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Demos by Tiffany Budd
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Demo, 18/1/2011 Workshop, 8/10/2011
"Fractured Art" Workshop
at W.A.D.E., Wokingham, Saturday 8th October 2011.
Tiffany did a basic drawing of bottles & glasses, with simple outlines which she then extended to form a "stained glass" pattern of straight lines & curves.

Soft pastels were used to fill in the resulting shapes in closely-shaded colours of reds & yellows, with the light coming from top left & becoming ever darker as they went down & to the right.

We were then left to prepare our own drawings on any subject that took our fancy, using either pastels or coloured pencils. The results were quite amazing, especially as some people had never used these mediums.
We had a great day & were all well-pleased with the results.

Tiffany has since sold her demonstration piece.



Brenda Baldwin

Demo, 18/1/2011 Workshop, 8/10/2011
Fractured Pastels Demo, 18 January 2011
Visit www.tiffanybudd.co.uk. See her blog and on Facebook
Contact her at tiffanydowling@wall-power.co.uk
As you'll see from her website and blog, Tiffany is multi-talented and this evening's "Fractured" demo shows just one them - perhaps two, becauise she could talk humourously, too. The technique is inspired by Cubist and Russian Constructivist work, retaining recognisable objects without losing the cubist/constructivist feeling.
Examples
Tiffany had preprepared a 50 x 70 cm sheet of black Colourfix pastel paper with a simple white pastel pencil line drawing of a bottle, a wineglass and a table-edge.

There is already a bit of artistic license: in the stubbiness of the bottle and the way lines continue regardlesss of what is in front of them.

Then came the "Where is the light coming from?" question. "Top left corner", she said, and promptly got out a large straightedge to draw some not-quite random light rays right across the paper.
Tiffany then went on to extend features of the drawing out to the edges. The way this is done, and how many are curved or straight, depends on the subject matter and the feeeling you want. Here she extended:
the neck of the bottle
the bottom of its cap
the top of the liquid
the top of the glass
the right edge of the glass
the bottom of the label.
This left the paper divided into a large number of differently shaped areas. Each of these is to be separately coloured.
The colouring was with Derwent pastels tonight but the same technique can be used with acrylic (blended on the paper) or for silk painting.

The procedure was to apply two or more colours into a single area and then blend them with a finger (or perhaps sometimes with a rolled paper blender).

The blending tended to blur the dividing lines and so these were reinstated frequently. Reinstatement was not necessarily with the original white - more often one of the adjacent colours was used and then blended into the appropriate side.
The colours started with white near the light source, and got darker and richer further away. Tiffany used about 15, including black. We were surprised at this, because the paper was already black. Apparently its texture is quite different until the pastel is applied and this can show up quite badly in certain lights.

She does not always use black paper but it seemed appropriate here. If sufficient pastel is used the black ground can actually make the colours look more vibrant. For landscapes or other outdoor scenes she would recommend a lighter coloured paper.
It's important not to carry colours across the lines from one area to another, even if you want nominally the same colour on both sides of the line. Mixing is done on the paper and the usual way of reinstating a line lets you use one constituent of the colour mix to blend one way and a different one in the other.

Some quite bright reds were used but burnt sienna and burnt umber (as well as black at the extremeties) were blended in as we got further away from the light.

Some of the shapes were too small for blending with a finger - a cotton bud?


Once we got into the actual wine, Tiffany introduced some lovely magenta and purple mixes.

One of the things that surprised me was how much time was taken towards the end in retouching, even modifying, the lines themselves - but it seemed to be necessary. Pressure of time limited what could be done.

The top of the label, for example, didn't quite fit the surface of the wine but it was only a moment's work to re-draw it with yellow (blended down) and a dark (blended up) to get it right.

Pastel pencil is necessary for some of the tiniest triangles.


A mirror might help show up residual faults but Tiffany felt that very little more needed doing.

Unlike many pastel painters Tiffany fixes her finished work. She is very keen on Gerstaecker Fixativ. Unlike many others this lets the original brighness of the pastel show through after it dries.

It was an excellent evening - and we even learned a little about bottle terminology - like the punt (dimple) in the bottom.

Demo, 18/1/2011 Workshop, 8/10/2011

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