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Chuffnell Regis


Graham T
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The carts at the front are from Langley models, as are the three horses on the right.

the horse and cart behind are from Slaters. Personally I prefer the Langley ones.

loads are from Langley, with the lighter barrels being Bachmann.

 

33E85F2F-6262-44FE-B809-60B9B960D61D.jpeg.8cad65cd45bf98d9faf59a16dd17bb20.jpeg
 

 

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The hedges look great, I really like the way it makes the road look enclosed. I'm taking notes because I have a few to make.

As part of the work creation schemes after WWI, a lot of minor roads were metalled and previously muddy farm tracks had gravel and ash rolled in.

 

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27 minutes ago, MrWolf said:

The hedges look great, I really like the way it makes the road look enclosed. I'm taking notes because I have a few to make.

As part of the work creation schemes after WWI, a lot of minor roads were metalled and previously muddy farm tracks had gravel and ash rolled in.

 

 

Thanks Mr W.  Interestingly, the crisis of confidence with the hedges was a bit like what I sometimes run into when painting.  As I'm getting on with a picture I often get to a point where it seems like it just isn't going to work - and then somehow a corner is turned, and then it's just a matter of knowing when to stop, and to call it done.  Do you ever get the same?

 

As for the lanes; growing up in Herefordshire in the 70s, most of the lanes around home were not metalled.

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I get that all the time, at least three times per painting. Composition. Sketching out. Blocking in and then the crisis of confidence about b@llsing it up when putting in each section of detail.

 

All of a sudden it comes together and you start working into it adding even more details.

 

I have recently had another artist I'd just been introduced to announce loftily:

 

"don't do detail...."

 

(Despite only ever having had a description of my work from a third party.)

 

I had to resist the temptation to say: "That's just as well, as you can't draw for ****".

 

We politely excused ourselves, asap, I was becoming concerned about the memsahib rummaging in her little rucksack, probably has a flamethrower in there...

 

Other than that, painting is a breeze...

 

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A lot of the lanes around where I lived had been metalled, a very long time ago, but as soon as you turned off them into unadopted roads they were crushed stone. That's the main difference, deciding which roads were adopted by the Rural District Council and which weren't. If it only served a few farms I would say not.

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On 27/01/2022 at 08:41, Nick Holliday said:

Found this collection which may be useful - https://www.vintag.es/2016/09/treasures-from-grandmas-attic.html colour photos from 1939 such as these

image.png.a7ae524d33c89a2b2e465148def9265d.png

image.png.ca35da7bdd50089da6bd44b9d533a38a.png

Lots of other pre-war gems, including the rails on the quay at Wells-next-the Sea

Amazing - That first picture is quite close to me so I thought I'd try to find it (without leaving the house obviously - I'm a fair weather cyclist!). I think this is it - the clue is the house with the distinctive gable, which you can't see in the Google Earth shot but I 'went' further down the road and it's there!

 

IMG_20220127_143408_HDR.jpg.6c190c4dd2d28d022b6f8a663844ae56.jpg

 

 

Edited by Barclay
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39 minutes ago, MrWolf said:

I get that all the time, at least three times per painting. Composition. Sketching out. Blocking in and then the crisis of confidence about b@llsing it up when putting in each section of detail.

 

All of a sudden it comes together and you start working into it adding even more details.

 

I have recently had another artist I'd just been introduced to announce loftily:

 

"don't do detail...."

 

(Despite only ever having had a description of my work from a third party.)

 

I had to resist the temptation to say: "That's just as well, as you can't draw for ****".

 

We politely excused ourselves, asap, I was becoming concerned about the memsahib rummaging in her little rucksack, probably has a flamethrower in there...

 

Other than that, painting is a breeze...

 

 

Drawing is the foundation of it all, I find.  (Don't get me started on Tracey Emin being made Professor of Drawing at the RA...)

 

Painting's a breeze?  Apart from the Composition. Sketching out. Blocking in.  And all the rest of it?  Well then yes I agree!

 

If you look at my painting style (?) you'll see I do some detail, but I think part of the trick, for my paintings at least, is knowing what to leave out as much as what to depict in detail.

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16 minutes ago, Barclay said:

Amazing - That first picture is quite close to me so I thought I'd try to find it (without leaving the house obviously - I'm a fair weather cyclist!). I think this is it - the clue is the house with the distinctive gable, which you can't see in the Google Earth shot but I 'went' further down the road and it's there!

 

IMG_20220127_143408_HDR.jpg.e1e063a24e1c2cd66ef79fe87cc2c3b9.jpg

 

 

Fantastic set of photos, aren't they?

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Here's the "signature tree" for this corner of Chuffnell Regis.  Although I like the shape and the trunk, I don't like the colour.  Not sure whether to try painting it, or using flock...  Any suggestions please?

 

Also, do you think the positioning is ok?  It will have a hedge under it.

 

It wasn't made by me, by the way.  It's from a company called Silhouette, in Germany.

 

 

image.png.c53db579285c49811547625f576f6c84.png

Edited by Graham T
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Thanks, I was thinking about maybe using some of the light green flock (just a little to start with, I suspect it will be easier to add it than remove it), to bring the oak's colour a bit closer to those in the hedgerow.  It still needs to be a different colour I think, but also not such a chemical-looking green!

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I like that shot of the train coming round the corner @Graham T. I've tried to lighten the loco in Affinity, but couldn't without distorting the colours to the grass.

 

But it's a nice shot nonetheless.

 

With regard to the tree in the field.... it could just be that... a tree in a field, in which case a few cows laying around the base - just a suggestion.

 

I use various colours of flock on my trees, including a Gaugemaster "Forest floor" scatter. However looking on their website, there are 3 listed; 2 x Noch and 1 x Faller, nothing under their own brand name. Those listed all have different colours! So that doesn't help I'm afraid.

 

Experimentation is again the suggestion here Graham!

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3 minutes ago, Gopher said:

You should see them in Herefordshire now Graham - full of potholes 

 

I haven't been back to the UK for quite a while actually Clive, but do remember not enjoying driving very much over there!  Potholes, traffic, speed cameras...

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7 minutes ago, Graham T said:

I haven't been back to the UK for quite a while actually Clive, but do remember not enjoying driving very much over there!  Potholes, traffic, speed cameras...

 

It's been exactly 2 years since I've been back and as I drove off the ferry in Portsmouth and directly onto the motorway, I encountered numerous drivers who by their actions, seemed to be very seriously trying to have accidents! I hope to go back again in a couple of months and will not relish the traffic!

 

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Driving in Vienna isn't great, of course, but once you get out of the city the roads are very different to the UK.  Less traffic, well maintained...

 

I'll try not to go on too much, or I'm at risk of slipping into a rant :)

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23 minutes ago, Graham T said:

once you get out of the city the roads are very different to the UK.  Less traffic, well maintained...

 

That's why I adore driving over here amonst the vinyards, particularly in classic machinery :imsohappy:

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The oak tree has now been well and truly flocked (!) and that's improved the colour no end, I think.  It's not actually glued in place though, so I can still uproot it if need be.

 

 

image.png.71c3d72dbb4c98f495066888b162836a.png

Edited by Graham T
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