LLOYD PARK IN TWILIGHT, AUGUST 1988 DAVE DRAPER [OIL PASTELS on BLACK CARD]
This is the SECOND of two oil pastel drawings I did in Lloyd Park one evening in August 1988. I have included both oil pastel drawings beneath the main featured image as a two-part slide-show.
Having completed the first drawing ‘The Water Tower in Twilight’ I moved just beyond the summit of the grassy hill almost at the horizontal centre of the view, where the long shadows of trees out of sight to my left fall across the sun-scorched summer grasses. I sat just in front of the two trees, left of the picture, one either side of me – so the tree extreme left of the ‘Water Tower View in Twilight’, was the predominant tree in ‘Lloyd Park in Twilight’.
This afforded me a fine view downslope across the more lush green grasses leading down to Coombe Road, where the Tramlink nowadays swoops up towards Shirley and Addington.
I was working oh so furiously fast with this, as the light was fading rapidly towards the end and the colour tones were changing with it. The sun was out of view from where I sat at the top of a hill, in my little fold-up canvas seat, looking down towards Coombe Road – but it hadn’t yet set, though it seemed to me that it was in an almighty great hurry to.
I was enthralled by the changing interplay of light and colour and trying desperately to capture the motion as if what I was producing was a video of the scene. Difficult when the end result of your work is like one frozen frame of a snapshot that actually took 20 or 30 minutes to capture.
My hands were a greasy mess afterwards from using the oil pastels; a medium that I had only just began trying out a few years earlier and I’d just had a long break from using them. What was unusual for me though, was working straight on to black card with the pastels; I usually draw in pencil first before using paints, colour pencils or fibre-tips, sometimes also wholly or partially inking in over the pencilling before or after. Translucent paint layers often cover the inking.
For fine detail in the grasses of the foreground in this picture, I scored through the oils with pen and pencil afterwards. For my signature and the date I used a pen with black ink superimposing a partially highlighted rendition of the signature with a sharpened white pastel.
Nothing too complicated, that’s me.
Dave Draper July 2013
To illustrate what I mean by ‘tweaking with brightness and contrast’, I have included a slideshow depicting 4 reduced images. The second 2 are duplicates of the first 2 with Tone Adjustment in PhotoStudio.
Dave Draper, July 2014