Painting Primary Class Clips


Painting

Series of programmes to support Primary Art and Design. Clips from the BBC archive show different styles of paintings.


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Transcript


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Hello, down there!

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-What are you doing up there?

-I'm looking at the studio

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from a different angle - getting a different perspective.

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Come on, then, explain yourself.

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Ah, well, the reason I was up there is cos I found this.

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It's an aerial shot of my home town.

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That looks great. But don't tell me we're doing aerial art...

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Yes, but abstract ones. We'd be there all night if we did that!

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All you need are stampers, first of all.

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So it's a bit of kitchen cloth,

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and then you need to choose what each thing on your picture

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is going to represent. So this is, believe it or not, a car.

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That will be a car. Cut that out, make sure you cut inside the lines,

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so that you don't end up printing with the black lines.

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And then, once you've cut it out, stick it onto thick card

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like I've done there. That's a properly cut out one.

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Now, I think I'm going to have that section of my picture

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to do. What do you fancy?

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-I reckon I'll do this corner here.

-OK. What you need to do

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is now sketch it out, all the main details.

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I've already done that, I'm ahead of the game.

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And there's your stampers I've made for you.

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-So we're simplifying this.

-Yes, just do a sketch.

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And then decide what they all mean. So I've got railway track,

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I've got house, I've got different types of trees,

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roundabout, feet for footpaths or pedestrians, little traffic lights

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and that's going to be a little lake area.

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-OK?

-Nice!

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I'm going to start with...

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a roundabout, cos that's the main focal point.

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Wa-hey! Brilliant.

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I'm off!

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I've got tiny little white feet.

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Little cars.

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OK. So basically, you're just stylising it, aren't you?

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You're not bothered about the colours matching too much.

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It's abstract!

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Houses! That's what I'm missing!

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-Houses, houses, houses.

-Right.

-Nearly done.

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Tell you what, I've got one I finished earlier.

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-And it's dried, look at that.

-Hang on, I'm not finished!

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Well, the beautiful thing is, I've got a lovely burnt orange frame

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-to put on it.

-That's lovely.

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Lowry lived in the city of Salford in Greater Manchester

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until he was into his fifties.

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And it's streets like this one that inspired him to paint.

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I'm going to do a version of Coming From The Mill,

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the first of his paintings to get critical acclaim.

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Well, I'm ready to go. I've got my canvas all prepared.

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Lowry used to cover his canvas with flake white

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cos he wanted to destroy the feeling of the weave of the material.

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He loved the feeling of solid brush strokes.

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'Lowry would build up his thick base coats in layers,

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'giving his paintings the distinctive crusty look he wanted.'

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And he used to love doing sort of criss-cross strokes,

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like that. And you can see as I lift the brush off

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you get that texture - look at that.

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OK, now, what Lowry would have done

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now...he would have got hold of a bit of card

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and he would line up the horizontal and vertical bits,

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and over this side. And across the top.

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Maybe I could start putting those in with a bit of colour.

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He chose to use just five. Five colours

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he used vermilion - lovely.

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And he used ivory black... Yellow ochre...

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and he used flake white.

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Now, I've got some in a tin here.

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You've got to be very careful with this, because it's a toxic paint -

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if you get any on your fingers and put your fingers in your mouth,

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you could be in trouble. So you have to be careful with that paint.

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And last but certainly not least, Prussian blue.

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I'm just blocking in rough areas of colour at the moment.

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A bit of that right over there.

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That's the wrong colour!

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Lowry always used to say that a street without people

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was as dead as mutton.

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He used to put people in at any stage during the painting,

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probably to give him the scale of the thing.

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So I think I should start putting some people in.

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His figures always seem to be very thin,

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and bowed down with the weight and the worries of the world

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on their shoulders.

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A couple of little legs there.

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And he would put a little flesh colour in there, maybe on his face.

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I've actually got him looking a bit too well fed, I think!

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I'll thin him down with this knife - Lowry used to do that all the time.

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Oh, yes! Ha-ha!

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Actually, Lowry, in his paintings, used so many different techniques.

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Used his hands all the time, nails, a penknife...

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Let me show you one of the things he did with the chimney up here.

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To get that smoke-like effect, he would do a big splodge there.

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Let's imagine smoke coming out of this one again.

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Then he would just get his thumb and go, "whoosh" and take it across.

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Wow! Isn't that lovely?

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And off behind there like that.

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So simple, and yet working amazingly well.

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I must say, I've enjoyed experimenting with trying to learn

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his style. I've been absolutely bowled over by it.

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I really love it.

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And it's inspired me to maybe go down to my local high street

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and do some sketching of people on a Saturday morning

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milling around, maybe trying to do a picture of today's crowds.

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If I wanted to paint this bowl of fruit, you'd probably expect me

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to start by selecting all the colours that you can see in there.

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But let's just look at it again in black and white.

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You can still tell that it's a bowl of fruit,

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so it's not just the colour that's telling us what's in the bowl.

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One of the other factors at play, which I'll demonstrate now,

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by painting a single apple... If I put it there,

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the first thing to look at is where the light is shining.

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You can see on this apple that round the front,

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all around here, is very light, and at the back, down in this area,

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is in the shade. So I have drawn that onto a piece of paper -

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a very basic, graphic shape,

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and you can see the apple I have divided into sections -

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the light area starting with this circle here,

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and then the segments, getting further and further away,

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and it's going to end in darkness.

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And to show you how simple it is, I'm not going to do my apple in green.

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I'm going to do it blue. So I'm going to start with the lightest colour.

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So let's just do the light area, which was this disc here.

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And then I'm going to do the next section just a slightly darker blue.

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When you're doing this, it's easier to add dark colour to light

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than the other way on. You can see that's just a tiny change in colour.

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Let's get that going around there like that.

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And the beauty of this is that you don't have to keep

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washing your brush - just use the same brush and add to it.

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Let's get the next section - a kind of mid blue now.

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There we go.

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And the other thing to remember is I've got the stalk,

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so I'd better add some colour to the stalk in sections as well.

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Let's get that blue around there as well, around the side.

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Let's just add a bit of blue... I think I'll do that that.

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Just working it out.

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I'm just going to do that one a little bit lighter.

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There we go. Now,

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next blue is starting to get quite dark now.

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And you'll notice,

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the other thing I'm doing is not particularly staying in the lines.

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It's not massively important - I'll show you why in a bit.

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But let's go round this section now.

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Lots of lovely shades of blue.

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Around the edge.

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Bit of the stalk. So the final segment has to be the darkest,

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a very dark blue here at the end that is in the shade.

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So royal blue...

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..for that section.

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There we go. The final bit of the stalk.

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Now, as I mentioned, you don't have to stay in the lines because

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if you get another paintbrush that's just slightly wet, what you can do

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is just go around those sections

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and blend in the colour like that - just gently blend it all together.

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So you can see that even though I haven't painted the apple in green,

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because I've established where the light is,

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and put it onto my painting,

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it still looks like a 3D apple.

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That's worked really well.

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And once you've mastered an individual piece of fruit,

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why not go the whole hog, and try the entire bowl?!

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Come on, move it!

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And that's exactly what I'm going to do - show you guys

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how to capture movement in your art work.

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First of all, I've got to just do some very rough sketches

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of...the bodies that are twisting and turning

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on these...monkey bars.

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OK, so...just some very rough sketches.

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Just so that I know where I'm going before I start adding any paint.

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Right. Now, for a hands-on approach, I'm not using any brushes,

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I'm just going to use my digits.

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Starting with a flesh colour,

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directly from the tube, straight onto the board.

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And then just blend it in with your fingers like that.

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A bit for the head, a little bit for the hands.

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Now, for the camouflage colours, all those lovely greens...

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..and browns.

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So I start with a bit of green there.

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A little bit of brown.

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And now I just mix them all in.

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What I'm trying to do here as well is create a raised

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texture to the paint, so I'm not actually rubbing it in flat.

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So you get this nice sort of raised effect.

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And now to create the feeling of movement, I'm going to smudge

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the paint away with my fingers, like that.

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Right the way down to the legs. And a bit on the boots as well.

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Cool! Right,

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now for soldier number two, we do the same again.

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And again, drag the paint away from the direction

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that your chap is travelling in, like that.

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So you get that really nice blurred effect.

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And finally, our third little chappie here.

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Just to finish it off,

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I'll just put on those monkey bars.

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And that is squeezed directly out of the tube like that. Excellent.

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Subtitles by Red Bee Media Ltd

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E-mail [email protected]

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Series of programmes to support Primary Art and Design. Clips from the BBC archive show different styles of paintings - abstract aerial art, still life, and movement in paintings. Plus Rolf Harris demonstrates how to paint in the style of Lowry.


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