YouTube Channel or Facebook Page.
In this episode Colin talks about his latest project and his approach to choosing the initial and then complimentary colours. To watch the video version of this podcast visit our facebook page: https://www.facebook.com/colin1940 or YouTube Channel: https://www.youtube.com/colin1940
In this episode Colin discusses his latest challenge - drawing an Australian Shepherd dog. He also talks about a new picture he's working on and answers a viewer's question on how to get soft edges on clouds.
In this episode Colin discusses the new coloured pencil cat picture he recently finished and the challenges he faced. Watch the video version of this episode on our Facebook Page or YouTube Channel.
We're back! We record a quick episode to check and in find out what Colin's been up to recently. Watch this episode along with special outtakes on our YouTube Channel or Facebook Page:
https://www.youtube.com/colin1940 or https://www.facebook.com/colin1940
In this episode Colin talks about some experiments he's been doing. Some successful... some unsuccessful. He tells us about a new product he's been playing with and how it's lead to a new style of painting using just 5 Pastel Pencils.
In this episode we talk about Colin's sepia work and the particular colours he chose for doing this kind of work (in both watercolour and pastel). He also talks about the tips and techniques with sepia work including paper colour choices. We also discuss Copyright and particular copyright on artwork copied from Colin's lessons.
In this episode Colin offers his advice for those students that might have hit a plateau and are unsure on how to progress and get to the next level. Colin and Steve also discuss the process behind filming and releasing a class. Lastly, they talk about Colin's latest work and whether he would work with oil pastels.
In this episode Colin talks about whether doing commissions of friends or family changes the way you connect with the work. Do you feel the presence of the person there whilst your working? Listen to Colin's experience doing a commission of his granddaughter and his process behind capturing her personality.
In this episode we discuss the year we've had and what Colin's learnt and discovered through new projects and new art mediums.
In this week's episode we talk about why 2 brands have recently discontinued their harder stick pastel products. Both Faber-Castell and Caran d'Ache have discontinued their stick pastel ranges this Year. We talk about both products and Colin offers his insight into why they might have done this.
In this episode Colin talks about his latest advanced shadow picture of an old man reading and we discuss just how impressive the fine details are.
In this episode Colin chats to us about finishing off the dog picture from last week and his new pictures in shadow that he's working on.
In this episode Colin talks about his current work in progress of a long hair (long fur?) dog. He describes his choice of paper and why following the reference picture made for some interesting choices in base colours.
Colin shares with us his finished fox landscape picture and how he created little details within the picture that created a sort of "story". We talk about the reasoning behind other small details he added and why he cut the bottom off mid way through.
In this week's episode we discuss how much detail you should draw in your outline drawings. We talk about animals, portraits and landscapes and how the level of detail changes depending on what you're drawing. We also talk about Colin's new Fox landscape which he's working on and shares a sneak peek of the progress.
In this week's episode Colin talks about the picture he teased last week - a turtle! We discuss using the challenges he faced with this picture and how a PanPastel background didn't work out this time. We also talk about his choice of paper and how he achieved such intricate detail.
In this week's episode Colin talks to us about how the background went on the Wildcat painting. He talks about the choices of background colour and how unsure he was about how it would turn out! We also discuss using PanPastels for a sky then using pastel pencils to put a subject over the top in his new bird in flight landscape.
In this episode Colin talks about his latest picture of a Wild Cat and his next task of creating an impressionistic background with complimentary colours.
In this episode Colin reveals the picture he was talking about last week and reveals a couple of pictures that never happened. We talk about these false starts and how he deals with things not always going to plan...
In this episode Colin talks about his latest Renoir inspired piece using PanPastels. He talks about how he modified the original Renoir picture and added his own spin on the landscape. We also talk about mindset towards a picture and how that can change over time.
This week Colin talks about his latest impressionism piece which he's done "in the style of Renoir". This leads us to a discussion around how to do impressionism and how to slowly integrate it into your realistic work.
In this episode we discuss painting larger pieces and miniature pieces in both watercolour and pastel pencils. Colin talks about which he finds easier and the challenges you might face with both.
In this episode Colin talks about his latest Barn Owl painting which includes a very impressionistic tree trunk! This leads us onto talking about blending aspects of realism and impressionism together in a painting. We also talk about the similarities between soft pastel and PanPastels and being able to layer pastel pencils back over the top.
In this week's episode Colin talks about the benefits of using a limited colour set for his PanPastel work and how this can benefit students with their understanding of colour. We also talk about 2 more projects aimed at children and the new classes we've added this week for everyone.
In this episode Colin talks about the two pictures that he's created for children to copy. We talk about the challenges he faced and how he approached these pictures compared to his other work. We also talk about what he's looking forward to doing next.
Following on from our conversation last week, Colin discusses how to achieve a tartan pattern in fabric and the fundamentals you take into account when giving it a go. We also talk about Colin's latest 2 PanPastel landscapes in the style of Monet including why they work and how he got such 'detail' from a few blobs of colour.
In this episode Colin talks about creating folds in fabric with pastel pencils and explains the theory behind creating subtle contrast and light within the material. We also talk about 2 new PanPastel pictures which have very dramatic skies. Colin talks about the techniques and happy accidents that he kept in which made all the difference.
In this episode, Colin talks about the three latest shadow pictures he has recently completed. He takes us through one by one and explains the techniques he has used.
In this episode Colin talks about his newest Tiger picture. Colin tells us about in even such a dramatic and dark background, he managed to create a colour harmony and shares more tips behind drawing tigers. We also offer some tips on using pastelmat paper with pastel pencils.
In this episode Colin is back and here to talk about his latest Dog in Shadow (featuring a neckerchief). He discusses the challenges and approach he took to doing this picture, offering advice along the way. We also discuss what he's working on next - an ambitious tiger picture.
A quick update from Steve this week while Colin's voice comes back for next week's full episode.
In this episode Colin discusses how to achieve impressionism with just Pastel Pencils. We also talk about the differences and similarities with impressionism using Stick Pastels and Pan Pastels. This leads us to talk about Colin's latest picture and his work on the background using Soft Pastel.
In this episode we discuss faber-castell discontinuing the polychromos pastel stick range and what that means for our classes moving forward. We also talk about watercolour pencils and the comparisons between coloured pencils and stand alone watercolour. Lastly we talk about Colin's latest picture of a cat and how he used different branded pencils to keep a close colour harmony within the picture.
In this week's episode Colin talks about his latest landscape challenge with a lot of foliage and bridge as the main feature. We talk about the difference between these landscapes without people in and his other landscapes which usually feature people in.
In this episode Colin talks about the appeal of doing challenging subjects that wouldn't necessarily go on your wall. In his latest picture he deviates from the usual landscapes to try something different and more challenging. Hear how this went and learn the theory behind his choices within the painting. We also discuss using PanPastels for block filling colour and combining them with pastel pencils on both PastelMat and Ingres.
In this episode Colin helps a student with their choice of background. Having already used warm and cool greys, what colour could be put into this grey background? Colin offers his advice and updates us on his newest Shadow pictures and the thrill of overcoming challenges.
On this week's episode Colin shares his advice to blending on pastelmat using colour shapers and advice if you want to try and erase mistakes. Colin also talks about the challenges he's faced with his recent shadow portraits and also a new Tiger Cub picture he's done with a beautiful depth of field.
In this episode Colin talks about how he was able to 'erase' a tree in his latest coloured pencil picture using solvent and the other colours in the trees. We also talk about his latest Shadow pictures and what makes it some of the most challenging work he's done to date. Lastly, Colin offers his advice for putting white into black tiger stripes.
In this episode Colin talks about going back to coloured pencils and a new landscape he's been working on. In his new picture there are a lot of trees and so this gives Colin an opportunity to talk about creating trees with coloured pencils and more specifically how to separate them using light and dark.
In this episode Colin takes a couple of questions, both about using grey! We discuss when to use warm and cool greys in animal portraits. Colin also talks about a new portrait he's working on and how he's had to deviate from the reference picture to make it work.
In this episode Colin talks about his latest shadow picture of a leopard and describes his approach to repetitive parts of a picture. He also talks about his experience of turning this leopard into black and white and the stumbling blocks he came across.
In this episode we revisit a topic that we've touched upon in a few podcasts and that's how to get a bright white on the paper. It's a big topic and problem for a lot of our students so we thought we've cover it as extensively as we can in this episode. We also answer questions about Albrecht Durer pencils, using PastelMat for the first time and how to create realistic portraits.
In this episode Colin talks about his latest commission ventures and how he's looking to keep his work varied with impressionism and other mediums. We also talk about 2 new classes we've added to the site - the Snow Leopard on UART and Dover Castle for English Heritage. Find both classes on our site via the links below:
Snow Leopard: https://school.colinbradleyart.com/courses/snow-leopard-uart
Dover Castle: https://school.colinbradleyart.com/courses/dover-castle
In this episode Colin talks about the enjoyment he is getting achieving amazing impressionistic effects using the Basic 10 Painting set of PanPastels. We talk about one of his recent pictures and he talks about how he is getting the effects you see. You can learn how to do this too by following Colin's classes on our website. Visit our website for more information: http://www.colinbradleyart.com
In this episode, Colin talks about his passion for the shadow style of pictures and how it's encouraging him to return to doing commissions for others. We talk about what's lead to his choice and reasons for returning to commissions after years of teaching.
In this week's episode Colin talks about his latest shadow picture he has completed and why these classes help with learning contrast. We also talk about the differences between charcoal, graphite and pastel pencil and why they offer similar lessons but achieve different results.
In this episode we talk about the differences in Colin's watercolour and PanPastel landscapes. We compare the different styles and approaches you need for both and how the techniques differ. Colin also offers an update on his approach to PanPastels and how it has changed since the beginning.
In this episode Colin talks about the ambitious picture he attempted using PanPastels with stick pastels and why it didn't end up delivering the results he expected. This leads us on to talking about combining PanPastels with pastel pencils and other mediums and what tools he used in his latest picture to try and get more detail.
In this episode Colin talks about how he created a black and white misty landscape scene using just 4 pencils. We talk about the subtleties and effects you can get without even needing black. We also talk about his next projects using Pan Pastels and a new tool he'll be experimenting with.
In this episode we talk about Colin's new shadow picture and how it's a different composition to his other work. This leads us onto talking about how he would go about mounting (or matting) the picture as it is a custom size. Colin talks us through how he would have done this when he was a framer and the equipment he used. We also talk about another 4 pan pastel pictures that complete the initial collection of classes coming soon to the school.
In this episode Colin tells us how he got on with using PanPastels for the first time. We talk about the impressionistic style and how he feels it will develop in future. We also discuss sharpening creatcolor pencils and problems you might face taping your paper to your drawing boards.
In this episode we talk about Colin's newest artwork and his plans for PanPastels. We discuss how he totally made up the background and foreground to a hound landscape and how he combined two pictures photos to create a stunning landscape on UART paper. We also answer students questions about UART, tracing on dark paper without tracedown and about a new online course we're working on for artists wanting to do commissions.
In this episode Colin talks us through a new Snow Leopard picture - his first one using UART Paper. We talk about the differences the UART paper made and how achieved such amazing contrast and realism whilst still making it "impressionistic". Colin breaks down each section and how he deliberately left the picture at times to avoid over doing it. We also talk about our referral programme that we have just launched and our new Elephant in Shadow Class.
In this episode Colin talks about his experiments with the UART paper and how his latest project is going on the sand colour. We talk about the differences between this and PastelMat and which one Colin prefers. We also discuss the free Evelyn Nesbit class that's been added to the website and YouTube and why he found it more challenging compared to the other shadow pictures.
Interested in joining our Facebook Group? Click here: https://www.facebook.com/groups/cbart/
In this episode we talk about drafting film and compare this with some of the other papers Colin uses. We also discuss UART and what experiments he's planning using this paper. We talk about his latest shadow picture being a slightly different subject and how he got the final effects you see on the paper.
In this episode we answer a few questions from our students which prompts us to offer some advice for those wanting to learn how to draw free-hand. We offer an easy introduction to learning perspective, proportions and drawing accurately. Colin also talks about 2 new 4 pencil shadow pictures he has completed recently - a Portrait and a Dog. Both of which are classes coming to the website in the New Year.
In this episode Colin recalls the first Christmas running his gallery in the early 80s. We talk about the busy periods and what he did to diversify and explore making money in the early days. He offers advice for other artists in the same position and how they can find success too.
In this episode Colin shares his experience of teaching and doing commission work at the beginning of his artists' journey. We discuss how after how many years he would have become more comfortable with commission work and whether he has ever faced artists' block. We also talk about how going down the avenue of becoming a teacher made him a better artist.
In this episode we compare how much dust is produced from soft pastels, chalk pastels and pastel pencils and how this has affected students and people writing into us. If you've had a problem with pastel dust we would be interested to hear your experiences. Colin also talks about a new portrait he has completed and tips for building up the delicate skin tones.
In this episode we take some questions from our students! Colin talks about whether you should repeat classes that you have previously taken and offers his advice on what he would do. We also discuss soft pastels on Fabriano Ingres vs PastelMat and the differences in application. Colin also discusses another new shadow picture he has completed and how his artwork is being challenged by more difficult subjects.
This week we talk about the new Teddy Bear subject we've added to the site and the story behind the bear. We also talk about the shadow picture that Colin was working on last week and reveal how it came out. A new opportunity presents itself to try UART paper in 2 colours for both pastel and coloured pencil work and so we talk about our discussions with UART about trying their paper. Lastly Colin talks about the Van Gogh and the excitement behind more demonstrations coming soon.
In this episode we discuss how the 4 pencil shadow classes really help with learning contrast. When you begin to grasp how to achieve subtlety in shading and contrast it will transfer your work over night. We also talk about the new Van Gogh demonstration coming and how you can begin to learn impressionism early on.
In this episode Colin catches us up on what pictures he's been doing this week. In going back to coloured pencils again, what has he learnt and what challenges has he face? He also talks about the amount of pencils that he has used recently in foliage and specifically how to get such realistic effects. If you are keen on landscapes and foliage, you'll love this one!
In this episode we talk about the ability to put emotion and feeling across within a painting. When you're learning it's really important understand the technique and application, then once that is learnt you can start to put feeling and emotion into each stroke. Sometimes this is intuitive and subconscious, and sometimes it is deliberate. We talk about developing this extra quality to your pictures and how it transfers into other forms of art.
As Colin moves away from his coloured pencil work and back to pastel pencils. We talk about his return to the popular shadow pictures. With more ambitious ideas but still just 4 pencils, how will he cope trying to tackle more difficult subjects? Find out how he's getting on in this episode.
In this episode we finally get to talk about the new site, name and logo. We are now the Colin Bradley School of Art! It's taken us a long time and a lot of work to get to this point and want to thank everyone who helped make it possible. We couldn't have done it without you. Hear a little about the behind the scenes of what went behind the re-brand and new site and what we have planned for the future.
This is a bumper episode as we also talk about approaching commissions and share some tips from our members about their experience with taking on commissions and building their confidence.
Lastly we get technical and talk about how to create different light and dark areas of fur. What's the trick behind creating contrast in an animal when the fur colour is the same? Find out in this episode.
Visit the new site -> http://school.colinbradleyart.com/
In this episode Colin talks about how to help with self criticism and gaining inner confidence. We share an email from a student which prompted some really good discussion about doing commissions and battling your own inner self critic. Colin also talks about 2 more coloured pencil pictures and whether you can use watercolour pencils the same way you would use pastel pencils.
In this episode Colin talks about the 2 new coloured pencil pictures he's completed this week and how all the mediums he works with have similar principles and transferrable skills. Colin also discusses the various colours of pastelmat paper and which ones to use for various classes and also whether you can use fabriano ingres for the same pictures.
In this episode Colin talks about different factors to taking a good reference photograph as well as what to look out for when others send you a photo. We talk about how to get the best representation of colour and what to do when you're stuck. We also talk about a few more coloured pencil picture Colin's done in the last week and which Faber pencil to use instead of Cretacolor 229 used in the shadow pictures.
In this episode Colin talks about the benefits of the shadow picture series we have been adding over the past few weeks. In a similar way to graphite work, it helps you to understand and see the principles of contrast and subtlety of tone. We discuss a new train shadow picture Colin has completed this week as well as a new coloured pencil landscape using the set of 12 luminance pencils. Hear about the new techniques Colin has picked up in this new coloured pencil picture and stay tuned for all our coloured pencil classes coming soon!
In this episode we look at the comparisons between watercolour, pastel pencil and coloured pencils. What techniques has Colin transferred from watercolour and pastel into his coloured pencil work? He offers some new tips that he has found with his latest picture and what he's got planned for the future.
In this episode Colin shares some more experience of working with coloured pencils and talks about 2 new pictures he has completed this week. He offers some tips on working with solvent and how to achieve a 3dimensional look using contrast.
In this weeks episode we check in with Colin's progress on his coloured pencil work. We discuss some of the techniques he is learning and also some of the similarities between coloured pencils and pastel pencils including the potential for over blending. Using a solvent can be a lot like a colour shaper and we discuss how to use both of these tools to maximise your results. We also talk about why Colin chose Dark Grey PastelMat for the shadow series of pictures and the warm undertones he creates before getting to black.
In this episode Colin gives an update on his coloured pencil work, showing his latest 3 pictures of 2 landscapes and 1 butterfly. We discuss how he achieved such incredible effects using the pencils and various challenges he faced. Colin also offers some advice on drawing chrome using pastel pencils.
View the pictures over on our blog: https://www.colinbradleyart.com/home/about-us/latest-news/
In this episode Colin tells us how his first landscape picture went using coloured pencils. We talk about the new techniques he developed and how it differed from his pastel pencil and watercolour work. We also talk about his next coloured pencil experiment.
We check in with Colin and find out how his new coloured pencil picture went. Hear the ups and downs and his perseverance paid off to produce a stunning end result. He also shares a new technique that works brilliantly for coloured pencil backgrounds. Hear all about this and techniques that others have sent in to us in the last week.
In this episode Colin gives us an update on his coloured pencil pictures. He talks about how he is trying to make coloured pencils more achievable to those starting out by keeping materials you need to a minimum and keeping the techniques straight-forward. Hear his progress and process of working with them in this week's podcast.
In this episode Colin gives an update on working with colouring pencils and how his approach is evolving. We talk about creating a method that is achievable for students wishing to do coloured pencil work. We also discuss drawing animal backgrounds and the variations you can do. Colin offers tips if the subject is in full view on the ground or just a head and shoulders portrait.
In this episode Colin updates us on his experience with using coloured pencils. He talks about the first picture that he has filmed for release and the combination of pan pastels and coloured pencils. We also discuss some tips that have been sent into us which he will be trying as well as combining watercolour with the pencils in future projects.
In this podcast we discuss a new venture Colin's exploring which we're really excited to talk about and hope you're as excited to see what it brings. Before this, we talk about what it was like doing the new range of greytone pictures and how far he's progressed since his first picture. Lastly, we discuss signing your pictures including what medium to use, where to sign and whether you should date your work.
In this episode we talk about the theory of choosing colours. Is it a natural gift to see a photograph and know the colours that you need? How can you develop this skill and what goes into picking the right colours? Colin discusses this and more in this week's episode.
In this episode Colin offers advice for creating a contrast with the background and a subject and how to overcome any areas where the subject may appear to blend in with the background. We also talk about printing out a sand coloured outline drawing onto white paper and if this would have the same effect as sand coloured pastel paper. Lastly, we talk about creating outlines and the process in which Colin goes through to create a basic outline for students.
In this episode Colin and Steve talk about doing your artwork in the evenings or early mornings and when is the most productive time for them. Colin discusses not tackling anything too tricky in the evening so you can leave your work at a good place. We also offer some tips and advice for our members including help with skies and choosing colours.
Pictures referenced in the show: https://www.colinbradleyart.com/home/early-morning-or-late-night-podcast-250/
Through helping one of our students with her picture, Colin discusses finding contrast within a subject of the picture and also the components of the picture itself. How do you make the subjects 'pop'? How do you subdue the background and draw attention to the areas you want people to see? In this podcast Colin offers lots of great advice for students drawing from their own references.
We also discuss how using a general white charcoal pencil and a double ended eraser can get you out of a tricky situation.
In this podcast we answer some of your questions and offer tips and advice on some of our members work. We talk about the importance of sharp pencils with zipping in whiskers, choosing colours for a dog and how changing one small part of a painting can affect the whole bias of the picture.
See the pictures we discuss on this week's show on our website: https://www.colinbradleyart.com/home/about-us/latest-news/
In this episode we talk in depth about contrast and why this is such a challenging skill to learn using pastel pencils. We offer tips for improving the contrast in your pictures and exercises you can practice.
Colin also discusses the intricacies behind achieving a likeness with your portraits and offers an update on a picture he's working on at the moment.
In this week's episode we answer more of your questions! Colin offers some advice for buying additional pencils to increase your range of colours. He discusses 4 pencils from Cretacolor, Caran d'Ache and STABILO which would be good first colours to purchase. We also talk about base colours and where to use the cool and warm greys in your picture. Lastly, we discuss trying to remove accidental fingerprints from your pictures - has this ever happened to you? Let us know!
In this podcast Colin talks about knowing when to stop working on a picture. This is something that he struggled with in the beginning. When do you stop working on a picture? How do you know when to finish? Colin talks about his experience. We also discuss mount sizes for A4 pictures and how much detail you should put into your outline drawings.
In this podcast Colin talks about the series of pictures he is doing where subjects are in shadow. He is magically using just 4 pastel pencils for these pictures and the results are outstanding.
We also pass on a tip about using masking tape and suggest some common pastel stick colours which are good for those just getting started.
See the pictures Colin's working on by visiting our instagram here: https://www.instagram.com/colinbradleyart
In this episode Colin talks about becoming looser with your approach and how working on realistic subjects provides a great foundation for moving into impressionism and specifically a looser watercolour approach. We also talk a little more about watercolour and how to stop your paper from buckling when it dries.
Colin's next project after Errol Flynn was to draw the beautiful Doris Day. Ever since he was a child he has adored Doris Day and this one was a real indulgence and pleasure for him to do.
In this episode listen to the behind the scenes on creating this stunning portrait and be sure to check out the stages of this picture being completed over on our Facebook and Instagram pages:
http://www.facebook.com/colin1940
http://www.instagram.com/colinbradleyart
In this episode Colin talks about his latest picture of Errol Flynn. We posted updates on our Facebook and Instagram of each stage so that you could see how it was created and in this show Colin offers some insights into the challenges of bringing Errol to life on the page.
To see the pictures visit our Facebook or Instagram:
http://www.facebook.com/colin1940
http://www.instagram.com/colinbradleyart
In this episode we talk about Colin's new demonstration piece - "The Scream" by Edvard Munch. You can get access to the demo FREE for a limited time only using the link below. ALL IN Members will also find the videos inside their membership area on the website.
Colin also talks about the 2 new starter pack videos we've added - Broadstairs and the Daylight Beach Scene. You can find both subjects on our site and on Udemy as a bundle.
Lastly, we discuss the new Errol Flynn portrait and the apprehension with approaching such a challenging and iconic subject. Keep your eyes peeled on our Facebook and Instagram to see the progress of this picture!
Scream Demo links:
Members login: http://bit.ly/cba-login
Non Members link: https://bit.ly/scream-demo
New Starter Pack links:
Members login: http://bit.ly/cba-login
Non members link: https://bit.ly/individual-courses
Enrol on Udemy: https://bit.ly/9-pencil-landscapes
Social Media:
Facebook: http://www.facebook.com/colin1940
Instagram: http://www.instagram.com/colinbradleyart
In this episode we discuss working with tracedown carbons, both the graphite and white versions. When using a carbon do you need to go back over the drawing with a pencil? Colin shares his experience that gives him the best results when both working on light and dark papers.
We also talk about the 3 new starter pack courses we've released as well as what Colin's working on next.
Keep an eye on our Instagram to see photos of behind the scenes: http://www.instagram.com/colinbradleyart
In this podcast we talk about the new pictures Colin's been working on and specifically how he's composed the picture to draw the attention to the subject.
He does this by changing the physical composition of the picture and also with the depth of field within the subject (blurring the background etc.). It's fascinating to hear how your attention can be directed when looking at a picture and Colin explains how he does this in this podcast.
We hope you're all doing well and keeping safe. Our thoughts go out to all of you and hope that you're in a position to put pencil or paintbrush to paper and create.
In this episode we conclude our 3-part Q&A series with Business questions relating to art. We discuss the following:
- What is the split of time like between creating art and dealing with the business side of things?
- How does being an artist work out financially? (I'm not after figures!) Are there ebbs and flows? Has it changed over the decades? Have you ever been concerned about how it might work out? What do you know now that you didn't when you first started?
- With a number of different revenue streams (e.g. commissions, prints, workshops etc), which is the most lucrative and is it what you most enjoy doing?
- How do you price your work?
- Have you had to alter your business model over the years?
- Have you had to work hard at selling/marketing your work?
- How do you find your clients? Do you target specific markets/types of people?
- Do you have work in galleries? Is the cut they take from sold work worth the exposure it gains you?
- Do you exhibit at trade shows/fayres? Is the fee for the space worth how much art might be sold?
We hope you enjoyed the last 3 episodes and feel you have learnt a lot. Thanks again to Teresa for the questions and if you have any please send them over to us! Our email address is: steve.bradley@colinbradleyart.com
Creating in times like these is more important than everCreating in times like these is more important than ever.
We wanted to check in with everyone to see how you're all doing and hopefully inspire you to pick up a pencil or paint brush and create.
Science has proven the incredible benefits to art and how it reduces the "fight or flight" stress hormone. This stress impacts our bodies in so many ways so putting your mind and body in the present moment can give you a chance to rest and escape "survival mode".
In this video we also talk about the new picture Colin's been working on (you can find the work in progress pictures on Instagram here: http://www.instagram.com/colinbradleyart).
There's another new art project coming to members this week and we'll check back in with you on Friday for our Podcast!
Links mentioned in the video:
-> Tabby Cat Course FREE for EVERYONE: https://bit.ly/draw-from-home
-> Membership to our website: http://bit.ly/learn-more-cba
-> YouTube Channel: http://www.youtube.com/colin1940
-> Instagram: http://www.instagram.com/colinbradleyart
In this episode Colin answers some more technical questions to do with art. These questions include:
- Will fixative always dull and darken the appearance of a finished pastel piece? Or does it mean I've used too much? Is there an alternative?
- Would you ever use normal cartridge paper for pastels or is it best to use specific paper for pastels?
- What is the best technique for adding really sharp/crisp, detailed white whiskers over the top of layered pastels on animal portraits?
- With so many different brands of pastels and papers, how do I choose which to buy?
- When selling prints, do you provide a copy of the signed original and then sign it again with the limited edition number or do you photograph it prior to signing so that the print has an original signature on it with a duplication?
Thanks to Teresa for sending the questions in, we hope people find the answers interesting and stay tuned for another Q & A podcast next week on the business of art!
In this episode Colin answers some questions about his career as an artist and offers advice to those who want to have a career in art. The questions we discuss include:
What has surprised you most about your career as an artist?
What incorrect assumptions do people have about life as an artist?
What do you wish you had known before you got into being an artist? Is there anything you would do differently if you could rewind?
What should a new artist be aware of before starting out?
What steps/advice/recommendations would you give to a new artist starting out?
What are the best resources/events/people to follow in the industry?
*Is there anyone else you think it would be useful to speak to?
We hope you enjoy this episode and look out for our next episodes where we'll answer technical art related questions and more about running a business as an artist.
In this episode we chat a little more about Colin's time at Butlins including a funny story of Colin's early teaching days. We also talk extensively about sharpening pencils and how different brands react differently to using a blade. What tips does Colin have for sharpening softer pastel pencils? We talk about what sharpeners are good and how the binding method of the different makes affects the sharpening method.
Here's the sharpeners mentioned on this show:
Faber-Castell Trio Sharpener
Dahle 133
Creative Mark Multipoint crank sharpener
Kum Automatic Long Point sharpener
If you enjoyed the show please leave us a positive review on iTunes as it makes all the difference!
- Colin and Steve
In this episode we deviate from art for Colin to tell us a story about his Summer working at Butlins in the 1960s. Hear this hilarious spontaneous story from a very young Colin wanting to spend the summers at a holiday resort rather than his "proper job". Let us know if you have any crazy stories like this that we can share on the podcast!
In this episode Colin talks about his new watercolour picture of Castle Combe and how in the 80s he visited to draw on location for filming a video. We dissect some of his watercolour techniques and achieving contrast with the background, middle-ground and foreground. Colin also shares a story from Steve's first time on stage and the role he played.
Lastly, we talk about Colin's decision to paint pastel backgrounds as he progresses through the picture rather than saving them to the end.
Follow Steve on Instagram for behind the scenes: https://www.instagram.com/artschoolsteve/
In this episode we discuss Colin's first workshops in the late 80s/early 90s. What was it like going from group classes with their own pictures to getting them to follow him step by step?
Hear the various challenges he faced early on as he was developing his teaching style. We also discuss the new Pomeranian picture we added this week!
Follow the behind the scenes instagram account @artschoolsteve // https://www.instagram.com/artschoolsteve/
In this week's episode we discuss the new picture of a Classic Racing Car. Colin describes the subtleties in shading that create the stunning 3d effect in areas such as the lights, the wheels, exhaust and more.
This subject is quite different from our usual so we'd love to hear what you think. Do let us know via email or Facebook/Instagram.
In this episode Colin talks about his first Manager's job at a Men's Outfitters. Colin shares his experience of trying to impress the Area Manager and how his ambition helped him progress quickly in the industry.
We also discuss what Colin's working on now and how his ambitious nature continues through art and onto drawing more colourful and challenging pictures.
In this episode we continue the discussion from last week's "Bradley Gallery" episode. Colin talks about his first experiences of teaching including how he developed his style and differed from other artists. We talk about the pressures of demonstrating and how his early Years as a Salesman proved invaluable later on.
In this week's episode Colin tells us the history of "The Bradley Gallery". Opened in 1982, The Bradley Gallery went through many iterations over the Years and in this very special episode Colin tells the story from beginning to end. We hope you enjoy this episode as much as we had recording it. It truly was a trip down memory lane.
In this week's episode Colin and Steve answer some of your emails. We talk about challenging yourself with impressionism and more complex pictures and just how helpful it can be if you do this. We also offer some advice on watercolour tree colours and mixing brands of pencils for AMAZING results!
In this podcast we discuss how to add highlights and enhancements to watercolour pictures. We have talked about in previous podcasts how to use Pastel Pencils on top, but this is not always needed.
In this episode Colin breaks down materials and what could be the challenges faced with enhancing watercolour.
Thanks to Jim for the email which prompted this discussion!
In this special Christmas Episode (recorded on Christmas Eve), Colin shares stories of his Christmases post war. He talks about saving up the ration coupons so they could have sweets and his Father going to the woods in search for a Christmas Tree.
We then talk about the new Demonstration that we've added to the website - The Fighting Temeraire by Turner.
Hear Colin's stories and discover the new picture today on our website: http://www.colinbradleyart.com
In this week's episode Colin offers a fascinating insight into the instinctive nature being an artist. He refers to his own experiences when working and also watching the footage back wondering how he did what he did. We also talk about the new Spaniel picture added which is a masterclass in contrast and subtle shading. Grab the course now on Udemy or by joining our website.
Colin teases us with an insight to what he'll be working on in 2020 as well!
From all of us here we hope you have a very Merry Christmas!
In this episode we're still in our December bubble recording via phone in Broadstairs! Colin offers some advice on how to draw fabric and how to get the subtlety in the folds. It takes experience and practice but the pay off is worth it and the skills actually do transfer over to other subjects!
We also talk about the projects Colin's currently working from which is a huge contrast from Impressionistic Pastel Stick Pictures!
In the thick of Panto season and without any official recording equipment we record a mini podcast via Steve's phone! Colin shares how his new pictures are going and what's next after he completes the current line of projects. Steve offers an update on how his Pantomime season is going!
In this episode we talk about how to find your own style and whether artistic impression is something that you consciously do. How much is your own style intuitive and how do you end up breaking free of copying and branching out into your own pictures?
Thanks to Laura who sent us this email and providing us with some great discussion!
In this episode we continue to talk about working with Stick Pastels. Colin tells us how he learnt from a potential mishap during filming and how this shaped the way he taught the following projects.
We also talk about creating your own graphite carbon - an alternative way to transfer a line drawing to the pastel paper and why this works well.
We also talk about how much fun (and messy) these new projects can be.
What makes using stick pastels challenging? In this episode we talk about the first tutorial that we've filmed using only Pastel Sticks and the challenges you might face when doing it. This leads us onto why impressionism is tricky but also why it's so gratifying to get right.
To get access to our stick pastel projects, sign up to our membership here: http://www.colinbradleyart.com/home/sign-up
In this episode we talk a little bit more about using Pastel Sticks and the impressionistic approach that it teaches you. Colin talks about moving from a fine detailed watercolour technique to a slightly looser pastel pencil technique and finally now being even more "restrictive" with detail using pastel sticks.
In this episode we discuss Colin’s self taught watercolour techniques - breaking down how he does trees and bridges. We discuss the wet on wet technique and how Colin uses this to get such a variety of colour.
Enrol in Colin's Aylesford Course: http://bit.ly/2N4qkc5
Get Membership to ALL Colin's Courses: http://bit.ly/cba-access
Follow us on Instagram: http://www.instagram.com/colinbradleyart
This week we talk about comparing yourself to other artists and overcoming fears and doubts about your ability. We also discuss going from an amateur artist to a professional artist and reaching that level. Lastly Colin offers advice regarding your pastelmat pictures smudging after you have completed them.
Learn with us: http://www.colinbradleyart.com
Follow us on Instagram: http://www.instagram.com/colinbradleyart
In this podcast we share our ideas on future projects involving pastel sticks and impressionism. Colin talks about what subjects he’s planning and what brand he’s choosing to use and why. What are your thoughts on doing impressionistic pictures with pastel sticks? Let us know!
Learn with us: http://www.colinbradleyart.com
Follow us on Instagram: http://www.instagram.com/colinbradleyart
In this episode we talk about the 2 Dog subjects Colin’s done on PastelMat and his approach to these two stunning pictures. We talk about Colin’s approach and how he deliberately chooses not to make a picture too Photographic. We also talk about snow scenes in watercolour and pastel that Colin did in the mid 80s and redoing them now.
Follow us on Instagram: http://www.instagram.com/colinbradleyart
Learn with us: http://www.colinbradleyart.com
Images referenced in this episode: https://www.colinbradleyart.com/home/image-references-for-podcast-too-photographic/
We continue the conversation from the last podcast about some of Colin’s old watercolour works and then talk about remaining grounded. Colin talks about what (and who) keeps him grounded.
Follow us on Instagram: http://www.instagram.com/colinbradleyart
We’re back! In this episode we talk about Colin’s past experiences with watercolour and how much the experience with pastel pencil work has changed his pictures. Colin talks about some of the old pictures he completed and how his approach is totally different now. Interested in Colin’s vintage prints? Let us know!
Follow us on Instagram: http://www.instagram.com/colinbradleyart
In this episode we talk about comparing yourself to other artists and overcoming fear of failure (this discussion starts at around 9 minutes 40 seconds in).
Around that we also talk about how Colin's watercolour work has changed through the experience of working further with Pastel Pencils. It has been a number of years since Colin last painted with Watercolour so how has his approach shifted? We talk about this and more in this podcast.
Interested in accessing Colin's art courses? Click here: http://bit.ly/cba-access
Colin talks about his reproduction of Renoir's "The Apple Seller" in Pastel.
We discuss:
- How you approach a picture that is more impressionistic compared to realism - what aspect of realistic pictures requires an impressionistic touch?
- How do you mimic an impressionistic artist’s brush strokes with pastels?
- What are good skills to have before you attempt impressionistic pictures?
Get access to Colin's demonstrations and courses by clicking here: http://bit.ly/cba-access
We discuss a bit about the early stages of Colin's career and which areas he found most enjoyable. He wasn't expecting to enjoy teaching as much as he did so find out what it was like to discover his passion for sharing his knowledge.
How did the "job" affect his passion for art? Colin talks about the tough parts to the job and whether that changed his love for drawing and painting.
We also touch upon getting back into Watercolour after years off working with Pastel Pencils.
We have lots more projects coming soon to the website, get access here! http://www.colinbradleyart.com/home/join
In this episode Colin offers tips for those starting out with Pastel Pencils including the following:
- Benefits to taping your work down to a piece of hardboard just bigger than the picture
- Working from top to bottom and right to left (or left to right if you're left handed)
- Start out with copying Colin’s pictures first, picking up the techniques then working on your own pictures. you’ll pick up the application of colour, importance of underpainting and base colours as well as the pencil technique.
We also talk about how Colin's process has changed since working with multiple brands of pencil. What new effects can be achieved with softer pencils?
Hear about this and more with this week's podcast! Enjoy!
http://www.colinbradleyart.com
In this episode we discuss the challenges behind drawing Johannes Vermeer's "Girl with a Pearl Earring" using Pastel Pencils. Learn about Colin's process in approaching a picture like this and which areas he found challenging and interesting to do.
You can watch the full 3 hour demonstration on our website inside our membership. To learn more click here: http://www.colinbradleyart.com/home/sign-up/
In this podcast we answer your questions. Discussion points include:
how turning your pictures upside down allows you to improve your work.
how can learning to draw flowers help with drawing portraits? (Skip to around 10 minutes to hear Colin talk about this)
what colours of pastelmat work for different subjects
what makes a picture difficult to do?
how can you mix watercolour without getting muddy colours?
Link to buy Air Blaster mentioned on the podcast:
Amazon UK: https://goo.gl/9aMyPA
Amazon US: https://goo.gl/dVEbFg
It's a question that we've had a fair bit over the years that we've covered a little in blogs and podcasts. But in this post we wanted to talk a little in detail about whether using a grid system or tracing to produce your outline drawing is "cheating".
Sue sent us an email regarding a friend of hers that made this remark. Sue is one of our members and has done fantastically well working through our projects to the point where she now does pictures for people. To read a transcription of the show, click here: https://www.colinbradleyart.com/home/is-using-a-grid-or-tracing-cheating/
To purchase our square drawing grid system click here: https://colinbradleyartstore.co.uk/shop/square-drawing-transparent-grids/
In this podcast Colin talks about his picture of the Curtain, Jug and Fruit by Paul Cézanne.
I ask why Colin choose this one, what challenges he faced and what tips he has for students attempting to follow along. We also touch on how Colin's finding working with new brands of pencils, the rules he's breaking and what new effects they're allowing him to achieve.
Students can watch the demonstration by joining our all inclusive membership here: https://www.colinbradleyart.com/home/sign-up/
We read out your emails and answer your questions. Colin talks about his progression with the pastelmat paper and expansion into the cretacolor range of pastel pencils.
He also talks about impressionism and whether it’s easy to do impressionistic paintings. We also offer advice to a student wanting to do an ambitious still life painting.
Recorded 28th January 2019.
We get back into the swing of things with this podcast, it's been a little while and we hope to be doing more of them more frequently for you all!
In this episode we talk about the newest projects, working with Pastelmat, using polychromos pictures, watercolour paper weight and what lighting works best for working in the evenings.
Listen to our previous episodes: https://www.colinbradleyart.com/home/podcast/
It’s been a while and in this podcast we have a good catch up and then answer some questions such as drawing larger pastel pencil pictures and is there such a thing as too much pastel?
Previous podcast (Manet Demo Reveal): https://goo.gl/PDhVTk
We’re so excited to reveal that the 3rd Demonstration picture is “A Bar at the Folies-Bergère” by Édouard Manet!
Listen to us discuss the picture and how you too can learn how to draw masterpiece with pastel pencils.
Read the transcription and see the picture here: https://goo.gl/JNggf9
In this mini podcast Dad shares his knowledge of running art workshops and offers advice to those that wish to do the same.
We talk about the return of the starter packs and also answer a bunch of questions from you. Points included in the podcast:
Getting Bored with Pastel Pencils (4:00)
Using White Pastel Board with undercoating (8:00)
Different Coloured Papers (9:55)
Sharpening Cretacolor Pencils (12:50)
Sue’s Feedback and Feeling like a Fraud (15:00)
Connie’s Inspirational Journey (18:55)
Were any parts of Colin’s career stressful (23:45)
In this Episode we are thrilled to announce the next Demonstration available to ALL IN Members - The Letter by Vittorio Reggianini!
Watch this stunning 7 demonstration on our website. Available to ALL IN members. To learn more about our membership click here: https://goo.gl/U2WS4N
Transcription of the episode:
Stephen Bradley: Hello and welcome to Colin Bradley art cast, I’m Stephen Bradley.
Colin Bradley: And I’m Colin Bradley.
Stephen Bradley: Welcome everyone to this special introduction episode as with every new demonstration that we reveal, we’re going to record a special edition of the podcast introducing you to the subject telling you a bit about it and this one is no different. It went down very well with the Constable, so we’re doing it for the next one which we are really pleased to finally announce is Vittorio…
Colin Bradley: Vittorio.
Stephen Bradley: Reggianini.
Colin Bradley: Reggianini yes.
Stephen Bradley: It took us a while to get to say that name, didn’t it? But we got there. This is an incredible picture so let’s kick off, the first question is, why did you choose this one as a demonstration? This picture.
Colin Bradley: Right, well he’s prolific if you go onto the Internet and bring the images up you’ll see there are…how he got time to do them all I don’t know, they are so many and they’re so detailed Steve and there’s a lot to them. What I wanted to do is to minimise the amount of content because the problem otherwise it would take forever. First of all to demonstrate and to do much as I would have loved to have done it, it didn’t seem very practical. So I looked through and it’s mostly beautiful women I’ve got to say and there are a few men scattered about but mostly its women and I thought well what I really want to do is combine this with the portrait techniques, as well as the dresses…the satin dresses which is lovely and the decor was spectacular.
Stephen Bradley: Very much of a ‘period’.
Colin Bradley: Oh yeah, interesting the thing is it’s all 18th-century designs but he was born in the late Vic…in the Victorian era that was weird. So he’s doing what I’m doing the other way around, I like… I like going back to the Victorian era a hundred plus years ago while he went hundred plus years ago when he was…it was quite amazing and we’ve got all the photographic reference in the Victorian times but he didn’t have that, so where he got it from I don’t know. Anyway he was a very clever man and his pictures were exquisite, they are very popular they sell throughout the auction houses, big auction houses in the world and they sell for a lot of money and you can understand it too. So this was the idea, now I’d already done one before if you remember which everybody liked but I never dreamed that I could ever do one for the member site. It would have been too hard.
Stephen Bradley: You picked a section before for the member site of a satin dress to demonstrate a technique of a satin dress, and I’ve got the picture that you did or a section of the picture because you’d cut it down.
Colin Bradley: Yeah
Stephen Bradley: –Of the lace makers.
Colin Bradley: That’s right
Stephen Bradley: I’ve always been amazed by it, it was always a really incredible picture. So you had been familiar with his work before?
Colin Bradley: Yes and you gave me the idea anyway if you remember when you were talking about whose pictures should I represent and demonstration set up, Monet and there’s about…I think it’s about 9 I have actually done now. It might even be 10, yes it is 10, the last one I would just stand and so there are 10 spread out, it’s going to spread out over the next couple of year’s folks you ain’t going to get them all at once. And then we…you said to me well, why don’t you do a Reggianini and I thought oh that’s a good idea, but I would have been put off because I thought people wouldn’t be able to copy it, it’s really hard. But as I’m doing the demonstration and this is primarily a demonstration we’re not expecting people to follow it, it gives all our members and others who wanted to look at this an insight as to how one paster pencils can operate in an oil environment because everything else was oil originally, and two how they can see how I can tackle different fabrics like the dresses and the décor.
Stephen Bradley: Fantastic, okay.
Stephen Bradley: The next question is, what techniques are people seeing in this picture that they would not have seen before?
Colin Bradley: They’re seeing…just simply the curtains heavy drape curtains, now I can’t think of a picture where I have ever done anything like that before, where would you…and I found that really nice to do a floor shiny floor that you get in the palaces and the…
Stephen Bradley: Like a marble floor.
Colin Bradley: Yes, well yes it probably was actually a marble, yes. So that’s another thing that they are going to see this time that they have not seen before. The marble on the wall there’s a pillar, I remember mentioning this once before that I was amazed at and the wall was marble, but again never been done before but the satin dresses are the key to this, I loved doing them they were really difficult and people will see me struggling a bit but we pulled it off and three very pretty faces as well quite small. I couldn’t do the picture much bigger than that, its just slightly smaller than a4 size but the original was probably twice, three times as big as that. So I had to minimise the amount of detail I could put in but nonetheless, it was still very detailed.
Stephen Bradley: How difficult were these new techniques for you to do, so such as the dresses or the…sort of the reflective marble getting that reflective shiny surface, how difficult were they to achieve?
Colin Bradley: Pretty hard, it was made easier because I was using the pastelmat and I don’t think I…I did originally do it in…not that one but the original Reggianini in ingres and I found that hard, I found that harder than when I use the pastelmat. pastelmat gave you a kind of…it gives you the opportunity to build up more than you can with ingres. And this has helped me enormously, so though it was difficult it was made easier by that very fact I was using a pastelmat, a very responsive and it was a dark grey pastelmat that I was using. And it worked out really well and in the end, I was delighted with the way it actually turned out and people will see the finished result, a very good demonstration piece really.
Stephen Bradley: How important were the cretacolors in this picture because this one, the constable is the first time we introduced a few cretacolors into the picture, they weren’t shining so much on the demonstration but since then we’ve included them a lot more and we’re now selling them. I know in this picture you released, you used a lot more cretacolors.
Colin Bradley: I did.
Stephen Bradley: Explain the difference that made to the picture?
Colin Bradley: It enhanced what I…the Faber-Castell pencils are great, everybody knows that I think the world of them. However, you’re limited from the colour point of view so it was like finding in between colours all the time and yes it was quite right, it was quite a lot of those, I don’t think I could have done it…I certainly wouldn’t have done it anywhere near as well as I did if I hadn’t got the cretacolor. The vibrancy of some of the colours that are in the cretacolor was because they were a little softer was very intense and that helped me enormously not only with the faces and the portrait and the skin, because like the arms and so on, but with the dresses as well you could get a lovely vibrancy and that pulsated almost out of the picture and people will see that.
Stephen Bradley: What struck me about this picture is how bright those dresses were.
Colin Bradley: That’s right
Stephen Bradley: And that’s the cretacolor, is it?
Colin Bradley: Yes, that’s largely responsible yes. Combination of the two, you have the two as a say it’s like having some in between colours, I got…for instance I had a girl with 233, we’re very familiar within 230. We are familiar with as one cretacolor that goes in between that, see what I mean… instead of having 2 colours I had 3 colours makes a big difference and it was the same with the pinks, I got a lot more pinks, with Faber-Castell I got maybe 5 pinks altogether. Well I’ve got another 5 cretacolors, so I had ten pinks now, can you imagine.
Stephen Bradley: Yeah and with pastelmat being able to accept more layers.
Colin Bradley: Yes
Stephen Bradley: You were able to build that up.
Colin Bradley: That’s right
Stephen Bradley: Yeah, how did you know when to stop building layers?
Colin Bradley: That it is a question, that’s a really hard question for me to answer because I don’t really know, I think you’ve got to put that all down to experience. I used to be asked many years ago, how do you know when you’ve finished a picture? How do you know when you put your last colour on? Are you going to put another one on? it’s instinctive, it comes with instinct you know it’s right, because when you are looking at reference pictures mainly because I was looking at a reference picture with this…I can’t make it out up out my head, and when I knew what I was going to achieve so as I was building the colours up, I was getting there and suddenly I was there and once you reach that point you leave it alone, you move to the next one.
And so many times when I was starting out on my art quest I used to over work a lot of my pictures. And then I used to tap myself a lot of times, why did you do that? Why did you use that colour? You didn’t need to. Well, that teaches you because gradually you learn not to do that so instinct takes over, you know when you’ve done enough. You’re quite right it is something that I’m sure will enter people’s minds and also another thing though I’ve also heard people say to me and this was mainly in the class when I had classes, when I thought it was finished I did a couple of colours and it changed it again and I think that people will see this they will think I was finished now, hang on what is he doing? He is putting more colours on. You think, don’t! Please don’t put more colours you are going to spoil it but I don’t.Stephen Bradley: Spoiler alert it works out all fine in the end.
Colin Bradley: Yes
Stephen Bradley: That’s fantastic.
Stephen Bradley: So people that are watching this demonstration it’s naturally from what you said it’s going to be very challenging as was the Constable.
Colin Bradley: Yes
Stephen Bradley: A lot of people have done a really fantastic job of the Constable which proves…
Colin Bradley: I am absolutely amazed.
Stephen Bradley: Which is which is proof that people are more than capable of giving these pictures a go. What would your advice be to someone attempting this picture as you’re demonstrating it following along with you?
Colin Bradley: Well, first of all, I would tell them to put their expectations way down, don’t expect to do what I’ve done you are not going to do it. But have to go at it and enjoy yourself, enjoy every brushstroke or pencil strokes should I say and by doing just that you will get a result. It may not be as good as you want it to be and that would be as they impossible but you will learn so much from it but we’re not really expecting people to do it, the whole idea of this was to show people how it can be done and they will be as I was when I look at…because I look at all the pictures back as you know all the video I look back at it and I’m quite amazed at what I’ve done, because when you’re in the midst when you’re doing it you go into a kind of another zone, you are not really taking in exactly what you’re doing you’re just doing your job, but when you look at it back I’m then looking like a viewer would look at it and I think how did I do that and sometimes I can’t believe that I’ve added another couple of colours when it looks good to me. So it’s quite interesting, I think this is where if you’re interested in art and you’re interested in how thing is done you’ll enjoy this and you will all of the others as well because they’re all the same, they have all got that magic to them.
Stephen Bradley: So just even if you don’t want to have a go, just watching this is going to teach you so much.
Colin Bradley: Oh absolutely oh yes I guarantee, it will be in your head even if you take a couple of things away, I think next time I try that portrait or next time I try that dress or next time I do that background or next time I do that shoe I’m going to remember to do that so you can take that away with you.
Stephen Bradley: Fantastic, okay thanks, dad. This is going to…I think this is going to introduce the subject really well to people and as with the Constable we hope if you do give it a go you let us know what you thought and how you got on, send us your work and we look forward to sharing more demonstrations over the years because we have got a lot.
Colin Bradley: Yeah we have got a lot.
Stephen Bradley: But this one is one that we…this was a few down the line that we’ve brought forward because…
Colin Bradley: That’s right
Stephen Bradley: –We thought it was such an extraordinary piece that we wanted to bring it closer up at the timeline, so we will do that with other projects that we feel are…that we feel need to be shared sooner. Thanks, dad, thanks everyone for listening I’m still Stephen Bradley.
Colin Bradley: And I’m Colin Bradley
Together in unison
Enjoy your week.
"Impressionism is like a statement that you make without a structure."
In this podcast Colin describes the work he's doing with impressionism and how best to describe how it feels "alive" comparing it to photography. What's the secret behind it? We discuss in the podcast.
We also read your emails and and answer your questions. Colin gives some tips for working with Pen & Ink and watercolour paper he uses. We talk about the reaction to the Constable Demonstration and also reminisce on the days where Colin would run in person workshops travelling around the country.
If you haven't already seen the Constable demonstration click here to learn more: https://www.colinbradleyart.com/home/unveiling-pastel-pencil-demonstrations/
Read a transcription of the episode below:
Stephen Bradley: hello and welcome to Colin Bradley art cast, I'm Stephen Bradley
Colin Bradley: and I'm Colin Bradley
Stephen Bradley: how is it going?
Colin Bradley: well, it's going well Steve I am having a ball at the moment.
Stephen Bradley: well, since revealing these demonstrations and people loving them, loving the pictures you've done, it's kind of, I mean, you were doing loads of other pictures anyway but it's kind of injected some more enthusiasm into doing all of them, hasn’t it?
Colin Bradley: Well, funny you should say that but you’re absolutely right of course since I've been doing them and I have clocked up about 6 now. The…I've interspersed them with some ingres…normal class pictures.
Stephen Bradley: yeah
Colin Bradley: and they have affected those class pictures…
Stephen Bradley: really?
Colin Bradley: Slightly and yes I have found that I am…because I had to loosen up especially with some of them with the demonstrations.
Stephen Bradley: very impressionistic
Colin Bradley: and I’m going, I’m moving into the…people will see it eventually, they will see it and I think that's lovely to do that to…to gain some kind of insight.
Stephen Bradley: what you said before about doing more impressionism stuff is good, because it relaxes you, it loosens up your style and you're forced to think in a different way, and so I suppose, I mean, you did do that anyway with some slightly impressionistic pictures but the ones that you're doing in these demonstrations are SO impressionist.
Colin Bradley: yes
Stephen Bradley: …that it's really challenging your realism approach, it's got to be good, right?
Colin Bradley: absolutely, oh yes absolutely. Well, I've said for years and years and years and I've expanded on it so many times on demonstrations and workshops and classes, that impressionism is actually the…it's like a statement that you make without a structure.
I don’t know if I can describe any better than that, I mean, you have in your mind a structure, you see a structure then you create that same structure but with an impressionistic viewpoint which in…it makes it more, it makes it more alive really rather than copying exactly what you see by putting an impression there and inclined towards you kind of get a movement really, it's…I tell you what it just all suddenly reminded me of you, when you get a slight…when you get a movement on a camera sometimes you take a photograph and you get it slightly bit jarring because people move or something.
Stephen Bradley: yeah
Colin Bradley: and that signifies that there's a movement
Stephen Bradley: Yeah
Colin Bradley: where as everybody sort of stands absolutely still, stuck still and you take a picture is freezes them.
Stephen Bradley: yeah
Colin Bradley: that's what you get in a way with the impression, you kind of get slight movement
Stephen Bradley: Yeah
Colin Bradley: …from the pictures
Stephen Bradley: it’s like its alive a little bit more
Colin Bradley: and this creates the impression when you look at it that it's real as opposed to an absolute copy with like frozen
Stephen Bradley: fine detail and like in focus all of that kind of thing.
Colin Bradley: I haven't thought of that before but I hope I've explained it well enough, but it makes sense to me that that is how you see, I mean, if you get a completely out of focus by somebody moving dramatically then it wouldn't work that way, but a slight movement does imply when you look at the picture
Stephen Bradley: that there is movement
Colin Bradley: they've moved, well you can see it, you've moved and the photographer has a go at them “don't move, stay still!”
Stephen Bradley: “too late now we’re painting it!”
Colin Bradley: yeah, anyway enough of that.
Stephen Bradley: that’s great, that's very interesting but yes, I mean, the reaction has been so good that there is another one on the cards coming up.
Colin Bradley: yes
Stephen Bradley: and that will…and continue we hope to blow people away. So and probably [even more so…
Colin Bradley: [the next one…
Stephen Bradley: and if they ever thought that that one was good then the next one is even going to be even better.
Colin Bradley: well, one of the things you can remember when people see the “Constable” it was the first one I did in this this range, and the one that we're probably going to be putting up I think is probably the fifth one I've done, so that one is 4 times…I would say 4 times better, I've had another practice from the other 3 between the 2.
Stephen Bradley: Yeah
Colin Bradley: and you can see it, you can actually see it in the picture.
Stephen Bradley: Yeah, is it…
Colin Bradley: well, I can anyway
Stephen Bradley: yeah I think your confidence..
Colin Bradley: confidence yeah.
Stephen Bradley: with the paper and how far you can push it, all these kinds of things that you’d learn from the “Constable” and all those other picture you are a bit “braver” if that’s the word, a bit more kind of up for it, a lot like okay “let’s see how far we can push this.”
Colin Bradley: I think I've always said that you need to relax when you're doing art work, you need to really relax because then the real you starts to come forward.
Stephen Bradley: yeah
Colin Bradley: when you're using your logical mind all the time you're stuck in that frame of mind whereas if you kind of relax and let it all hang out sort of thing, you know what I mean?
Stephen Bradley: yeah
Colin Bradley: just sort of…
Stephen Bradley: let go
Colin Bradley: flop back and then paint you're in another area and that's what I've probably learnt to do and of course, same I am enjoying it. That’s another thing if you enjoy doing and you can’t and you know this is a…I have said it many times over the last few weeks I just can't wait to get back to the drawing board again, I come away from it thinking of…I think I'll give it a rest for now, and then half an hour I give it another go
Stephen Bradley: I know, I know. I've been on the phone to you and then you said I'm stopping now it’s about 6 O’clock or whatever “I’m going to stop now”, and I’m like “okay great” and then half an hour - 3 quarters of an hour later I need to ring you and I hear all the stuff in the background you switching it all off again and I’m like “hold on a minute, you said you’re going to stop” and you are like “I just couldn't pull myself away from it I had to get back to it, just do it a little bit more. “
Colin Bradley: absolutely, well I'm sure all of those people, all those artists and members out there that would relate to that.
Stephen Bradley: yeah
Colin Bradley: if they're really into it
Stephen Bradley: yeah, lovely. Okay, so we've got a few questions this week nice for people to be getting in touch and then some lovely feedback that we want to share with everyone, so the first email came from Paul and he says, hi Stephen and Colin, hoping that Colin could help me out with a problem, I'm just starting to learn pen and wash, the pens that I use are micron by Sakura and the faber pitt pit pens, they both state that they are waterproof but when I apply the wash the ink starts to bleed, I hope you don’t mind me asking a watercolour question, many thanks Paul.
Colin Bradley: Well, I've used the…I haven't used the first one but I used the…
Stephen Bradley: the pitt
Colin Bradley: the pitt and very fine and I think it's extra fine, it’s the finest one they do anyway. And I have never use the watercolour immediately on top of them, I used to finish the picture then give it a little bit of time.
Stephen Bradley: yeah
Colin Bradley: then I do the wash. So it may be that he's going in too quick.
Stephen Bradley: how long do you think…
Colin Bradley: I have really no idea…from my experience they’re almost instant drying, that was my experience.
Stephen Bradley: Yeah
Colin Bradley: I've never ever seen them bleed
Stephen Bradley: doesn't usually dry out
Colin Bradley: and it could be the paper as well, he’s got to remember that if you're using good sketching paper or our watercolour paper is ideal for this, it should be fine. I can't see a problem with that but I would say to give it time before you put the watercolour wash on just to make sure.
Stephen Bradley: just to see if that makes a difference, yeah because you wouldn't think that they would…and once they dry, once you apply the wash over it shouldn't…
Colin Bradley: no, it shouldn't do…it shouldn’t happen
Stephen Bradley: it shouldn’t happen, should it? Okay, next one from Wendy, Hi Stephen and Colin I'm referring to Colin greyscale picture of the Fordwich picture, and I noticed this is done on watercolour paper and I wondered what surface Colin has used whether it's rough or smooth, I'm presuming that it's the smooth paper that Colin stocks but would like to…like the confirmation, I am really enjoying the courses and I'm very pleased with my efforts so far, the only problem is that framing is getting expensive. Wendy.
Colin Bradley: well, I can help her with that in a minute or 2, but let’s deal with the paper, yes, our watercolour paper is ideal and again good quality sketching paper. I say good quality…you can’t beat really nice.
Stephen Bradley: like thick, thick and thicker
Colin Bradley: yes, thicker is best is best
Stephen Bradley: because our one is 300 gram
Colin Bradley: Yeah, you don't have to go as thick as that but in an ideal world, yes you would. The thicker you get the better it's going to be, more stable it's going to be and smooth definitely. If you use anything that's got any bubble especially watercolour paper because some watercolour paper is quite raggy.
Stephen Bradley: Yeah
Colin Bradley: and that wouldn't work very well, it tends to make the pastel look dirty so I wouldn't do that. So smooth paper and it should be fine.
Stephen Bradley: great, what about the framing?
Colin Bradley: framing, well now this is a bone of contention and I absolutely agree framing is expensive. However, if you're clever you find, you get your frame first, right? And you get your mount first, so you know the size and then you make your picture just a little bit bigger than the inner part of the mount. Not much I would say that…
Stephen Bradley: not the subject
Colin Bradley: couple of millimetres
Stephen Bradley: not the subject but the…
Colin Bradley: no, that the…the picture itself.
Stephen Bradley: the size of the painting
Colin Bradley: the size of the painting.
Stephen Bradley: the paper?
Colin Bradley: Well, what you want...the size of the paper is immaterial really, it's the image size. You can have a large piece of paper with the image size in the middle of it, no, I don't think that's done well…
Stephen Bradley: would you draw box or something?
Colin Bradley: you could
Stephen Bradley: if you have like an A4 piece of paper and the pictures… this is my ignorance because I don't paint myself but…
Colin Bradley: well, I'll tell you the ideal thing to do and if you get your mount like I've told you, get your frame first, buy it first.
Stephen Bradley: ready-made stuff
Colin Bradley: yeah, ready-made absolutely, they are much cheaper. And your mount as well, always put a mount on don't put it directly on glass. So you got a mount and a frame. Your size of the mount will dictate the size of the picture that you're going to paint.
Stephen Bradley: yeah
Colin Bradley: you don't have…you can measure that if you like but that's usually standard. Then you make your paper at least a centimetre, I would say a centimetre and a half larger than the outside rim of the frame, mount, I mean, have you got me?
Stephen Bradley: yep, so when you put it in this you got like a trim around.
Colin Bradley: and then when you paint your picture, paint it slightly larger than the opening of the mount in other words if you put the mount on it it's going to cover just a fraction, perhaps half a centimetre of your picture that way you got movement, you can adjust it very slightly. I've done that with all my pictures, in fact very often people wouldn't know but if they de-framed one of my picture they'd find little bits of painting all away round, because I can move it to where I want it to be sometimes it can be slightly off.
Stephen Bradley: slightly off
Colin Bradley: yeah, that's what I would do and I'd use ready made mounts.
Stephen Bradley: there you go, that’s the cheaper way of doing it.
Colin Bradley: It is a cheap way, it's very expensive otherwise.
Stephen Bradley: yeah to continuously.. especially if…
Colin Bradley: I mean, the ideal thing to do folks really is if someone wants you to paint their dog or cat or whatever you say “yes absolutely, the thing is I would just leave you the picture when I finish it because I'm sure that you would want to do your own frame and your own mount for your decor of your house” “oh yes that's right” they say well and then you get away with it all together.
Stephen Bradley: yeah, good idea. That is a good idea. Well I hope that helps Wendy. Next one, so this is moving on to some feedbacks some lovely emails I wanted to read out today might inspire some people, so this one's from Kevin he says Colin, I've been approached and asked if someone would like to buy one of my drawings, the artwork in question is the two girls that you did of an a Emile Vernon Poster titled “Victorian Children” also some of your animal drawings have turned out really well so due to copyright information I might be able to sell or give away my art work finished from your courses, that’s he’s first question which is obviously…
Colin Bradley: it's okay
Stephen Bradley: Yes, there's no copyright. The next thing Kevin goes on to say is that I am a beginner and I've been drawing since December, 2015 at age 60 you're never too old to start, but I came upon your site last year. I cruised the Internet to find lessons on creating masterpieces and went through a lot of crap until I found your site,
I like that we come up on a Google search for creating masterpieces.
Colin Bradley: oh absolutely.
Stephen Bradley: that’s great, I never tried done doing that before, I might do that.
I've learned so much with you where people are asking me to draw their dogs never in a million years would have imagined going from drawing amazing stick people to actually creating artwork people would actually want to hang on their walls, it is because of your courses that this happened, if you ever need one more endorsement on how great your site is just let me know…you just gave it Kevin, so thank you.
Colin Bradley: that's great, well done.
Stephen Bradley: so then just another story of people getting commissions and people are asked to do like requests and stuff.
Colin Bradley: absolutely.
Stephen Bradley: So nice it must feel like, I mean, I suppose you had this when you had students in person classes and all of this stuff but you're getting it now from loads of people all over the world.
Colin Bradley: absolutely
Stephen Bradley: that get this.
Colin Bradley: that’s very satisfying and I'm absolutely delighted that people are finding that it's not necessarily, I mean, people some of the people do it because you know and you want to earn a few bob. But others do it because they thoroughly enjoy doing it and there's no reason why you shouldn't do both.
Stephen Bradley: Lovely, next one from Rob…Rob says, hi Colin and Stephen I was searching the internet trying to help with pastel pencils, I was not having much luck until I stumbled upon your web page, I would like to express my gratitude to you both for a wonderful site packed with information on pastel and other mediums, I find it refreshing to be given some free courses to follow along with to help to gain confidence. I have limited funds like most people, so the free taster lessons are very valuable to me, I did a couple of them and found that I like the pastel pencil work and I wanted to do more. The taster courses gave me the confidence to pay for a one month subscription, this opened up a lot of information and extra video tutorials to me and may I say at a reasonable price. I've noticed my pastel work improving thanks to you, so please keep up the good work you are doing is very much appreciated.
Colin Bradley: Well, no fear of that we're going to carry on and we're also getting better ourselves as you can see with the things that we're producing, we're expanding, what we do expanding our ideas and we are always looking for new ones so…
Stephen Bradley: yeah
Colin Bradley: you can always be rest assured that we're on the ball.
Stephen Bradley: This is always a good thing that I've always loved and it's just the way we are and how we've always done things and how you've done things in your business before I came along, always growing theres’s always something changing, there is always an expansion or there's always a…there's never a sticking to this is what we do, so it’s like how can we do more like we're in our own satisfaction where we're kind of always inching for that next challenge or that like how can I improve the site more or how can I…and I spoke to you last week about a few other things that I had on my list and saying, I want to do this for them, I want to create this and add this on to the website, can we do this and can we do that and can we give the best possible thing for the student and this is the thing that I get a kick out of, is creating a hub of resources for students as well as putting all of your lessons up and pulling things together and editing and doing these podcasts, it's always improving something.
Colin Bradley: absolutely, and not only us but Eileen my wife, she's constantly coming up with ideas.
Stephen Bradley: yes it's not just us.
Colin Bradley: and your fiancée
Stephen Bradley: Yeah.
Colin Bradley: I just drop that in
Stephen Bradley: recently
Colin Bradley: your fiancée is now also helping you with a lot of marketing and a lot of ideas. You see, you can't help but drag…people are dragged in because of the enthusiasm that Colin Bradley Art is generating.
Stephen Bradley: Yeah
Colin Bradley: even our clients, our members they’re coming up with suggestions which we always take note of, don't always go along with it but we do certainly listen…
Stephen Bradley: consider all of them
Colin Bradley: yeah
Stephen Bradley: yeah and that's another thing that we're always open to…and yes it’s our lives in general who we are as people but we're always open to change and to adding things on and improving. We're not, we're never closed off to it so this is the good thing and I'm glad it kind of translates when people buy membership and they see all of this stuff and they can wow and they do the lessons and it improves their art and it's kind of…its satisfying because we know that we're doing a good job and obviously reading out all these e-mails where people are gushing over how good everything is and it's not an ego thing but it's just to say that if anyone is considering it or it's kind of to give a…many success stories that inspire people to say this person can do it you can too.
Colin Bradley: absolutely
Stephen Bradley: this person has achieved something so yeah. Okay, the next one from Brian, hello I just wanted to thank Colin for sharing his absolutely amazing and wonderful story of how his life evolved through his art, I found it was very interesting and thoroughly inspiring to read and enjoyed it immensely. I have to agree with you that the fellow that told you not to go to art school as it…I have to agree with the fellow that told you not to go to art school as it might mess you up, your talents are truly amazing and I feel very fortunate to have stumbled onto your website and become a member and learn so much. I always look forward to seeing your new lessons or demos and I'm going to give your Constable picture a try and will send it when I'm done. I'm basically self-taught and I only picked up doing art in the last few years as I had stopped drawing since the early 80’s due to family commitments and a full time job. Sincerely, Brian.
Colin Bradley: immediately you said that to me, it puts what we are all about firmly in it’s place. He's never had any formal training at all and now he's considering doing the Constable's Cornmill
Stephen Bradley: Cornfield
Colin Bradley: Cornfield, I mean, and I think that’s just amazing that someone could even think I can do…but he's given, been given the confidence, he's done a few. He's got the enthusiasm, “I’ll give it a go” and he should too because just imagine him being really delighted with this Cornfield, has it framed put it on his wall and people coming to say, “oh you got a print of John Constable”…”no I did that” “you didn’t!” How would that make him feel? Someone who has no art lessons.
Stephen Bradley: Yeah
Colin Bradley: …that's what it's all about Steve.
Stephen Bradley: yeah, I agree…I agree with you. Okay, next one from Bill. You must be feeling really good after all of these.
Colin Bradley: I won’t be able to get out that door mate, you’ll have to widen it for me.
Stephen Bradley: Hi Stephen and Colin, I first started with pastel pencils when I was coming up to retirement in 2003 and I saw somewhere that Colin was doing a workshop at the Dun Cow in…
Colin Bradley: the Dun Cow in Dunchurch, yes that’s right.
Stephen Bradley: I went along painted a badger and I went again and this time a Meerkat and the last time it was a wolf portrait. All the paintings were framed in those fantastic frames Colin brought with him and they're still hanging up today.
Oh that’s interesting, so did you used to take frames with you?
Colin Bradley: I used to take ready made frames.
Stephen Bradley: did you?
Colin Bradley: yes I did, well I found that what people wanted when they'd finished their pictures at the end of a workshop, we've got 14 people or more sometimes and I used to take all 20 or 30 frames with me.
Stephen Bradley: did you?
Colin Bradley: yeah, and I used to frame them for…because they were easy to put it in I said I will do it for you and they used to bring them home when they wanted them they buy the frame very cheap, we got them a good price and we sold them for a reasonable profit and I put them together, so they went out, they came in with nothing and went out with…
Stephen Bradley: it was framed picture.
Colin Bradley: yeah, a framed picture under their arm
Stephen Bradley: that must have been really good though, wasn’t it?
Colin Bradley: oh yeah it was good, it's a good little business to have and not only that but the customers were well as you can tell, delighted.
Stephen Bradley: Absolutely loving it, yeah. Bill goes on to say I really enjoyed it but Colin stopped doing the day workshops and the last time I heard Colin was doing a workshop was in Marlborough.
Colin Bradley: Marlborough, yeah.
Stephen Bradley: South Devon?
Colin Bradley: that’s right
Stephen Bradley: a bit too far to go, I don’t remember you going to South Devon.
Colin Bradley: oh well, it’s part of my story. I went there for about 5 years and sometimes I’d do 2 a year, there.
Stephen Bradley: really, interesting.
Colin Bradley: very popular.
Stephen Bradley: So then I started going to Bob Elcocks one day workshops, they were excellent just like Colin’s but then Bob finished them through ill health, but I do still keep in touch with him. Now I joined the community last year, this is our pastel pencil community and I've always been a fan of Colin’s art and his willingness to help others, the bottom-line is that I was 80 years old last month and I thought, what I want to do with my birthday? I know, I’ll sign up for a year with Colin Bradley art.
Colin Bradley: wise man.
Stephen Bradley: well there is plenty to get your teeth into with our membership but now that was…I thought that was a really nice email.
Colin Bradley: nice again yes, it's nice when these come up from the past and suddenly yes I remember, I don't always remember people but obviously I remember the locations.
Stephen Bradley: yeah, well you did a lot of workshops all out of the country.
Colin Bradley: I did, hundreds…
Stephen Bradley: did you go…you went to Edinburgh one point, didn’t you?
Colin Bradley: I did I went to…
Stephen Bradley: you drove to Edinburgh, didn’t you?
Colin Bradley: I did it and that’s 2 years on the trot successive years and he wanted me to go back to the third year but that happened to be when I was retiring and it was a long drive, I drove up there.
Stephen Bradley: it took you like?
Colin Bradley: it took me…oh I can't remember.
Stephen Bradley: you did it over 2 days, didn’t you? Because you stayed over.
Colin Bradley: I did, when I went up there but I came back in one go.
Stephen Bradley: did you?
Colin Bradley: It was a long way to come back yeah.
Stephen Bradley: You must've had to fill up with petrol, didn't you?
Colin Bradley: oh yes, I had to…
Stephen Bradley: you can’t get there on 1 tank.
Colin Bradley: it was a long way to go…no, it wasn’t. It wasn’t Edinburgh, it was way up past Edinburgh.
Stephen Bradley: was it?
Colin Bradley: was right up to…what’s the name of it? Right up to top of Scotland.
Stephen Bradley: not John o Groats or anything.
Colin Bradley: no, no, no.
Stephen Bradley: that’s like the top, isn’t it?
Colin Bradley: No it was right up there, on the top ledge. If you look at Scotland they got the top ledge.
Stephen Bradley: so you drove the entire length of the country…because we are down in the southeast.
Colin Bradley: Yeah
Stephen Bradley: pretty much the length of the country.
Colin Bradley: yep
Stephen Bradley: bloody hell
Colin Bradley: it was for a week, a week’s workshop so I stayed there…Scottish castle, interestingly enough this castle just by the way as we came out the dining room I saw…it was made obviously stone and there was a lot of cut marks on the stone and when I inquired about it “oh that's where they used to sharpen the swords before they went out.”
Stephen Bradley: really? Wow
Colin Bradley: The Scottish Highlander used to…
Stephen Bradley: sharpen their swords on the…
Colin Bradley: sharpen their swords
Stephen Bradley: on the walls
Colin Bradley: some of the wall, just a by the way
Stephen Bradley: that’s amazing
Colin Bradley: I had to throw that in.
Stephen Bradley: that’s really cool
Colin Bradley: I had a lot of fun.
Stephen Bradley: It sounds like…it sounds like yeah. Worth it, worth a long drive but yeah I remember when you retired from doing those, it just took a lot of you though…that was a lot of driving, a lot of travelling, a lot of packing up the car with all of the stuff that you needed to take because people didn't need anything, did they? You had the pencils for them.
Colin Bradley: I had all the pencils, all the paper.
Stephen Bradley: yeah, they had everything, didn't they?
Colin Bradley: that's why they kept coming back. It was so easy.
Stephen Bradley: okay, thanks Bill. Thanks for getting in touch. Okay, the last one here is from Neil, hi Collin I've been watching your video on the Constable's Cornfield that you put on the website, you mention that you didn't know the exact size of the original painting, well I can tell you it measures 143 x 122 centimetres.
Colin Bradley: that’s a pretty big painting.
Stephen Bradley: that is big painting.
Colin Bradley: and I did A4 size.
Stephen Bradley: yeah, that’s big.
Colin Bradley: it was big, bigger than that.
Stephen Bradley: I just was looking at the “Polperro Harbour” behind us where we were recording this and that’s…
Colin Bradley: kitchen table
Stephen Bradley: yeah.
Colin Bradley: yeah that table 70 centimetres long, so what was that? 113 centimetres?
Stephen Bradley: wow
Colin Bradley: so can you imagine how large that picture is?
Stephen Bradley: that’s pretty big, isn’t it?
Colin Bradley: it is big picture.
Stephen Bradley: wow okay, we haven’t got a big enough camera for that, a wide enough lens. Neil says your finished drawing is absolutely superb along with the contents of the videos, being a novice to drawing I'm finding your teaching methods very easy to follow and once mastered produce excellent results and Neil asked if I email some work I've done could I get some critique.
Colin Bradley: absolutely
Stephen Bradley: of course you can Neil.
Colin Bradley: that's what we're here for
Stephen Bradley: as a member you get critique and feedback on your work so yeah, that's great. So thanks everyone for all of your emails and all of your kind comments and feedback and your questions, this is what this podcast is for.
Colin Bradley: it keeps me going Steve, all of that - food.
Stephen Bradley: yes it feeds you
Colin Bradley: that’s it, feeds me
Stephen Bradley: thanks everyone, well keep sending it because we need to feed him…that’s to keep dad going and enjoying this all. But no, I mean, I know you see a lot of stuff that we…all the emails and the YouTube comments and stuff and we obviously we pick stuff for this podcast that we feel will add value to what people are consuming, so keep them coming in, keep all your comments and questions in and such coming in and then we'll keep doing this podcast sharing it.
Colin Bradley: lovely
Stephen Bradley: lovely okay, thanks dad.
Colin Bradley: That's all right my pleasure
Stephen Bradley: and we’ll talk next time thanks everyone for listening, I'm Stephen Bradley
Colin Bradley: and I'm Colin Bradley
Enjoy your week! [Both saying in unison]
Announcing a brand new section to Colin Bradley Art: Demonstrations
Back when I would travel the country doing demonstrations at shows and art groups, I would show off just how good the pastel pencils can be. I loved this part of the job because of the audience reaction. The “oohs” and “aahs” were actually audible in the crowd, they were seeing magic.
When we choose projects for our students, we have to think about how the subject material will translate to a lesson. Would it make a good lesson and would the student be able to do it?
Well, with Demonstrations I am truly showing what the Pastel Pencils can do and more importantly, how far you can take them.
In truth, I have surprised myself with the work I have produced. I didn’t intend for people to follow them as a project as they are very difficult. It’s more to show you advanced techniques and the results you can achieve with the pencils.
If you have read my art story then you will know I am an avid fan of John Constable’s work. In this first demonstration I will show you how I did his picture of “The Cornfield” with pastel pencils.
If you would like to hear behind the scenes of why I chose Constable, the materials I used and what’s to come. Here is a transcription of the episode if you want to read the show
Stephen Bradley: Hello and welcome to Colin Bradley Art Cast, I’m Stephen Bradley
Colin Bradley: and I’m Colin Bradley
Stephen Bradley: this is a very special show, people don’t realise what’s coming up but this is something that we’ve been planning for a long time and it’s really exciting to be able to talk about it finally and reveal it.
Colin Bradley: I’ve been chomping at the bit as you know with the last podcast we’ve been doing.
Stephen Bradley: and we have been teasing…
Colin Bradley: hold back Colin
Stephen Bradley: we’ve been teasing people a little bit as well, haven’t we?
Colin Bradley: yeah
Stephen Bradley: throughout talking about PastelMat, talking about this and that, well finally we can reveal what it’s all about and what’s to come. So, we’re launching…we will talk about it in a moment throughout this podcast but in a brief summary we’re introducing a new section on the website for ALL IN members only called “demonstrations”, and these pictures are in one word stunning, it’s unlike anything anyone has ever seen before. No holding back, this is incredible to watch. So, let’s start because the first picture which people would have hopefully seen by now, it would be on the website, it will be on the Facebook page, you can check it out while you’re listening to this. We’re going to talk about the first demonstration which is “Constable’s -”, what’s the actual?
Colin Bradley: The Cornfield
Stephen Bradley: So why constable? Why did you choose this demonstration of the Cornfield from Constable and why him?
Colin Bradley: Well, first of all why constable, well as people would know if they’re regulars and have known me a while I’m a great Constable Fan and I started off in the National Gallery as people know from the art story, I saw his work there and was bowled by it and I remember thinking of myself at the time one day I would love to do that, not realising I was practical not realising I would never would be able to, but one day. So, it’s really come full circle…why Constable? he’s a great artist and there’s nothing about his work that you can look at and think yeah well that’s okay but, his skies were great, his trees were phenomenal, his characterisations were out of this world and one of the things I remember looking at his pictures in the National Gallery, I got as close as I possibly could to the picture and I didn’t understand how he can create a character with just splashes of a paintbrush, that’s all it was, twist here, twist there and he had a character. But I realised that that’s where the mastery is, that’s where the true artist comes from, it’s something that you having inside you that you can see and understand exactly how you want that character to present themselves to be alive.
Difficult to explain, you’ve got to see it. So this is really why Constable…his animals were great, a lot of his work was impressionistic in terms of it didn’t put every blade of grass in, he didn’t put every leaf in but it looked like he did. That’s the difference between him and a lot of the other impressionistic pictures who didn’t worry about so much Monet particularly didn’t have…worry about that, but still they were still great artists in their own right, so that’s why Constable fitted me like a glove.
Stephen Bradley: and you can really see the influence in his style in your work.
Colin Bradley: you can.
Stephen Bradley: it’s very much you’re the John Constable of pastel pencils.
Colin Bradley: I think you’re probably right there, well I wouldn’t have certainly wouldn’t have been presumptuous or enough to say that, but now you said it yes probably right. I have been influenced even was being influenced since from the beginning and still am. A lot of the work, but I never even dreamed the pastel pencils could produce the kind of results that people would have seen in this picture.
Stephen Bradley: that leads on really nicely to the next question. So with this demonstration which materials did you use and why is it so different from your other work?
Colin Bradley: right, well if I had been sticking with the ingres and restricted to the colours that I have in the Faber range, I probably couldn’t have done it. It’s because when I decided to start a new demonstration section, I thought okay, this is a demonstration only we don’t expect the people to do this picture. However, as you know I’m giving them a line drawing if they want have a go they can, but they’ve got to remember that this is going to be extremely difficult to do, however it’s there as a demonstration to show how good the pastel pencils are if you broaden your range which is what I did, the range I had was the normal Faber range and I introduced some Cretacolor and some Swan Stabilo CarbOthello pencils, they’re the only three makes but people when they look at the picture and they have other makes, they couldn’t put the colours, suitable colours in. It’s just that I wasn’t going to restrict myself, had I done I wouldn’t be able to produce the picture, it’s as simple as that.
So that’s the first thing, so you’ve got to expand the range. I decided having done…well I must have done about a dozen pictures before I tackled this and you’re going to see them all on the website eventually. So that gave me practice.
Stephen Bradley: a dozen pictures on PastelMat
Colin Bradley: on PastelMat
Stephen Bradley: so the key difference with this one and the ingres is the pastel…the difference the PastelMat has made.
Colin Bradley: the PastelMat made yeah. PastelMat, and I found the colour that suited me best was the dark grey for some reason, I used the green and I’d use the blue and I think they worked very well but this particular picture needed the dark grey and armed with that, it was…it worked really well it meant I could lay the colours one after the other on to the PastelMat and create a depth which I probably wouldn’t be able to on a lighter colour, so this is the reason I chose the dark grey and the other reason is that, I used the white tracedown that we have, now with the dark grey you can’t…you can but it doesn’t work if you use the graphite.
Stephen Bradley: you can’t really see a pencil line on it.
Colin Bradley: you can’t see it for one thing, you’ll be lost completely and so the white tracedown work really well but here came another problem, you can imagine how intricate the picture could have been with the Cornfield, is so much detail in there and trying to draw it as you would draw a picture and you’ve seen me do animals and landscapes before where I put a lot of detail in and then erase it slightly so that I can fill it in and not have the graphite affect the…pastel can’t do that with pastel that and the white trace down, what you get is an outline only just the outline, so you have to do a lot of creativity and a lot of thought has to go into each section of the picture you’re doing, you can’t just go round fill in the detail.
Stephen Bradley: Yeah
Colin Bradley: you fill in the lines, so you’ve got a lot of work to do but that was an advantage. So really I was going back to what Constable would have done originally, he would have produced wash on and it would have been a darker wash on his canvas and then he would have used a paint brush I’d expect or charcoal whatever he decided to use to give himself outlines. Now, once you put oil on top of the outlines you can’t see it anymore, it’s gone.
Stephen Bradley: yeah.
Colin Bradley: so you have to be creative within that…
Stephen Bradley: because you can’t do that with pastel pencil
Colin Bradley: no
Stephen Bradley: you can’t just layer it and it’s gone
Colin Bradley: well actually I was doing that. One of the advantages I had by having the dark grey though, if I was doing say a face for instance I could leave traces of the pastel paper or the PastelMat showing through so I could see where my lines were, in other words put the white on then I’ll put a darker colour for the stronger tones, I don’t have to explain it, you can see that later on.
Stephen Bradley: definitely you will see it.
Colin Bradley: when you see the demonstration but this change the way I worked and as soon as I started I realised this was going to be hard for people to pick up because you have to have a lot of experience really to understand it. However one of the other things that I found when you’re doing clouds for instance, I mean, people have seen my clouds, people say wow you can make a good job of clouds but you’ve got a restriction on the ingres. I know I’ve done sunsets and darks and clouds before but the clouds on Constable’s pictures need a lot more intensity and this is where I thought okay, PastelMat will give me that, it did.
Stephen Bradley: why is that? Is because you can put more pastel on?
Colin Bradley: yes you can put more on although you still got a restriction, you still cannot keep putting it over and over and over like oil or acrylic you can do that, it won’t work and you have to put base colours on to…people think oh, you don’t need to do that anymore, you do, you do need the base colour needs to go in and then the colours subsequently on top, so you still work from light to dark.
Stephen Bradley: pastel pencils are still translucent
Colin Bradley: they are
Stephen Bradley: they are still the same medium, doesn’t change the medium.
Stephen Bradley: it just changes the application
Colin Bradley: no, however what happens is the effect that you see almost immediately as soon as you start putting it together you see immediately something different about it. Now if you’ve got the experience then you can manipulate, that’s the best word I can go, you can manipulate the pastel pencil to work like oil and when you see a close up… when I’m doing the trees or the foliage and the branches and all the other bits and pieces you’ll see it looks like oil actually when I finished it. So, you’re getting the same kind of effect but it has to, if you want to produce the Cornfield like Constable does you’ve got to make it look like oil which it does and that’s only because we have the combination of those three things. We have the pastel pencil range which is extensive. You’ve got the PastelMat paper the dark colour and you’ve got the white tracedown which gives you the three ingredients really that go to make it up, the only thing that we can’t give you is the skill.
Stephen Bradley: that then nicely brings on to the next question, so these demonstrations are designed for (if you’re going to follow them) for a certain skill level. What was your reasoning behind doing these demonstrations originally because demonstrations that you’ve done in the past out on the road, in the art groups and such, it has been a demonstration they have not followed you, they’ve just been watching what you can do.
Colin Bradley: absolutely
Stephen Bradley: and feel inspired
Colin Bradley: that’s right
Stephen Bradley: is that the focus that you are coming out with this?
Colin Bradley: exactly, that’s exactly it. The idea is that I wanted to show how good the pastel pencils were, when I used to do my demonstrations at the shows and the art shows and all over, I was there to sell the idea of the pastel pencil and this is what I’m doing again. I want people to be inspired to see how good they are, they’re not just throwaway medium, well yeah they’re only a pencil, no longer they are not, now they are a force to be reckoned with and I really don’t think there is another medium that could other than oil that could have produced it, okay you say well yeah but if I got oil paints, will I be able to do it? No, you won’t. To do oil painting to the level that we have in Constable I couldn’t do it, I really couldn’t do it. If you said to me they are Colin, all the oil paints, here is your brushes now go and produce a Constable like the Cornfield I couldn’t do it. I would have to have lots and lots and lots of practice, even then I don’t think I could have done it, the sort of colour mixing for one thing which you got to master before you even begin, so no you couldn’t do that, and so I think this is the only medium that could have produced a Cornfield like I did.
Stephen Bradley: now, when people are…say if people just want to watch this, the techniques that they’ll be able to watch you use and the effects that you’re able to produce are really going to be something different to what they’ve seen before.
Colin Bradley: I would say not so much different but a different way of utilising the same thing, it’s like someone cooking a really fantastic meal with a set of ingredients and if you are a master chef that is going to taste fantastic, if you’re someone who is just started it’s not going to taste fantastic at all. So what you’ve got basically is all those ingredients I have put together but you have to have a certain understanding of how that’s put together, but I would say that if you’re inspired by this you could use some of the techniques that I’m using, you could use them on your PastelMat paper even on your ingres. I don’t think it’s going to be wasted, the idea though is to inspire, you used the word inspire and this is what I want to do, to inspire people to say gosh one day like I did many years ago, one day I’d love to be able to do that. Because you know I started from nothing, I did no experience at all and my first efforts were very poor. Now I’m producing pictures to the standard that I am. It’s only because I’ve worked at it and I love the work that I do and I love doing these pictures because for what… for the first time really I’ve been let off the leash.
Stephen Bradley: Yeah, that’s lovely. So let’s talk about the pictures that are going to be coming up, let’s whet people’s appetites with revealing the Constable, people will be able to see that demonstration, where did it go from there?
Colin Bradley: well, although we had the good idea of doing this, I didn’t really at that time when I did the Cornfield I didn’t realise just how much enthusiasm I would have to continue with it. I thought this is in fact when I looked at it today my first thought was I don’t know, I don’t know and I looked at it… I don’t know, shall I and then I thought well why not, let’s have a go with it. Because it was quite an undertaking. As soon as I started I knew that I was going to finish it because I was loving every minute I was doing it, I really enjoyed it, now having got that far and seeing the end results I showed to people, friends and family and everybody was just bowled over but there was no explanation and I remember your sister’s partner, he looked at it and he was just absolutely lost for words…I can’t believe he said, and he’s seen my work before.
And this kind of reaction is what I would expect people to see and say goodness you didn’t do that with pastel pencil, no way. So, that inspired me to think right if I can do a John Constable Cornfield that people know and love and can go to the National Gallery because it’s hanging in London in the National Gallery and see for themselves, can I do it with others? Then we talked about the idea of doing this…extending it, not just as a one off demonstration but as a series and from then onwards the next one I did was the Gainsborough, “Mr. and Mrs. Andrews” if anybody knows about it. I did that because I wanted to do a portrait but I wanted to do a portrait in the landscape. The portraits were…although I’m not knocking Gainsborough at all, I wouldn’t dream of that but some of his pictures weren’t that great and really wouldn’t be inspirational for people to do, but “Mr. or Mrs. Andrews” was, it had everything in it, that lovely sky it had the landscaping, it had the two characters- central characters and had a dog and it had some sheep, what more do you want?
So that inspired me while I was looking for was pictures that inspired me if and I want to do them, so that’s where we moved on and then we moved on from there to the Renoir. I love Renoir people know that, we’ve done a couple haven’t we already and I think they’ve gone down very well so I wanted to do one a little different, completely different in fact from Constable & Gainsborough. So it was very impressionistic and that came out really well, very colourful. And then after that we did the Monet the poppy field, well people know that, everybody knows that it’s a picture that I was going to do another Monet a less popular one that people may have seen or may not have seen, but I thought no, let’s do one that people know just like the Cornfield, they know this picture and that came out well, didn’t it? And I’m doing another one which is Vittorio…
Stephen Bradley: Reggiani
Colin Bradley: and I did a picture, people may remember actually years ago I did a picture and showed it on the website, on the member site of lace makers, remember? And I did…there is still a demonstration on the website showing the…
Stephen Bradley: lace
Colin Bradley: …satin, the lace yes or the satin dress. So I want to do a bigger one and I’m a quarter of the way through that and it is absolutely stunning. If I were to whet your appetite these three ladies are in the foreground, beautiful dresses obviously they’re beautiful women, he wouldn’t paint anybody who wasn’t…and I’m following his picture quite closely but I’m still putting my take on it as I have done with the others, but on the back cloth there’s a marble pillar, right, and even I was stunned when I finished it, I looking back and I thought…you haven’t seen it yet Steve but I’ll just show you later. How can that possibly be it looks like a marble pillar, so there you are.
I think I have whetted your appetite enough
Stephen Bradley: there’s so much to be looking forward to everyone and, I mean, we can’t wait to start showing these and showing how far you can take the pastel pencil medium, it’s very exciting and we really hope that you enjoy watching them and as always, let us know your feedback of how you found it and what you think of the demonstrations, but we’ve got some really as you’ve heard some really exciting pictures to come.
Colin Bradley: And also Steve can I butt in and say that if anybody’s got any particular favourite, we’re talking about masters now, we are talking about not some obscure artist, it’s got to be someone who is recognised and well known and if you have a particular favourite artist or you have a particular favourite picture that could be universally accepted let us know.
Stephen Bradley: yeah do, absolutely. Well, if you’re an ALL IN member then you can start watching that demonstration if it’s not already out by the time this podcast comes out, they will be out very soon after, so check back on the website and we can’t wait to see what you think, so thanks everyone for listening I’m Stephen Bradley.
Colin Bradley: and I’m Colin Bradley
Enjoy your week! [Both saying in unison]
If you want to learn about our membership and how you can get ALL IN Membership click here: https://www.colinbradleyart.com/home/sign-up
For those that are already members we hope you enjoy the Demonstration and look forward to more subjects coming soon.
In this episode Colin answers your questions including "when do you call yourself an artist?"
Listen to his advice as we discuss this and other points including laying enough pastel to cover the paper and the 2 Ballet Dancers picture.
In this episode we talk about how Colin achieves a "harmony" throughout his pictures, using the Two Pretty Birds picture as an example. We also discuss how the colour of the paper can influence your pictures and Colin explains why dark grey PastelMat is becoming one of his favourite papers to use.
Other topics for this week include drawing tree leaves, Tiziano Ingres and off-white papers.
In this episode we answer your questions and talk about Colin's recent pictures in PastelMat. Questions we cover include:
- Copyrighting your Pastel Paintings
- Erasing and Blending on PastelMat
- Drawing the Northern Lights
- Correcting Over Application with Fixing
If you enjoy our podcast we'd love it you could leave us a review over on iTunes here: https://itunes.apple.com/gb/podcast/colin-bradley-art-cast/id591646841
In this episode Colin begins talking about his process of choosing pictures and challenging himself. We also recount some key turning points in his career and inspirations.
We also talk about impressionism, the new picture Hopalong Cassidy and which base colours to use on darker paper.
In this episode we cover a number of your emails and questions. We discuss:
Laying down too much base colour
How much pressure to use with Pastel Pencils
Differences between using warm and cool tones
Building base colours
Items mentioned on the show:
Harry's YouTube Channel: https://www.youtube.com/channel/UCqp5eHE8m8UlviPD20Ra52w
Harry's Faber-Castell Pitt Pastel Video Review: https://www.youtube.com/watch?v=ev3uJVqoEm0&feature=youtu.be
Harry's Faber-Castell Pitt Pastel Written Review: http://www.theartgearguide.com/home/faber-castell-pitt-pastel-pencils
The Art Gear Guide Website: http://www.theartgearguide.com/Faber-Castell Colour Chart: www.colinbradleyart.co.uk/home/new-faber-castell-colour-chart/
Link to Feedback Show #43: https://www.youtube.com/watch?v=h6GFf-UkAgQ
In this podcast Colin shares his experience of teaching in person classes. We also answer your questions including:
- Drawing Black & White Portraits
- Storing Pictures
- Drawing your own pictures
- Drawing white hairs over a background
- Filling Paper with enough Pastel
- Painting animals with watercolour
HO HO HO!!
We cover a lot of topics in this last show before the New Year:
Crushing the paper and how many base colours to lay
How to make animals more realistic by interpreting what you see
Choosing colours for portraits
Which graphite pencils to use for a graphite project
Drawing Bricks and Buildings
Using Sand Paper for Pastel Pencils
We end the show with a couple of success stories which we hope will inspire others to see what they can achieve.
Merry Christmas and have Happy New Year! Here's to all the stunning projects coming out in 2018!
We answer a number of questions on this week's podcast. Topics include scanning your artwork, drawing flamingos, upcoming calendar of projects and combining using polychromos and soft pastel on ingres and pastelmat papers.
In this episode we answer a number of questions including:
Struggling with watercolour
Blending vs Not Blending
Sharpening Soft Pastels
Copying Victorian Paintings out of Copyright
Working from Dark to Light
Laminating your work.
Keep your questions coming into us via: steve.bradley@colinbradleyart.com
In this episode, we answer your questions! Colin offers advice regarding Velour Pastel Paper, smudging pencil lines and the difficulty of our "Masterclass" pictures. We also give updates on stocking the popular PastelMat with Colin's reactions and opinions.
In this episode Colin answers more of your questions and offers advice for painting commercial subjects.
In this week's show we talk about how artwork can quiet the mind almost like meditation and how this could link to staying young! We also talk about achieving deep dark colours with hints of other tones with some advice from Colin.
Is artwork an addiction? This is just one of the questions we ask Colin in this week's podcast. We also talk about fixative, watercolour technique and line drawings. We also receive a lovely message proving just how wonderful a therapy art can be.
This week we answer your questions which all connect to the amount of base colour being used. Whether it's zipping whiskers in, applying backgrounds, making colours appear brighter and much more.
We also talk about the rules with using soft pastels and offer a little insight into Colin's watercolour background.
In this episode we talk about preparing boards for pastel pencils as you would with oil. We also discuss using pastel pencils with watercolour and using watercolour pencils for fine details. One of our students also offers some handy tips!
In this show we discuss a new and updated podcast/feedback show schedule with better quality. We also talk about our new YouTube Show and the newest Tabby Kitten Project.
Colin talks about his experiences producing prints, colouring prints, selling artwork (both pastel and watercolour) and what they'd be worth now.
No intro or outro music in this one as I'm editing on the fly! We talk about scaling up your pictures and drawing using a gridded system on A2 sized paper. We also talk about different textured pastel papers.
Colin answers your questions this week and talks about how easy it can be to miss things in your reference photos.
Are you always 100% happy after you finish a painting?
It's a great question and Colin answers it with his experience of over 30 years doing professional artwork.
We also talk about the Baby Orangutan picture and why Colin chose to do this picture.
Get access to the course via our membership: https://goo.gl/zvQfY1
Buy access to this course only: https://goo.gl/jLXw21
In this episode we answer a whole host of questions regarding:
- What Paper to use for black and white pastel work
- What to do with excess pastel
- Aquarelle Graphite Pictures
- Double Mounting your own work
- Watercolour Painting Basics (Colin's style)
- Sharpening Methods
- Using Colour Shapers
In this week's show Colin talks about the various tones involved in making up a portrait. We also discuss watercolour paper and finally share some of your journey's to discovering pastel pencils.
Listen to more podcasts and learn more about how to learn using pastel pencils by visiting our website: http://www.colinbradleyart.com
In this podcast Colin talks about the challenges he faces and how he grew his confidence with using pastel pencils. We also discuss tips for a strong base colour in skies and using watercolour pencils.
http://www.colinbradleyart.com
In this episode we start of talking about the variety of soft pastels used in Colin's pictures and the pencil pressure of applying base colours. We then talk about pricing your artwork and discuss what is a good figure to charge for amateur/semi professional artwork.
Lastly we discuss substituting colours from the Faber-Castell with the Stabilo range and how to protect your finished pastel pencil pictures.
http://www.colinbradleyart.com
This week we answer questions regarding art projectors, tracing and free hand drawing. We also discuss the director of the grain in pastel paper and a new range of 72 soft pastels coming to our store.
Check out our deal for the box of 60 Faber-Castell Pitt Pastel Pencils here: https://colinbradleyartstore.co.uk/shop/box-60-faber-castell-pitt-pastel-pencils/
This week we talk about the ability of the great artists to create impressionism. Up close a picture may look like it has no form but from a distance it looks completely realistic.
We also talk about graphite pencils to use for watercolour work, the lightfastness of pastel pencils and drawing trees.
Things mentioned in the show:
Drawing Leaves video: https://www.colinbradleyart.com/home/drawing-leaves-using-pastel-pencil-techniques/
John Constable Article: https://www.colinbradleyart.com/home/how-i-shocked-myself-with-1-painting-and-every-painting-after-that/
Graphite Pencil Set: https://colinbradleyartstore.co.uk/shop/graphite-pencil-set-hb-b-f-faber-castell/
Box of 60 Faber-Castell Pencils on sale: https://colinbradleyartstore.co.uk/shop/box-60-faber-castell-pitt-pastel-pencils/
In the first podcast of the New Year we discuss using Cream and Ivory coloured pastel papers and the options you have if you can only find these tones. We discuss sand paper and also combining pan pastels with pastel pencils.
For free pastel pencil art courses visit: http://www.colinbradleyart.com/
In this Christmas Eve Eve Podcast we discuss miniature work, practicing by copying, portraits and underpainting with coloured pencils vs pastel pencils.
http://www.colinbradleyart.com
In this episode we answer some questions from our Craftsy Class "Pastel Pencil Essentials" and also some from our members.
We discuss different tones of paper
Masking tape
Wedding Couple Portraits
To enrol in our craftsy class click here: http://craftsy.me/2gtxjeC
On this podcast Colin offers a tonne of advice on adding backgrounds. We also discuss different techniques for using colour shapers.
http://www.colinbradleyart.co.uk
In this podcast we answer more of your questions such as:
Drawing Wine
Drawing Brickwork
Colourful Pictures
But also discuss what makes a good landscape painting and how you can adhere to and then break the 2 thirds rule.
http://www.colinbradleyart.com
In this podcast we talk more impressionism and how a painting makes you feel. We also talk about aquarelle graphite pencils and watercolour where Colin offers up some really interesting advice and tips with the medium. We also talk about subjects for entering exhibitions and working at an angle. Enrol in courses at: http://www.colinbradleyart.com
On this show we talk about 2 new projects. One Aquarelle Graphite Animal Portrait and an Impressionistic Landscape. This prompts us to discuss impressionism and how to progress from realism into impressionism. We also talk about the length of time Colin takes over his pictures.
http://www.ColinBradleyArt.com
This week we mention an email from Gabriele who entered her work into an exhibition recently. This prompts us to talk about exhibitions and Colin's experiences as a judge.
In this episode we discuss our trip to Craftsy where dad filmed 2 art classes in Denver Colorado. We also answer your questions including exhibiting Colin's pictures, best size for selling your work and why you leave a 1cm gap around the outside of your artwork...
In this podcast we discuss how to protect your artwork if you are going to be framing it. We also talk about some new pictures coming up, what pencils to use for sketching your outlines and whether you can use pastel pencils on canvas on top of oil and acrylic!
In this episode we answer your questions regarding pastel pencil commissions and paper as well give a big announcement we've been sitting on for a while!
In this podcast we focus on why drawing bushes, trees and greenery using pastel pencils is so tricky. Colin offers his advice and also why venturing into impressionism has helped him to achieve the random approach in landscapes.
Visit our website for pastel pencil courses and more tips: http://www.colinbradleyart.com
The main talking point in this podcast is Base Colours! Colin gives examples of what base colours he would use for various sections of a picture. We also cover:
Working on your first few pictures and how to build confidence
What graphite pencils to use when drawing your outlines
What glasses Colin wears when drawing
Base Colours!
If you enjoyed this podcast, please leave us a review on iTunes.
Get in touch: steve.bradley@colinbradleyart.com
In this podcast we discuss how trial and error play a big part in learning how many colours and which colours to use in your own pictures. Seeing what works with the paper your using is all part of learning the medium.
We also discuss what to do if you're a left handed artist and how to fill the tooth of the ingres paper that we love so much.
Listen to our back catalogue: https://www.colinbradleyart.com/home/podcast/
In this episode discuss Colin's Scotney Castle picture and how parts of that picture will help you into the world of impressionism.
We also congratulate one of our students Mary on her demonstration and discuss using Polychromos for White Hair.
Colin mentions how he would double mount and not fix his artwork and the many options to push your artwork away from the glass.
We discuss dark animal eyes and whether you should guess where the light is coming from.
Lastly we talk about the size of board you should tape your paper too, leaving a gap around the outside.
We've brought the podcast back on a Bi-Weekly basis as we were missing it and know you were too ;)
We broadcast the podcast live on youtube and then put it here on the site and on iTunes. Subscribe to Colin's YouTube channel to be notified on when we're broadcasting if you want to tune in live.
As before, keep your questions coming in and we'll answer them on the show!
It's a special edition of Colin Bradley Art Cast! We discuss what's been going on since we stopped the weekly show and answer a big question about when to go self employed as an Artist?
In the last weekly episode, Colin and Steve talk about enjoying the process of painting and how important it is to celebrate your achievements.
In this episode Colin talks about a new Amphibious project that he's done using Pastel Pencils and the challenges he faced tackling a new kind of colourful subject.
In this episode Colin offers his advice on scaling down your pictures for prints to make them look even better. We also talk about using colour shapers and Colin's latest picture - the gray wolf.
Colin discusses doing more Watercolour pencil projects and how long it took for him to become confident in using pastel pencils and picking colours for his own pictures. We also talk about a laying dog picture that Colin brought back as a new video tutorial and the secrets behind why the dog is such a popular subject.
This week Colin talks about what ready made frames are good for your pictures and what sizes to aim at. We also talk about how to build up certain tones using pastel pencils.
In this podcast Colin talks about his "Victorian Lady Reading" painting and how he used multiple reference photographs to put together a really interesting picture. We also offer advice on prints based on listener feedback.
This week we discuss Colin’s experiences with selling prints of your pictures. We talk about gloss vs matte and which one is best. We also talk how to draw on larger pieces of paper with pastel pencils. Colin tells us what ‘dry mounting’ is and your options for gluing paper to mount board. Lastly, we discuss Colin’s stag picture, the colour choice and it’s composition (breaking the 2/3 rule).
This week Colin discusses drawing Ocean Wildlife and what subjects he would consider doing. We also discuss how many animals you could put in one picture and when the gap narrows between animal portrait and animal landscape. Colin talks about his new Rainbow Over Castle painting and the challenges he faced.
In this episode Colin talks about how to make your Pastel Pencils last on your pictures. He talks about how to use excess pastel and the ingres paper to cover large areas. We also talk size of your pictures and read some of your comments.
Colin discusses what you might learn at art college if you choose to go and how this differs to the way he teaches via ColinBradleyArt. We talk about the expectations and the kind of work you might produce. We also throw some tips on removing masking tape from your pictures.
Following on from last week's podcast, we discuss the next new picture added to the website "Boats at Rest". This project is a more classic looking painting and Colin describes how he achieved this effect using different colours and tones than he would usually use.
Part 2 of 2.
In this week's show we discuss how the same picture can be done by 2 people and still look completely different. How can we make a picture our own? Simply by drawing it. We also talk about the new Mother and Baby Penguin Tutorial recently added to the website.
Part 1 of 2.
In this episode Colin discusses the various paintbrushes he uses with watercolour paintings. We also discuss how best to store you pastel pencil paintings and why Colin chooses to do detailed watercolour pictures rather than "looser" paintings.
Colin tells us about the first art group that he taught to use the pastel pencils. It's an amusing story which we can look back now and laugh at but at the time it was nerve racking!
In this episode, Colin share’s his experience with using watercolour pencils and pen and ink together. He discusses why he uses the two mediums together and gives away his tips and tricks to getting great results with watercolour pencils.
In this episode, Colin offers his advice for using drawing aids to draw free hand and how to ensure that the pictures are accurate and precise.
In this podcast, Colin talks about his African Mother and Child Picture where he used several techniques to create feeling and atmosphere. We talk about how to create the illusion of a path beyond your pictures.
How do you pick a background for your wildlife painting? Colin talks about the various options you have for choosing backgrounds and how to make it compliment the subject. We draw on his experience and knowledge to find out how to create truly stunning wildlife paintings.
Colin and Steve discuss how to draw animal fur. Colin recommends what base colours to use for different tones of fur and the techniques involved. We also discuss how you should cushion pastel paper depending on whether your using pastel pencils or soft pastels. Lastly we talk about what you could do if there is another artist out there with your name and whether you need to sign your paintings slightly differently.
This week Colin gives his advice using white as a base colour including tips on how to get the white strong on the paper. We discuss when to use ivory and when to use white for skin tones.
This week we answer your questions including putting white over darker colours or making it appear that way using Pastel Pencils. We also discuss taping your artwork to your drawing surface and how to sign your artwork. Lastly Colin offers his advice for drawing your own Pets and Family members.
Colin talks about how he used Faber-Castell's Aquarelle Graphite Pencils to produce some stunning pictures. We talk about what paper to use, the various tones offered in the set and techniques you can take away to produce your own pictures.
How do you draw cartoons? Colin talks about how to put your own stamp on cartoons and where his inspiration came from.
This week we discuss using highlights and shadows to create the impression especially for fine detail in artwork. We also discuss what to do if you’re half way through a painting and are unhappy with the work in progress. Lastly, we touch on the subject of tracing and whether it’s classed as “cheating” or whether there’s a lot to be learned from doing it.
We discuss the pros and cons to doing commission work. Colin offers his advice for what questions to ask, subjects to pick and tips for starting out.
This week we discuss how to put your own interpretation on artwork and what it's like to "lose" yourself in your art. We mention alternative pastel papers and a particularly difficult portrait of a lady.
Can you mix Watercolour Pencils with Pastel Pencils? This is just one of the questions Colin answers this week. We also discuss what colours to pick for a background to a black labrador, how to make sure outlines of your drawings don't show through your pastel art and an alternative sharpener for pastel pencils.
Watch the enhanced podcast on our youtube channel: https://www.youtube.com/user/colin1940/videos
Have you ever had a bad experience with an art teach? We discuss just how destructive criticism can be. Do you find time passes quickly when you’re painting? Our main discussion today is about how therapeutic painting can be. We also take your questions on pastel pencils and talk about bringing white back in over the top of dark colours without it looking muddy. Colin also offers his advice for picking colours for portraits.
Colin talks about different types of coloured pencils and watercolour pencils. He also offers up some tips on achieving a “Bright White” on pastel pencil pictures. We also discuss how to increase the range of colours you have available with your watercolour set. Lastly we discuss Copyright and using your own interpretations of Colin’s artwork in selling and printing.
Colin discusses how to protect your work when you’re either putting it away or transporting it around. We also discuss applying enough pastel pencil to fill the paper without the lines showing through and choosing a background for a black dog painting.
Apologies if you hear a "whistling" noise, we didn't notice until post production!
In our new studio, Colin talks a little about his new Cartoon projects as well as
- alternatives to fixing
- what to do when you've crushed the paper
- backing boards
- paper to use for inking and colouring
Finally, what the common mistakes are using Pastel Pencils. Watch the enhanced version of this episode on YouTube: https://www.youtube.com/watch?v=pDaDM4XCMus
What’s the difference between using Inscribe and Polychromos Pastel Sticks? Colin discusses inking cartoons in his new projects he’s working on. Colin talks about using Conte Pastel Pencils. Colin offers his advice on picking colours for ginger hair.
Pomeranian Blog and pictures: http://www.colinbradleyart.co.uk/home/choosing-colours-for-a-pomeranian/
Picking Colours Youtube video: https://www.youtube.com/watch?v=7iZ1rvG51iU
What’s the difference in drawing human hair and drawing animal hair/fur? Colin describes how the technique differs and the application of pastel pencils in drawing both subjects.
We also discuss drawing a Yorkshire Terrier with a more silvery hair colour and how to pick the right colours to get your desired effect.
Animal vs Human Hair discussion starts at 18:05.
Yorkshire Terrier Blog: http://www.colinbradleyart.co.uk/home/painting-a-yorkshire-terrier-using-pastel-pencils/
Recorded live on 5th March. Colin and Steve discuss developing your own style, reducing stress through art and give you a behind the scenes on forthcoming projects.
What’s the difference between Colouring pencils and Pastel Pencils? We compare how to use the two mediums and the effects you can get.
We also discuss using oil pastels and how these differ from the chalky soft pastels that you can use. Colin also describes a landscape in mist.
Learn to draw using pastel pencils: http://www.colinbradleyart.co.uk/
Do you rush your artwork? Colin talks about a psychological approach to your picture in order to keep it interesting and taking your time over your artwork. We also discuss Soft Pastel: blending using your fingers and colour shapers, fixing and other types of Pastel Papers.
We discuss using slightly different tones to create a vintage look in landscapes. We also talk about how to create a feeling behind your artwork, giving it personality and character. Somehow we compare Shakespeare to Painting as well as answer more of your questions!
What’s the difference between Soft Pastels and Pastel Pencils? One of our questions this week promotes a good discussion on the two mediums and using them both together. We also discuss using white and how to use contrasting colours to make the white appear brighter.
Colin discusses various backgrounds that you can apply to animal pictures and how to stop them looking like they’re ‘floating’. We discuss restricting tones from being too rich to achieve a more realistic colour. Colin talks about using grey as a base colour and as a cushion for stronger colours.
Colin shares his story of where Art acted as Therapy for him in his life. On a different subject, Colin offers his advice for drawing feathers and creating contrast with various base colours.
How do you draw male portraits? Colin offers up his tips for tackling a different skin complexion, blemishes, beards and harmony. You can now learn to draw AND paint on Colin Bradley Art. Visit our website for more details: http://www.colinbradleyart.co.uk/home/sign-up
Trees, Water, Sky, Distance, Perspective, Harmony… This week Colin discusses what he thinks are sort of “rules” of painting landscapes. We talk about finding reference photos, copying other people’s work and much more. Submit your questions: http://www.colinbradleyart.co.uk/home/contact-us/
This week Colin offers his advice for drawing light and dark fur on a Tabby Cat. He also describes how best to draws and where to start. We also discuss filling the tooth of the pastel paper and what effect this has on your pictures. Lastly Colin describes using your artistic license when approaching Animal paintings.
This week Colin explains the origins of being discovered by Schwan Stabilo. We also discuss various experiences with commission work. We talk whether drawing experience is required to start using pastel pencils and finally how to store and carry your pencils.
This week we discuss tracing using carbons and the various methods, pencils and techniques you can use. We mention “Giclee Prints” and Colin tells us some interesting stories about exhibitions he has been too. Buy Tracedown Graphite Carbons here: http://colinbradleyartstore.co.uk/shop/tracedown-a4-pack-5-graphite-carbons/
This week Colin gives advice to those being asked to demonstrate for their local art group. We also talk about the new subject Colin has done and how he created the colour harmony with the picture.
This week we discuss mixing colours and joining different colours with similar tones. How to do you keep the harmony between colours. We also discuss how to draw snow on roof tops.
This week we discuss how to best compose your animal portraits. Colin explains how he generally adjusts his composition and offers up his advice on commission work.
How do you make a picture tell a story? Colin discusses how he creates a story in his landscapes packed with characters and scenarios. We also discuss learning to draw using your computer or iPad and what’s the best angle to work from? What does Colin use for free-hand drawing? What colours can you lay down as a base colour for grey tone and sepia pictures?
This week is a marathon Q & A session. We discuss the dangers of using different coloured papers for various subjects, drawing cat’s whiskers and the best ways of picking colours for projects. Buy our new Taper Point Colour Shaper here: http://colinbradleyartstore.co.uk/shop/taper-point-colour-shaper-soft-ivory-size-2/
In episode 100 we invite a special guest on the show. We discuss “the early years”, contemporary art, manifesting impressionism and lots more.
How do you make white bright? In Episode 99 we give you an update on the Accreditation programme and discuss how to make white brighter in your pictures. Colin talks about what you can use and how to prevent it looking dull.
This week we talk about drawing portraits and discuss why they are the trickiest of subjects. How does Colin choose colours for various portraits? He shares his tips and advice.
This week we talk about how to do reflections in water. We also discuss various ways of tackling larger pictures, do you use pastel sticks? If so, what brands are the best? We talk about the pros and cons to using pastel pencil sticks.
This week we talk about Colin’s experience with doing workshops. Which were the most popular subjects and how many student’s did he teach at one time?
How do you increase the contrast of your paintings? Colin talks you through the basics of achieving this across your paintings. Do you need to do a drawing course before you start using Pastel Pencils? We discuss this and more on this week’s show.
This week Colin discusses in detail how to tackle trees using Pastel Pencils. We also discuss using reference pictures with tracedown, differences between "taupe" and "sand" coloured ingres pastel paper and sharpening pastel pencils.
This week we talk about how important keeping your reference picture close to your painting is. Colin talks about how often he refers to his picture to pick up the fine details and keep them in your "mind's eye".
This week Colin discusses how you can accidentally end up smudging your work and how to prevent this from happening. We also discuss feedback on our humidity question a few weeks back and how Colin would combat this. We discuss a new “mini membership” with a small range of subjects and ideal for absolute beginners, launching today: http://youtube.com/pastelpencilart
How to you make facial features look feminine or masculine? Colin discusses the finesse behind drawing women and the more rugged approach to drawing a man. We discuss using proportional dividers in your pictures. What's a good scale for using pressure in pastel pencils?
This week we go back to answering your questions. Colin talks about getting support and feedback on your artwork from third parties. We discuss where to work on your artwork and whether humidity can affect the pastel pencil. Colin talks about reviving dull colours that appear after a section of a painting has been completed. Finally we discuss leaving your comfort zone and how this can vastly improve what you love to paint most.
This week we discuss the basics of drawing and understanding tones with reference to Colin’s new Figure Drawing subject. Colin talks about building tones and how useful this can be when painting colour subjects. We discuss the base colours needed for “charcoal” style paintings.
This week Colin discusses when you make a mistake, not only how to rescue the picture but also to look at it in a different way. We also discuss an interesting technique using the ivory colour shapers and the lightfastness of pastel pencils
This we talk about various methods for proportioning out your pictures using grids. We give advice for demonstrating live and ways of using marionettes.
This week Colin covers, doing backgrounds on crisp pictures, cutting paper down to size and varying skin tones with younger/older people.
This week, we discuss using warmer and cooler tones in landscape pictures. Colin discusses tackling Shiny Coats in Animals using the example of a Bay Horse. We talk more about the Life Drawing Tutorials that are coming soon to http://www.colinbradleyart.co.uk
We record live from Westminster, London to answer more of your questions and make some special announcements. Colin answers questions on creating darker backgrounds and various types of Paper. We also announce a brand new series of lessons coming soon.. Watch the Video Podcast online here: https://www.youtube.com/watch?v=_nrxqjICEh8
What subjects should you start off doing in pastel pencils? Colin gives his recommendations. We discuss what range of sticks and pastel pencils Colin uses and suggests. Colin talks about how much pastel to put down as a base for backgrounds.
It’s story time this week on Colin Bradley Art Cast. We ask Colin at which point did he switch from doing art as a hobby, to pursuing it as a profession. Colin reveals some fascinating details about the beginning of his journey and the people that influenced his decision to move to Broadstairs and open his own art gallery.
This week Colin discusses how to use the grey and ivory colour shapers to achieve different blends with pastel pencils. We talk about approaching your own pictures and overcoming the fear of attempting it. Lastly, Colin talks about what colours to put on as base colours for a background.
We talk about how drawing a wider range of subjects can vastly improve what you love to draw most. We answer your questions about the upcoming accreditation programme. We talk about what to do with velour paper and what subjects to draw on black paper.
We answer your questions which include drawing a moonlight scene and using colour shapers with soft pastel. We reveal the early details of our Accreditation Programme and our new Peaches Still Life Project.
Recorded live at Patchings Art Festival in Nottinghamshire, UK. Colin discusses dispersing Pastel Dust from your picture, and we take questions from our audience. Questions include tempering a blue-toned dog, colours for autumn leaves, drawing conkers and bespoke framing.
This week Steve and Colin discuss the process of applying a background before or after a picture depending on the subject. This leads us onto discussing the latest tutorial on how to draw cows using pastel pencils and meadows. Listen to more podcasts at: http://www.colinbradleyart.co.uk/home/podcast/
Colin talks about the magic of the pastel pencil and just how quickly you can progress and improve. Follow Colin’s advice of “Think of Your 10th Picture” and be inspired. We also discuss combining soft pastel with hard pastels on different kinds of paper.
This week we record an outside broadcast (video available on youtube). Colin discusses an interesting way of drawing rainbows in pastel pencils. We also discuss why sharp pastel pencils and necessary for drawing eyes, and lastly Colin talks about using Mount Board.
This week we talk miniature art. Colin discusses how on earth to create the impression of detail in miniature paintings. What size is miniature art? What size frames and mounts do you use? Can you use soft pastel on miniature paintings?
Colin talks about a new product added to our store, the Creative Studio Soft Pastel Set. We read out the story we sent out in a recent newsletter where Colin’s art teacher said he would never be any good at art. We read out your stories and reaction to this email. Colin also gives you a quick make up tutorial and we discuss how much base colour to use for the Yorkie dog.
This week we discuss building up colours with various base colours: white, ivory, cool greys and warm greys. We talk about a new project coming up which will be done using a darker paper. We also discuss drawing larger pictures using Pastel Pencils. We talk about using Pan Pastels in conjunction with Pastel Pencils.
This week, we talk about drawing meadows and the technique involved in creating the impression of grass. We also discussing choosing Mats (Mounts), Frames and Glass. Colin discusses choosing colours for double-mounting. We talk about putting pastel pencil on top of detailed graphite work.
This week we reveal 3 brand new projects coming to members of Colin Bradley Art. We answer more of your questions including printing line drawings with a laser or ink jet printer. Colin also discusses long fur, feathers and how to tackle reds in pastel pencils with some newly discovered techniques.
This week we help send you to sleep with more pastel pencil tips and advice. Colin offers up his advice for drawing a Jack Russell picture whilst explaining different shades of fur - light, medium and dark. We talk about scaling up your pictures on a computer and then transferring these to paper. We also talk about fixing mixed media pictures.
This week we talk about what pencil to use for your outline drawings. We also discuss the many options for transferring images onto Pastel Paper. We talk about drawing choppy seas with pastel pencils and a new rainbow picture coming in the future. We also discuss what materials you need before you start Colin's online courses.
This week we dissect Colin’s latest picture “Victorian Children” which is taken from Victorian Children with Puppy by Emile Vernon Poster. Colin talks about prioritising a picture and creating different parts of a portrait you want people to notice more. We also discuss creating textures on faces, accessories and dresses. We also answer some questions about paper to use.
This week we talk about the big change at Colin Bradley Art. Colin talks about using Pan Pastels with Pastel Pencils. We talk about whether you need a cushion between your paper and board. Colin offers his advice when starting out in watercolour. We also discuss Artist’s Block.
We cram in as many questions as possible this week. Colin discusses going around the edges of a subject in a pastel pencil picture and the pressure you should use. Should you print line drawings using an Ink Jet or Laser Printer? We talk about lighting options for doing your artwork. We also talk about laying down a watercolour wash for your pastel work.
This week we discuss: ways of storing and transporting pastel pencils. Can you paint Animals in Watercolour? Can you Fix a part of a picture? Where is the best place to sign a picture? Do you Date your pictures? We talk about doing fur on the Koala Bear Tutorial using the “Bradley Squiggle”.
We talk about the feeling of making a picture come “alive”. How do you get a “smooth” blending look with Pastel? We talk blending tools and options with Pastel Pencils. Colin offers his advice on painting mixed-race skin tones.
What goes into preparing a picture? We pick Colin’s brains and ask some fascinating questions about his background and what inspires him. We also take your questions - Are Pastel Pencil Pictures Paintings or Drawings? We talk about the differences between the two. We also discuss coming from graphite and watercolour to pastel pencil. How do asthma sufferers get on with Pastel Pencils? We compare brands with carb-othello, unison, faber castell & cretacolour products. Should you use an easel or a drawing board?
We talk about using Pastel Pencils on canvas and Colin’s experience with oil and acrylic on canvas. We discuss using Pastel Pencils on top of these other mediums. How lightly should you use the pastel pencils? Colin explains the different sections of a picture which require more pressure.
In this episode, we talk about combining different makes of pastel pencils and increasing your range. We discuss using different types of paper and what colours/types work best. We talk about using Jam Jars to store your pencils in and whether selling your artwork makes you a Professional?
In this episode, we listen to your voice messages! You can submit a voice message using the button on our website. Colin talks about making up a portrait using different photographs, how to best organise your desk, keeping your fingers clean between colour use and your options for fixing pictures if you have to.
This week we talk about drawing fruit and especially shiny fruit like cherries & grapes. Colin also gives advice on drawing Golden Labradors and the pastel pencils to use. We discuss the best lighting conditions for doing artwork including using daylight bulbs and the best angles.
This week we take some more questions including what subjects are best to start off with and why picking a harder subject isn’t always a bad idea. We talk about identifying whether photos are “Warmer” or “Cooler” and then choosing the right colours for each. We talk about the differences between Medium and Soft Pastel Pencils.
This week we talk about putting light over dark with Pastel Pencils, Colin explains how sometimes, you can get away with it. We also discuss using Pencil extenders and what Colin recommends. Colin tells us about electric pencil sharpeners and how to use black as a darkening agent.
It’s our 1st Birthday! Listen as we discuss the differences between Polychromes Pencils and Pastel Pencils and tackling difficult Kitten fur. Colin discusses his latest Still Life project: the Wine Glass.
In this episode, we reflect on 2013 and the subjects we’ve covered. Colin talks about what’s coming for 2014 and an interesting addition to your Pastel Pencil range.
In this episode, we touch upon the “business” of art, referring to selling prints and the legalities involved. We also discuss drawing larger pictures such as A1/A2 size in Pastel Pencils and the problems you may need to overcome with mounting the picture. Lastly, we discuss the Two-Third Rule (guideline) in landscapes both horizontally AND vertically.
Steve and Father Christmas answer more of your questions in this week’s show. We talk backgrounds and the different options you have with animal subjects. Colin also discusses using “Masking Fluid” with watercolour and when he chooses to use it in his pictures.
In this episode we talk about sepia in Pastel Pencils, the problems with switching between subjects and how to tackle “artist’s block” and pressures of commission work. We also discuss painting snow in Watercolour and reveal a new offer in time for Christmas.
In this episode, we discuss Colin’s take on Quinton’s Hollyhocks painting and some obstacles he had to overcome. Find out alternative ways to get sharp points on Pastel Pencils. Send your questions to colin@bradleygallery.co.uk
We answer more of your questions including how to tackle skies in pastel pencils, especially those that appear "smokey". How does paper tooth affect landscapes & portraits and how do you mix a dark purple in Pastel Pencils?
In this episode we whizz through more of your questions with Colin. We discuss sharpening pastel pencils, substituting out colours in pictures, forming colour arrangements and putting multiple subjects in your picture. We also tease the next animal picture…
In this episode, we talk about how to make black dogs look older or younger using Pastel Pencils. In watercolour, we discuss whether you should apply a wash to your paper first as well as how large you could make your pictures.
All this and more in Episode 47! Send your questions to colin@bradleygallery.co.uk.
In this episode, we talk about using ColourFix, sourcing TraceDown and using Pastel Dust like a palette for mixing colours. Colin talks about tackling “mousy” coloured hair and we reveal some exciting news on our competition.
In this episode, we have 2 BIG announcements launching 2 new services for anyone interested in Watercolour or Pastel Pencil. Colin also answers your questions including using transtrace/carbon and how to tackle the backgrounds with grass, leaves etc.
In this episode, we talk about "over-working" your picture and how useful putty rubbers can be to create texture on your artwork. Colin also explains the difficulty of using Soft Pastels and the paper best to use for hard or soft pastels.
In this episode, we answer your questions and reveal some new projects coming soon. Why use Mixed Mediums? Can you get the same results using just one? How do you apply polychromos Pastel Sticks to Birds? Recorded live in London at the Actors Centre, Covent Garden.
In this episode Colin discusses when it is a good idea to put a base colour down to cushion the darker colour on top and to almost think of it as a "palette" as with Watercolour. Colin also talks masking tape and can you combine Polychromos Pencils with Pastel Pencils?
In this episode we discuss the difference between blending tools such as a colour shaper, paper blender and even your finger! Colin answers your questions including why you shouldn't apply black straight to paper, how to make a flesh colour in watercolour and the difference with Canson paper with "bubbles" rather than the "tooth" of Ingres paper.
In this episode we discuss the different types of graphite pencil leads which leads to a very confused Steve! We also answer your questions including how to make prints of your pictures, the best way of shipping your artwork & what are the best Soft Pastels to use (in Colin's opinion).
In this episode, we talk about the difference in using watercolour pans instead of watercolour tubes. We also discuss the difference between "Student" quality watercolours against "Artist" quality watercolours. We also cover the two new pictures coming to the member's site and how Colin chose the colours and achieved the incredible effects.
In this episode, we discuss all things Watercolour. What size painting should you try? What are watercolour pencils like? How do you use multiple colours on 1 palette? We cover this and more in the Watercolour-Themed episode.
Will copying a reference picture from the web break copyright laws? We discuss this as well as how to draw "ageing" animals and the orientation of Paper Tooth. Colin also fluff's the outro.. comedy genius.
In this episode, we discuss is it really worth going to art college with so much material available online? Colin answer's your questions about cropping pictures, drawing free-hand and how to store and transport your pastel pencils.
In this episode, we discuss what can help improve your free-hand drawing. We answer your questions including how big should your pictures be, how to get more "sparkle" from your animal portraits and more..
In this episode we talk Goblins, Bunnies and Squirrels as Colin talks about turning his hand to drawing fantasy. We also answer more of your questions. Send your questions to colin@bradleygallery.co.uk
In this special Birthday edition of Colin Bradley Art Cast, we make Colin work by blitzing some of your questions. Are pastel pencils affected by hot weather? How do you draw Dark Rocks in Pastel Pencils? Where can you post your artwork? How can you protect your artwork in transit? We discuss a possible new subject for the member's site - Hug Me.
We talk about Colin's TV appearances which include having to paint a pastel pencil picture LIVE in just 30 minutes. We also discuss "stripes" appearing on backgrounds, creating a "steel" effect and using "Velour" pastel paper.
Is it wrong to have a child-like "look at what I've done" feeling after producing a piece of artwork? We talk about the want for confirmation and appreciation when producing art and discuss grounding yourself. We talk about the different types of colour shapers and answer more of your questions.
In our new Friday slot, we read out a lovely letter from a Denise filled with questions and her story. We also discuss using pencil sharpeners with Pastel Pencils, whether fan brushes are worth buying and what to do if your picture get's a water mark on it...
In this mini-cast, me and Colin talk about the benefits of painting and the "healing" powers it has. We go deep and meaningful and discuss how artists subconsciously put their heart and soul into a picture which can actually reflect their personality on paper...
In this episode, Colin talks about original paintings and how they almost become "alive" and "hypnotic". We discuss the differences with trees in watercolour, the best way to sharpen pastel pencils, white charcoal and more..
In this episode, we discuss exhibiting your own work & Colin answers your questions including: how many Pitt Pastel Pencils do you need and how to overcome Paper "Sparkle"...
In this episode, we roll back 30+ years to learn how Colin, as an amateur artist, learned his craft and what changed the way in which people were able to learn. We also take your questions and talk fixative and soft pastel.
Live from London & Broadstairs, Colin offers up a tonne of knowledge, experience and advice in this episode as we blitz some of your questions. We discuss graphite, paper types, advice for the complete beginner and more!
In this episode Colin talks about an incredible new discovery he has made which will blow your mind and help with understanding tonal values which in turn will improve your drawing/painting.
In this episode, Colin talks about how to obtain and adapt reference pictures, whether it's photographing your pet dog or getting that perfect landscape scene. We then discuss how to adapt that reference picture to produce a really interesting piece of art. Colin talks to himself for a while and answers your questions.
In this episode, we talk about expressing yourself through painting using your imagination. Colin talks in more depth about Watercolour and how this works beautifully with Pastel Pencils. We also answer your questions!
In this episode, we discuss how to draw miniature paintings in both Pastel Pencil and Watercolour. Colin shares his love of A.R.Quiton's work and how it's inspired him to paint a new Watercolour/Pastel Pencil Picture. We take your questions including whether it's actually practical to paint on location...
In a surprise visit back to Broadstairs, Colin and Steve reunite to bring you episode 20 where we discuss the differences between Pastel Board and Pastel Paper. We reveal and tease a few new projects coming soon and answer your questions.
In this cross-town/city podcast, we speak to Colin in Broadstairs from Steve's office in London. We discuss the easiest and most difficult animals to produce in Pastel Pencils. Colin discusses the dangers in taking on commission work and we answer more of your questions!
Colin talks about the best and worst demonstrations he's done over the years, we ramble on about always being "positive" and answer your questions including our new (old) Pen & Wash DVD!
We mix it up this week by talking about Colin's experience with Pen & Ink. We also discuss how he developed Sepia tones with Pastel Pencils. Colin answers your questions including how much dust is actually created from using Pastel Pencils?
In this later-than-usual episode, Colin discusses how he came up with the idea of producing his own Packs to teach how to draw different subjects. We also answer questions and discuss the potential for Colin to do a "Male" Portrait rather than always being tempted to draw lovely ladies!
In this episode, Colin talks more about how he developed the idea of square drawing and the risks he took along the way. We answer your questions and share a get well message for Anne.
In this not-so mid-week podcast. We find out the second part Steve's story and reveal the next part of his journey.
Colin talks about demonstrating for Schwan Stabilo at his first exhibition in London. We go back to basics with some great questions and talk about how Steve is not going to be the next James Bond.... as far as he knows..
In this special mid-week episode, we turn the tables and find out what Steve's hidden talent is....
In this episode Colin tells us about a device discovered at Flatford Mill which would change the way he did demonstrations & workshops for the next 15 years. We discuss your questions including "which paintings sell best?"
This week Colin talks about his first "Demonstration" to an art club in South-East London for Schwan Stabilo. We also reveal this week's new member's animal subject. Hint: it's not a Penguin... even though I think it should be.
In this episode, Colin talks about his first workshop he did for Swan Stabilo in 1989. We also answer listener's questions, talk about Steve's face and present some live Q & A from the demonstration in Westgate on 19/02/2013.
We go deep in this episode, discovering the part of us that is capable of great achievements. We answer listener's questions and give a little teaser away...
Colin describes his first exhibition in London. We also conclude the story with our friend chris and answer some very fascinating questions including tips on how to sign your own pictures.
In this episode, Colin explains how he taught himself Pen and Ink from an old Victorian Book and how a "light bulb" moment combined two of his favourite art mediums.
Colin shares some incredible news from his first exhibition and how the next few months transformed his life.
Colin concludes his story and tells us about his first art exhibition. He also tells us how to correct a Boss-Eyed Puddy-Cat.
Colin shares a hidden talent and how bone china birds inspired him to pursue art again.
In this episode, Colin shares his teacher's critique on his first painting and how it nearly changed the course of his life.
In this first episode, we discover how Colin stumbled upon the Pastel Pencil and the people he met along the way.