Secrets Behind Impressionism - 195

"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 foc(continued)

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