I’ve done a bit more on the watercolour of ear fungus that I started drawing from a photograph a few weeks ago. I’d intended to keep things simple but I’m fascinated by detail and the macro photograph not only gives me a reference for the fungus, it also brings the miniature landscape of the bark of the felled tree into close focus.
I could go on working up all that detail for a few more hours, but I’m going to leave it at this stage because I didn’t intend this to be a sharp focus still life study. It’s fine as it is.
7.15 p.m.: The curtain goes up for the final performance of Cinderella, and I’m happy to see that the backdrop of Hardship House and Stoney Broke village looks fine. I’m glad that I put so much variety into the roofline and the chimney pots, because, once the chorus fills up the stage, that’s all that you can see of the scenery.
My forest scene looked suitably soft in my pen and watercolour sketch but in emulsion paint – which dries flat – and outlined in black line, it looks too flat and hard-edged.
At the curtain call, I’m called up on stage by Wendie Wilby, the producer, and presented with an inscribed clock to celebrate my fifty years scenery painting for the Society. It’s the nearest that I’ll ever get to a Lifetime Achievement award.