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MEET CARL BRENDERS

I start the painting with a detailed pencil drawing. I then transfer the drawing
onto my illustration board.

I always complete the background first, leaving the space of the animal white...I
need a white vergin paper for my water color technique. I use Schuller paper,
whose card-like appearance offers many advantages.
You can carry out your different mixtures on it, juxtapose gouache and watercolor
and lift off paint.

I first paint fur details in a dark water color with a normal brush it looks then
like a kind of pen drawing. I put a celophane overing the background with weight
so tha it won`t be blown away by the airbrush. Ontop I airbrush with watercolor.Too
dark un purpose, for that with the gouache I can work from dark to light contrary
to most watercolorist. With the gouache I create the real details. The airbrush is
only done to create a dark base on which I can work on with gouache and opaque
watercolor. The airbrushed surface is almost comparable to and engraving, at the
end nothing of the airbrush work remains visible.

Now comes weeks of fine brushwork,


the allmarks of my own style of painting.
I use Winsor and Newton Series 7 number 2 brushes
in finest sable. The brush must be neither too dry nor
too much loaded with water. When there is too much
water you risk to drown the color. When the brush is to dry, you gesture is
restrained. Before deciding on a color mix, I test it first on a pice of paper.

The faithfull attention to each stones each hair each blade of grass it typical of
what I try to acheive in all of my works. I`ve always been fond of the french word
``meubler`` meaning to furnish to fill in, it is really
means what it means. And my work is like that to:
furnishing with mass of details until the surface is saturated. Nature become
abstract to me when painting this close. It no longer exist in its own right, but
as a set of anatomical details I describe with almost scientific precision.

It`s not only the animals that matters but also the scenery, the light it`s the
magic feeling that you get. The fall season is the most beautyfull...because of the
bloom of colors, the lower sun and the warmth of the shadows that makes the scene
beautyfull.

I see things in details...I see every details. I like texture a lot. I don`t call
my work Hyperealism, I call it just painting Nature...It`s how I see nature. I
enjoy looking at different type of rocks, mousses the lichens. I enjoy the core
combination of everything and it`s too beautyfull to leave it loose or abstract.
That`s my opinion about it. It`s soo beautyfull, not only the coverage, not only
the light emanating from it but all the textures. It`s facinating the texture of
everything. I beleive Nature find expressions for her beauty in endless ways, it is
my duty to reflect that beauty in all my works.

I make numerous pictures of the same subject in different positions, in different


backgrounds and different light. In this way I develop the right composition for
each work.

Pieces of a larger painting are in reality little vignettes, pieces of a bigger


puzzle that I fit together or blend to make a larger work.

I don`t copy photograph...I combine, I take a lot of things. You take the
background appart...then the animal and if the light fits for both you can combine
them together. You can add stones this way, grass, plants. They must fit lighting
wise but also geographicly wise and season wise.

This helps to render the textures the furs and the anatomy or physiology of things.
Most of the wildlife artist I know, uses them.