Colin Bradley Art Cast

Secrets Behind Impressionism - 195

June 13, 2018


"Impressionism is like a statement that you make without a structure." In this podcast Colin describes the work he's doing with impressionism and how best to describe how it feels "alive" comparing it to photography. What's the secret behind it? We discuss in the podcast. We also read your emails and and answer your questions. Colin gives some tips for working with Pen & Ink and watercolour paper he uses. We talk about the reaction to the Constable Demonstration and also reminisce on the days where Colin would run in person workshops travelling around the country. If you haven't already seen the Constable demonstration click here to learn more: https://www.colinbradleyart.com/home/unveiling-pastel-pencil-demonstrations/ Read a transcription of the episode below: Stephen Bradley: hello and welcome to Colin Bradley art cast, I'm Stephen Bradley Colin Bradley: and I'm Colin Bradley Stephen Bradley: how is it going? Colin Bradley: well, it's going well Steve I am having a ball at the moment. Stephen Bradley: well, since revealing these demonstrations and people loving them, loving the pictures you've done, it's kind of, I mean, you were doing loads of other pictures anyway but it's kind of injected some more enthusiasm into doing all of them, hasn’t it? Colin Bradley: Well, funny you should say that but you’re absolutely right of course since I've been doing them and I have clocked up about 6 now. The…I've interspersed them with some ingres…normal class pictures. Stephen Bradley: yeah Colin Bradley: and they have affected those class pictures… Stephen Bradley: really? Colin Bradley: Slightly and yes I have found that I am…because I had to loosen up especially with some of them with the demonstrations. Stephen Bradley: very impressionistic Colin Bradley: and I’m going, I’m moving into the…people will see it eventually, they will see it and I think that's lovely to do that to…to gain some kind of insight. Stephen Bradley: what you said before about doing more impressionism stuff is good, because it relaxes you, it loosens up your style and you're forced to think in a different way, and so I suppose, I mean, you did do that anyway with some slightly impressionistic pictures but the ones that you're doing in these demonstrations are SO impressionist. Colin Bradley: yes Stephen Bradley: …that it's really challenging your realism approach, it's got to be good, right? Colin Bradley: absolutely, oh yes absolutely. Well, I've said for years and years and years and I've expanded on it so many times on demonstrations and workshops and classes, that impressionism is actually the…it's like a statement that you make without a structure. I don’t know if I can describe any better than that, I mean, you have in your mind a structure, you see a structure then you create that same structure but with an impressionistic viewpoint which in…it makes it more, it makes it more alive really rather than copying exactly what you see by putting an impression there and inclined towards you kind of get a movement really, it's…I tell you what it just all suddenly reminded me of you, when you get a slight…when you get a movement on a camera sometimes you take a photograph and you get it slightly bit jarring because people move or something. Stephen Bradley: yeah Colin Bradley: and that signifies that there's a movement Stephen Bradley: Yeah Colin Bradley: where as everybody sort of stands absolutely still, stuck still and you take a picture is freezes them. Stephen Bradley: yeah Colin Bradley: that's what you get in a way with the impression, you kind of get slight movement Stephen Bradley: Yeah Colin Bradley: …from the pictures Stephen Bradley: it’s like its alive a little bit more Colin Bradley: and this creates the impression when you look at it that it's real as opposed to an absolute copy with like frozen Stephen Bradley: fine detail and like in focus all of that kind of thing. Colin Bradley: I haven't thought of that before but I hope I've explained it well enough, but it makes sense to me that that is how you see, I mean, if you get a completely out of focus by somebody moving dramatically then it wouldn't work that way, but a slight movement does imply when you look at the picture Stephen Bradley: that there is movement Colin Bradley: they've moved, well you can see it, you've moved and the photographer has a go at them “don't move, stay still!” Stephen Bradley: “too late now we’re painting it!” Colin Bradley: yeah, anyway enough of that. Stephen Bradley: that’s great, that's very interesting but yes, I mean, the reaction has been so good that there is another one on the cards coming up. Colin Bradley: yes Stephen Bradley: and that will…and continue we hope to blow people away. So and probably [even more so… Colin Bradley: [the next one… Stephen Bradley: and if they ever thought that that one was good then the next one is even going to be even better. Colin Bradley: well, one of the things you can remember when people see the “Constable” it was the first one I did in this this range, and the one that we're probably going to be putting up I think is probably the fifth one I've done, so that one is 4 times…I would say 4 times better, I've had another practice from the other 3 between the 2. Stephen Bradley: Yeah Colin Bradley: and you can see it, you can actually see it in the picture. Stephen Bradley: Yeah, is it… Colin Bradley: well, I can anyway Stephen Bradley: yeah I think your confidence.. Colin Bradley: confidence yeah. Stephen Bradley: with the paper and how far you can push it, all these kinds of things that you’d learn from the “Constable” and all those other picture you are a bit “braver” if that’s the word, a bit more kind of up for it, a lot like okay “let’s see how far we can push this.” Colin Bradley: I think I've always said that you need to relax when you're doing art work, you need to really relax because then the real you starts to come forward. Stephen Bradley: yeah Colin Bradley: when you're using your logical mind all the time you're stuck in that frame of mind whereas if you kind of relax and let it all hang out sort of thing, you know what I mean? Stephen Bradley: yeah Colin Bradley: just sort of… Stephen Bradley: let go Colin Bradley: flop back and then paint you're in another area and that's what I've probably learnt to do and of course, same I am enjoying it. That’s another thing if you enjoy doing and you can’t and you know this is a…I have said it many times over the last few weeks I just can't wait to get back to the drawing board again, I come away from it thinking of…I think I'll give it a rest for now, and then half an hour I give it another go Stephen Bradley: I know, I know. I've been on the phone to you and then you said I'm stopping now it’s about 6 O’clock or whatever “I’m going to stop now”, and I’m like “okay great” and then half an hour - 3 quarters of an hour later I need to ring you and I hear all the stuff in the background you switching it all off again and I’m like “hold on a minute, you said you’re going to stop” and you are like “I just couldn't pull myself away from it I had to get back to it, just do it a little bit more. “ Colin Bradley: absolutely, well I'm sure all of those people, all those artists and members out there that would relate to that. Stephen Bradley: yeah Colin Bradley: if they're really into it Stephen Bradley: yeah, lovely. Okay, so we've got a few questions this week nice for people to be getting in touch and then some lovely feedback that we want to share with everyone, so the first email came from Paul and he says, hi Stephen and Colin, hoping that Colin could help me out with a problem, I'm just starting to learn pen and wash, the pens that I use are micron by Sakura and the faber pitt pit pens, they both state that they are waterproof but when I apply the wash the ink starts to bleed, I hope you don’t mind me asking a watercolour question, many thanks Paul. Colin Bradley: Well, I've used the…I haven't used the first one but I used the… Stephen Bradley: the pitt Colin Bradley: the pitt and very fine and I think it's extra fine, it’s the finest one they do anyway. And I have never use the watercolour immediately on top of them, I used to finish the picture then give it a little bit of time. Stephen Bradley: yeah Colin Bradley: then I do the wash. So it may be that he's going in too quick. Stephen Bradley: how long do you think… Colin Bradley: I have really no idea…from my experience they’re almost instant drying, that was my experience. Stephen Bradley: Yeah Colin Bradley: I've never ever seen them bleed Stephen Bradley: doesn't usually dry out Colin Bradley: and it could be the paper as well, he’s got to remember that if you're using good sketching paper or our watercolour paper is ideal for this, it should be fine. I can't see a problem with that but I would say to give it time before you put the watercolour wash on just to make sure. Stephen Bradley: just to see if that makes a difference, yeah because you wouldn't think that they would…and once they dry, once you apply the wash over it shouldn't… Colin Bradley: no, it shouldn't do…it shouldn’t happen Stephen Bradley: it shouldn’t happen, should it? Okay, next one from Wendy, Hi Stephen and Colin I'm referring to Colin greyscale picture of the Fordwich picture, and I noticed this is done on watercolour paper and I wondered what surface Colin has used whether it's rough or smooth, I'm presuming that it's the smooth paper that Colin stocks but would like to…like the confirmation, I am really enjoying the courses and I'm very pleased with my efforts so far, the only problem is that framing is getting expensive. Wendy. Colin Bradley: well, I can help her with that in a minute or 2, but let’s deal with the paper, yes, our watercolour paper is ideal and again good quality sketching paper. I say good quality…you can’t beat really nice. Stephen Bradley: like thick, thick and thicker Colin Bradley: yes, thicker is best is best Stephen Bradley: because our one is 300 gram Colin Bradley: Yeah, you don't have to go as thick as that but in an ideal world, yes you would. The thicker you get the better it's going to be, more stable it's going to be and smooth definitely. If you use anything that's got any bubble especially watercolour paper because some watercolour paper is quite raggy. Stephen Bradley: Yeah Colin Bradley: and that wouldn't work very well, it tends to make the pastel look dirty so I wouldn't do that. So smooth paper and it should be fine. Stephen Bradley: great, what about the framing? Colin Bradley: framing, well now this is a bone of contention and I absolutely agree framing is expensive. However, if you're clever you find, you get your frame first, right? And you get your mount first, so you know the size and then you make your picture just a little bit bigger than the inner part of the mount. Not much I would say that… Stephen Bradley: not the subject Colin Bradley: couple of millimetres Stephen Bradley: not the subject but the… Colin Bradley: no, that the…the picture itself. Stephen Bradley: the size of the painting Colin Bradley: the size of the painting. Stephen Bradley: the paper? Colin Bradley: Well, what you want...the size of the paper is immaterial really, it's the image size. You can have a large piece of paper with the image size in the middle of it, no, I don't think that's done well… Stephen Bradley: would you draw box or something? Colin Bradley: you could Stephen Bradley: if you have like an A4 piece of paper and the pictures… this is my ignorance because I don't paint myself but… Colin Bradley: well, I'll tell you the ideal thing to do and if you get your mount like I've told you, get your frame first, buy it first. Stephen Bradley: ready-made stuff Colin Bradley: yeah, ready-made absolutely, they are much cheaper. And your mount as well, always put a mount on don't put it directly on glass. So you got a mount and a frame. Your size of the mount will dictate the size of the picture that you're going to paint. Stephen Bradley: yeah Colin Bradley: you don't have…you can measure that if you like but that's usually standard. Then you make your paper at least a centimetre, I would say a centimetre and a half larger than the outside rim of the frame, mount, I mean, have you got me? Stephen Bradley: yep, so when you put it in this you got like a trim around. Colin Bradley: and then when you paint your picture, paint it slightly larger than the opening of the mount in other words if you put the mount on it it's going to cover just a fraction, perhaps half a centimetre of your picture that way you got movement, you can adjust it very slightly. I've done that with all my pictures, in fact very often people wouldn't know but if they de-framed one of my picture they'd find little bits of painting all away round, because I can move it to where I want it to be sometimes it can be slightly off. Stephen Bradley: slightly off Colin Bradley: yeah, that's what I would do and I'd use ready made mounts. Stephen Bradley: there you go, that’s the cheaper way of doing it. Colin Bradley: It is a cheap way, it's very expensive otherwise. Stephen Bradley: yeah to continuously.. especially if… Colin Bradley: I mean, the ideal thing to do folks really is if someone wants you to paint their dog or cat or whatever you say “yes absolutely, the thing is I would just leave you the picture when I finish it because I'm sure that you would want to do your own frame and your own mount for your decor of your house” “oh yes that's right” they say well and then you get away with it all together. Stephen Bradley: yeah, good idea. That is a good idea. Well I hope that helps Wendy. Next one, so this is moving on to some feedbacks some lovely emails I wanted to read out today might inspire some people, so this one's from Kevin he says Colin, I've been approached and asked if someone would like to buy one of my drawings, the artwork in question is the two girls that you did of an a Emile Vernon Poster titled “Victorian Children” also some of your animal drawings have turned out really well so due to copyright information I might be able to sell or give away my art work finished from your courses, that’s he’s first question which is obviously… Colin Bradley: it's okay Stephen Bradley: Yes, there's no copyright. The next thing Kevin goes on to say is that I am a beginner and I've been drawing since December, 2015 at age 60 you're never too old to start, but I came upon your site last year. I cruised the Internet to find lessons on creating masterpieces and went through a lot of crap until I found your site, I like that we come up on a Google search for creating masterpieces. Colin Bradley: oh absolutely. Stephen Bradley: that’s great, I never tried done doing that before, I might do that. I've learned so much with you where people are asking me to draw their dogs never in a million years would have imagined going from drawing amazing stick people to actually creating artwork people would actually want to hang on their walls, it is because of your courses that this happened, if you ever need one more endorsement on how great your site is just let me know…you just gave it Kevin, so thank you. Colin Bradley: that's great, well done. Stephen Bradley: so then just another story of people getting commissions and people are asked to do like requests and stuff. Colin Bradley: absolutely. Stephen Bradley: So nice it must feel like, I mean, I suppose you had this when you had students in person classes and all of this stuff but you're getting it now from loads of people all over the world. Colin Bradley: absolutely Stephen Bradley: that get this. Colin Bradley: that’s very satisfying and I'm absolutely delighted that people are finding that it's not necessarily, I mean, people some of the people do it because you know and you want to earn a few bob. But others do it because they thoroughly enjoy doing it and there's no reason why you shouldn't do both. Stephen Bradley: Lovely, next one from Rob…Rob says, hi Colin and Stephen I was searching the internet trying to help with pastel pencils, I was not having much luck until I stumbled upon your web page, I would like to express my gratitude to you both for a wonderful site packed with information on pastel and other mediums, I find it refreshing to be given some free courses to follow along with to help to gain confidence. I have limited funds like most people, so the free taster lessons are very valuable to me, I did a couple of them and found that I like the pastel pencil work and I wanted to do more. The taster courses gave me the confidence to pay for a one month subscription, this opened up a lot of information and extra video tutorials to me and may I say at a reasonable price. I've noticed my pastel work improving thanks to you, so please keep up the good work you are doing is very much appreciated. Colin Bradley: Well, no fear of that we're going to carry on and we're also getting better ourselves as you can see with the things that we're producing, we're expanding, what we do expanding our ideas and we are always looking for new ones so… Stephen Bradley: yeah Colin Bradley: you can always be rest assured that we're on the ball. Stephen Bradley: This is always a good thing that I've always loved and it's just the way we are and how we've always done things and how you've done things in your business before I came along, always growing theres’s always something changing, there is always an expansion or there's always a…there's never a sticking to this is what we do, so it’s like how can we do more like we're in our own satisfaction where we're kind of always inching for that next challenge or that like how can I improve the site more or how can I…and I spoke to you last week about a few other things that I had on my list and saying, I want to do this for them, I want to create this and add this on to the website, can we do this and can we do that and can we give the best possible thing for the student and this is the thing that I get a kick out of, is creating a hub of resources for students as well as putting all of your lessons up and pulling things together and editing and doing these podcasts, it's always improving something. Colin Bradley: absolutely, and not only us but Eileen my wife, she's constantly coming up with ideas. Stephen Bradley: yes it's not just us. Colin Bradley: and your fiancée Stephen Bradley: Yeah. Colin Bradley: I just drop that in Stephen Bradley: recently Colin Bradley: your fiancée is now also helping you with a lot of marketing and a lot of ideas. You see, you can't help but drag…people are dragged in because of the enthusiasm that Colin Bradley Art is generating. Stephen Bradley: Yeah Colin Bradley: even our clients, our members they’re coming up with suggestions which we always take note of, don't always go along with it but we do certainly listen… Stephen Bradley: consider all of them Colin Bradley: yeah Stephen Bradley: yeah and that's another thing that we're always open to…and yes it’s our lives in general who we are as people but we're always open to change and to adding things on and improving. We're not, we're never closed off to it so this is the good thing and I'm glad it kind of translates when people buy membership and they see all of this stuff and they can wow and they do the lessons and it improves their art and it's kind of…its satisfying because we know that we're doing a good job and obviously reading out all these e-mails where people are gushing over how good everything is and it's not an ego thing but it's just to say that if anyone is considering it or it's kind of to give a…many success stories that inspire people to say this person can do it you can too. Colin Bradley: absolutely Stephen Bradley: this person has achieved something so yeah. Okay, the next one from Brian, hello I just wanted to thank Colin for sharing his absolutely amazing and wonderful story of how his life evolved through his art, I found it was very interesting and thoroughly inspiring to read and enjoyed it immensely. I have to agree with you that the fellow that told you not to go to art school as it…I have to agree with the fellow that told you not to go to art school as it might mess you up, your talents are truly amazing and I feel very fortunate to have stumbled onto your website and become a member and learn so much. I always look forward to seeing your new lessons or demos and I'm going to give your Constable picture a try and will send it when I'm done. I'm basically self-taught and I only picked up doing art in the last few years as I had stopped drawing since the early 80’s due to family commitments and a full time job. Sincerely, Brian. Colin Bradley: immediately you said that to me, it puts what we are all about firmly in it’s place. He's never had any formal training at all and now he's considering doing the Constable's Cornmill Stephen Bradley: Cornfield Colin Bradley: Cornfield, I mean, and I think that’s just amazing that someone could even think I can do…but he's given, been given the confidence, he's done a few. He's got the enthusiasm, “I’ll give it a go” and he should too because just imagine him being really delighted with this Cornfield, has it framed put it on his wall and people coming to say, “oh you got a print of John Constable”…”no I did that” “you didn’t!” How would that make him feel? Someone who has no art lessons. Stephen Bradley: Yeah Colin Bradley: …that's what it's all about Steve. Stephen Bradley: yeah, I agree…I agree with you. Okay, next one from Bill. You must be feeling really good after all of these. Colin Bradley: I won’t be able to get out that door mate, you’ll have to widen it for me. Stephen Bradley: Hi Stephen and Colin, I first started with pastel pencils when I was coming up to retirement in 2003 and I saw somewhere that Colin was doing a workshop at the Dun Cow in… Colin Bradley: the Dun Cow in Dunchurch, yes that’s right. Stephen Bradley: I went along painted a badger and I went again and this time a Meerkat and the last time it was a wolf portrait. All the paintings were framed in those fantastic frames Colin brought with him and they're still hanging up today. Oh that’s interesting, so did you used to take frames with you? Colin Bradley: I used to take ready made frames. Stephen Bradley: did you? Colin Bradley: yes I did, well I found that what people wanted when they'd finished their pictures at the end of a workshop, we've got 14 people or more sometimes and I used to take all 20 or 30 frames with me. Stephen Bradley: did you? Colin Bradley: yeah, and I used to frame them for…because they were easy to put it in I said I will do it for you and they used to bring them home when they wanted them they buy the frame very cheap, we got them a good price and we sold them for a reasonable profit and I put them together, so they went out, they came in with nothing and went out with… Stephen Bradley: it was framed picture. Colin Bradley: yeah, a framed picture under their arm Stephen Bradley: that must have been really good though, wasn’t it? Colin Bradley: oh yeah it was good, it's a good little business to have and not only that but the customers were well as you can tell, delighted. Stephen Bradley: Absolutely loving it, yeah. Bill goes on to say I really enjoyed it but Colin stopped doing the day workshops and the last time I heard Colin was doing a workshop was in Marlborough. Colin Bradley: Marlborough, yeah. Stephen Bradley: South Devon? Colin Bradley: that’s right Stephen Bradley: a bit too far to go, I don’t remember you going to South Devon. Colin Bradley: oh well, it’s part of my story. I went there for about 5 years and sometimes I’d do 2 a year, there. Stephen Bradley: really, interesting. Colin Bradley: very popular. Stephen Bradley: So then I started going to Bob Elcocks one day workshops, they were excellent just like Colin’s but then Bob finished them through ill health, but I do still keep in touch with him. Now I joined the community last year, this is our pastel pencil community and I've always been a fan of Colin’s art and his willingness to help others, the bottom-line is that I was 80 years old last month and I thought, what I want to do with my birthday? I know, I’ll sign up for a year with Colin Bradley art. Colin Bradley: wise man. Stephen Bradley: well there is plenty to get your teeth into with our membership but now that was…I thought that was a really nice email. Colin Bradley: nice again yes, it's nice when these come up from the past and suddenly yes I remember, I don't always remember people but obviously I remember the locations. Stephen Bradley: yeah, well you did a lot of workshops all out of the country. Colin Bradley: I did, hundreds… Stephen Bradley: did you go…you went to Edinburgh one point, didn’t you? Colin Bradley: I did I went to… Stephen Bradley: you drove to Edinburgh, didn’t you? Colin Bradley: I did it and that’s 2 years on the trot successive years and he wanted me to go back to the third year but that happened to be when I was retiring and it was a long drive, I drove up there. Stephen Bradley: it took you like? Colin Bradley: it took me…oh I can't remember. Stephen Bradley: you did it over 2 days, didn’t you? Because you stayed over. Colin Bradley: I did, when I went up there but I came back in one go. Stephen Bradley: did you? Colin Bradley: It was a long way to come back yeah. Stephen Bradley: You must've had to fill up with petrol, didn't you? Colin Bradley: oh yes, I had to… Stephen Bradley: you can’t get there on 1 tank. Colin Bradley: it was a long way to go…no, it wasn’t. It wasn’t Edinburgh, it was way up past Edinburgh. Stephen Bradley: was it? Colin Bradley: was right up to…what’s the name of it? Right up to top of Scotland. Stephen Bradley: not John o Groats or anything. Colin Bradley: no, no, no. Stephen Bradley: that’s like the top, isn’t it? Colin Bradley: No it was right up there, on the top ledge. If you look at Scotland they got the top ledge. Stephen Bradley: so you drove the entire length of the country…because we are down in the southeast. Colin Bradley: Yeah Stephen Bradley: pretty much the length of the country. Colin Bradley: yep Stephen Bradley: bloody hell Colin Bradley: it was for a week, a week’s workshop so I stayed there…Scottish castle, interestingly enough this castle just by the way as we came out the dining room I saw…it was made obviously stone and there was a lot of cut marks on the stone and when I inquired about it “oh that's where they used to sharpen the swords before they went out.” Stephen Bradley: really? Wow Colin Bradley: The Scottish Highlander used to… Stephen Bradley: sharpen their swords on the… Colin Bradley: sharpen their swords Stephen Bradley: on the walls Colin Bradley: some of the wall, just a by the way Stephen Bradley: that’s amazing Colin Bradley: I had to throw that in. Stephen Bradley: that’s really cool Colin Bradley: I had a lot of fun. Stephen Bradley: It sounds like…it sounds like yeah. Worth it, worth a long drive but yeah I remember when you retired from doing those, it just took a lot of you though…that was a lot of driving, a lot of travelling, a lot of packing up the car with all of the stuff that you needed to take because people didn't need anything, did they? You had the pencils for them. Colin Bradley: I had all the pencils, all the paper. Stephen Bradley: yeah, they had everything, didn't they? Colin Bradley: that's why they kept coming back. It was so easy. Stephen Bradley: okay, thanks Bill. Thanks for getting in touch. Okay, the last one here is from Neil, hi Collin I've been watching your video on the Constable's Cornfield that you put on the website, you mention that you didn't know the exact size of the original painting, well I can tell you it measures 143 x 122 centimetres. Colin Bradley: that’s a pretty big painting. Stephen Bradley: that is big painting. Colin Bradley: and I did A4 size. Stephen Bradley: yeah, that’s big. Colin Bradley: it was big, bigger than that. Stephen Bradley: I just was looking at the “Polperro Harbour” behind us where we were recording this and that’s… Colin Bradley: kitchen table Stephen Bradley: yeah. Colin Bradley: yeah that table 70 centimetres long, so what was that? 113 centimetres? Stephen Bradley: wow Colin Bradley: so can you imagine how large that picture is? Stephen Bradley: that’s pretty big, isn’t it? Colin Bradley: it is big picture. Stephen Bradley: wow okay, we haven’t got a big enough camera for that, a wide enough lens. Neil says your finished drawing is absolutely superb along with the contents of the videos, being a novice to drawing I'm finding your teaching methods very easy to follow and once mastered produce excellent results and Neil asked if I email some work I've done could I get some critique. Colin Bradley: absolutely Stephen Bradley: of course you can Neil. Colin Bradley: that's what we're here for Stephen Bradley: as a member you get critique and feedback on your work so yeah, that's great. So thanks everyone for all of your emails and all of your kind comments and feedback and your questions, this is what this podcast is for. Colin Bradley: it keeps me going Steve, all of that - food. Stephen Bradley: yes it feeds you Colin Bradley: that’s it, feeds me Stephen Bradley: thanks everyone, well keep sending it because we need to feed him…that’s to keep dad going and enjoying this all. But no, I mean, I know you see a lot of stuff that we…all the emails and the YouTube comments and stuff and we obviously we pick stuff for this podcast that we feel will add value to what people are consuming, so keep them coming in, keep all your comments and questions in and such coming in and then we'll keep doing this podcast sharing it. Colin Bradley: lovely Stephen Bradley: lovely okay, thanks dad. Colin Bradley: That's all right my pleasure Stephen Bradley: and we’ll talk next time thanks everyone for listening, I'm Stephen Bradley Colin Bradley: and I'm Colin Bradley Enjoy your week! [Both saying in unison]

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