Bus sketch'es 1.2.3.4.5.

[eighty+]

hi had to stop kept dozing off so posting as a starter that give more time ok

[pat1940]

Hi eighty my friend, wow what paintings, they are really great, and dont fall asleep before you finish the next one ok matey

[D Akey]

Mister Ploos, you're a right fine stylist now. (read: Bloody amazing, mate!)

That last drawing especially, wow. It shows a very orderly and careful hand. Not bad for a smash up. Lots of great nuance. And it still has your eye to the sensibilities.

I ain't got no patience with Lotto, myself, nohow. Put down my couple dollars good and regular, yet I never seem to win more than the odd dollar. Quite a racket has our Lorenzo.

[eighty+]

Thanks Pat just having a play tried the paper's Juz gave us with some

chalk might look funny but i enjoyed it ok havn't been out lately so i

miss not doing the bus sketch'es so been bashing around with colour

to get the feel of it ok

[pat1940]

I like this eighty, I think you did a great job, I will have to check out the papers from juz, will check them out tomorrow, must close now, going to relax and watch the teli with hubby,

[eighty+]

Hi D Akey how I missed you don't know but Thanks I all ways look forward

to your comments but please be more critical as plaundits don't help

critism drives you insane but help's in the long run ok I hope I haven't

Up Set you MAC

[eighty+]

Hi Pat didn't know you had time as your all ways churning out lot's

of paintings do u like me fall asleep when staring at the screen

or is it my age can remember seeing all the oldie's asleep on park benches

don't see that these days must all be asleep in front of TV ok

enjoy your snosse zzzzzz E/S

[D Akey]

You want to know if you pissed me off cause I tell you your work don't soock? Hahahaha. I know ya can take it lad. So let's load you up a bit.

No, I get what you're saying and I'll tell you that sometimes when somebody took the momentum and is running with it, why it would be a right low conceit on my part to take the reins. You're going strong, Mr Ploos, and it's a fine thing to behold.

Okay, you are showing great leaps forward in certain areas, while others you are sort of just scratching the surface. Constable for example is not one of your bull's eyes. . . yet. But if you're interested in what he's doing:

I would recommend perhaps thinking composition. The trick about his stuff and so many others is that they are setting a stage with their lights and darks. Many of their images, I would lay odds on, were made up from things that they painted hundreds of times, maybe thousands -- trees, cloudy skies with light pouring in like a spotlight onto the star of the show -- the haywain or an overgrown castle ruins or whatever pastoral tableau he was on about at that moment.

Do an images web search on Constable and look at his stuff. Look at how he stages. He's creating in masses of trees as a single design element, and basically has a dark part and a light part in his entire canvas. How that went depended on what his mood was. And then he subdivided those grand areas with detail, but it still held true to the original dark and light pattern to the integrity of the composition.

Remember, light reads against dark, and the area of most contrast in the pic is likely the place where they viewer's eye will go first. And then you lead them like pupils' pupils all around until you're satisfied they have done the ride. They'll ride with you if you make it easy for them, or you intrigue them to where they have to examine everything.

Think of it like a song with a theme. Make us feel something. That's the ticket.

And. . . hey, you still awake? SKETCHY PLOOS!!!!! Hahaha. Now you know why I limit what I say. . . or should do. . .

Carry on lad, your figures are great. Now step back 100 yards or so and have a go. Not so easy on the bus, but maybe in the park? Look, soak it in and then use your compositional strategy to make something that pulls us in. Figures are good for that as well. But they could do with being placed.

Large clusters of light and large clusters of dark in intriguing relationships and bring in your supporting cast to flesh it out a bit. Males when they are born see shape sooner than women who see color before we do. So man up, there's a stout fellow.

[eighty+]

Hey Mac you've got Brain Screaming wants to know why I hadn't
Shown him before all these things said sorry but when at school was
dreaming out on the playing fields so that's why you missed out
he's not pleased say's how the hell do you think i can catch up, I said
dunno but that's your problem not mine so he's not talking at the moment think he's gone off to watch the rugby keeps shouting all blacks I said no
Constable is what we've got to do yuk's he said all those leaves and we both fell about laughing then he said we could cheat a little and stick some of
those leave's out of the box but I was lost as to what he means
but Mac Brain and I thank you I think he's going to give it a try ,but he's got a headache at the moment ok

haywain finger ipad to get in the mood yeah

[D Akey]

Aye, laddie. A picture's worth a thousand words. But since I tend to wax loquacious, I thought it in keeping with me character to add some to the picture for good measure.

This illustrates what I mean about the dark and light. He isn't exactly framing the lights with the darks, but in a way he does. Not a hard and fast rule because it could get dull doing it the same way all the time.

Think it like a jigsaw puzzle of only 2 pieces to start with. And then you can blend a bit for interest.

One of the things about Constable is that he is about large natural settings with a smaller human component.

Not saying to do it his way necessarily, but it's a good study with stuff to be learned from him.

And if you would like to buy this painting, it's on sale on EBAY UK. Act now and you get a toaster oven free of ch. . . oh, sorry. Got carried away.

http://compare.ebay.com/like/1305549...Types&var=sbar