Brass0four

There was a very petty reason which I'm ashamed of, so I've edited it. ;-)

INTERLUDE Being totally unable to operate a computing machine - with paint and brush I belong to a different age - its taken several attempts get this illustration up. (everything ) As I may have mentioned earlier, this was my last professional commission, completed in 2004, as I was forced to realise that as my wife, Joan's MS worsened it would be quite impossible for me to meet future deadlines. So, commissioned by HMRN, "HMS Cleopatra during the 2nd Battle of Sirte, 1942" The original hangs in the WWII Gallery of the Naval Museum at Chatham. This is from a 35mm neg, the original being lost by the professional photographer I hired to copy the painting before it left my hands. Its not worth looking at much over postcard size. As I've been bumping my gums too regularly, regarding colour theory, etc, and having nothing worth sharing in modelling terms, this might go in some small way to fill a gap ;-) Tony.

That'll be *Downes Under...* Tony (lurk ya booger!)

I love the artistry of the plate/bluetak(?)/thumb. Now I know I'm not the only one to scrape tiny bits of model off my pillow in the morning... ;-) Tony.

Interesting. "Rain, steam and Speed" was the Tate Modern of its day. Tony.

Allan, have you ever written - as in authorship - at all? 'Cos here is the basis of a fascinating plot! There is nothing more real than the "you couldn't have made up" type of reality, inspiring remarks concerning the clichéd "human condition." Tony.

Strictly between you and I... I've had someone monitoring Robinson's e-mails, and if I were you I'd be very worried. Advice: don't touch any electrical items; don't eat from anything other than a tin you've opened yourself (check milk-containers for needle marks) and take all your prescribed medications back to the pharmacy and have them exchanged for checking. That's all just now but I'll keep you informed. ;-) PS: obviously I received your response to my post. Gawd I'm sooooooooooo thick!

Computers!!! Has anyone had the experience of not receiving e-mails after posting? I was dragged out of lurk to make two posts on other threads and neither have shown, although my remarks have shown on-line. I'm betting this one won't. ??? Tony. PS: It did suddenly occur to me that a personal entry doesn't show up till someone responds? (Paranoia Rules OK!!!)

Once upon a time I used to model aircraft of the very light, floating type. Suddenly, the complexities of your build are quite open to me. Just plastic, not balsa. Thanks for that! Tony.

Well done Jaz! And the texture of the stonework behind is positively awesome!... Tony (Oops, back to lurking)

In user-friendly terms the Gallery is not fit for purpose. I uploaded an image to a Gallery I named, but now the name and description do not exist, only a long number I viewed in recent activity. I tried to get it on site using the number but that didn't work. In truth I'm hardly PC savvy. Its not a train so it doesn't matter. Just my last professional commission for HMRN. In any event it is very poor quality, 35mm for a large painting. The professional photographer I used to copy the work before it left my hands, lost the neg. The original is in the WWII gallery at Chatham Historic Dockyard - used to be the Naval Museum which I prefer. They have to Disney-fy every dam thing. It was a parting illustration of my line of work .Another time perhaps C'est la vie! Tony.

Deteriorating? I sincerely hope not? Tony.

I really am losing the plot! My reply did NOT turn up next to the original thread-within-a-thread starter. I'm using up time I don't have, and making a bad job of it, too. I expected the sky to fall in on me after my post, but I should have known, The Masters were there before me and people are kind. So, briefly - (I'd love to talk in detail to Jaz about things ) - I do use black - the coal in my loco tenders, and I might use a pick of white get some *light* shining off something that is too dull. *People* were mentioned in an earlier post. Do all their clothing in muted colours and there is a vast improvement, that and ALWAYS use figures at rest, not with a shovel frozen in the air! What is wonderful is that I've not had a single "lets see some of your stuff, then!... " which would have been quite justified. So, I've decided to go back into (semi) lurker mode until I've something to show for myself. Otherwise, time is a thief. Hate to say it again, as I could write a book on colour-theory relative to 3D Graphics (as we called models in college) IF I had the time, but check my profile. I know, I'm a pain in the "Family Friendly BRMweb cross-between-a-horse-and-a-donkey." Regards, All. This is a wonderful hobby/obsession filled with wonderful people. Tony. PS: Don't expect miracles. The small item I produce will be the first architectural model I've built since college.

Slight bone to pick, Allan, in regard to the subtleties of colour: you are using monochromes and two different monochromes at that... Kind of blurs the issue of what our layouts look like in colour?;-) Tony. (I can't believe I just said that to Allan Downes. A week ago I was in fear and trembling of even posting on this forum. Still, it goes to show I'm not a total sycophant! ;-) )

My post 710 went in the right place: after Allan's initial post. Dunno how I managed that! Where I said *above* posts is now nonsense! Tony

It is very good to use a limited palette. Then you have united tone and hues that make a uniformly cracking 3D image. (Love your work, BTW) Tony

Mc Afee - SCREAM! Adobe Flashplayer updates removed my Kaspersky and fitted the Mac trash, without an opt-out button! I googled the issue and the entire planet was up in arms about it. Took me ages to remove the crap and reinstall Kaspersky... Grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr!!! Tony.

I can't believe it! I can't get a long post out of edit! *Save Changes* does ###### all. PS: BRM doesn't like rhymes with sugar

Garishness is a pet hate of mine. As usual I'm strapped for time, so I'll hurl some contentious(?) issues in the air. PICTORIALLY One. Never use black paint. The only true black is at the bottom of a mine. Use dark grey at most. Two. Never use white paint. The only white we perceive is by staring into the sun, which is a bad idea. Use light grey. Three. In the fifties there was no white paintwork in industrial terraces. (Only the very posh painted their houses white, because they could afford regular re-paints. It was also a consequence of pigment. White lead (very dangerous but hardly thought so at the time) was very expensive and was the major, if not the only source of domestic white paint. Four. Pigments used domestically by the less well-off, were brown, green, maroon, and - if there was a painter in the family the ochre colour of artificially produced oak, using feathered brushes, etc., this was a big show-off! - but unlike white it weathered very well. There was little blue - pigment again - and no, light, pretty colours. There were few black doors, considered funereal by those who hadn't seen number 10 Downing Street, ie, everyone. In model terms I would neutralise (grey-down) even the colours mentioned. The purples and ultramarines of Hornby terrace doors are nonsense as is all the white paint, especially the stonework unless its modern era, or - a result of the trendy young couple who just moved in - but even in the latter case, its not good in model terms. All these dashing colours started in the sixties when people were earning more and getting their old sash windows replaced, and synthetic pigments were becoming common. I would still neutralise the bright colours, even modern image. Remember, three feet away from your model is a fair distance in real terms - I can't be bothered to work it out - What you are seeing is, for example, not the colour maroon, but the effect of light bouncing off that surface, plus the massive pollution of industrial steam days, dulling fresh colours in a matter of weeks. One thing, we see the weathering of steam locos these days, but we rarely see modelled the utter filth and squalor of industrial towns; you had to experience it. The smoke belching from thousands of domestic fires and factory chimneys created local weather effects, almost permanent layers of toxic cloud; Sundays were a little better as it was the Lords day and everyone was entitled to a day off. This is the fifties, remember; post-war Britain was little different from the thirties. But still the domestic fug maintained except at the height of summer, and even then water had to be heated from back-boilers, other than off the hob. Emersion Heaters were a boon that came, for some, in the late fifties. Most fifties layouts could benefit from employing a proper artist with an airbrush and mucky colours, to cover the whole damn thing in a dirty tint. Even (especially!) grass greens which are often way too bright. Final pet hate. Pretty blue skies and fluffy clouds on photographic back-scenes (which I loath, too) They can make a poor model look good, but only in a false way. Rip these backscenes off many layouts and the result would be rather sad. So, industrial towns were not pretty; nor should a model be. Tony. PS: I hadn't seen the above posts when I started! LOL