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  • Steven Lloyd

Interview with Daniel Canet

Daniel Canet (right) pictured with Serge Franzoia (left) at Kulmbach

There was a display at the show in Kulmbach this year (2015) that I found myself returning to numerous times throughout the weekend. It was very much like going again and again to the dessert tray. I did not get to meet the painter during the show, so I wrote to Franz Winkler. Franz informed me that the painter was Daniel Canet.

I contacted Daniel and asked him a few questions. He graciously wrote back.

Daniel Canet's Painting Station

Daniel Canet:

I am 62 years old and since the age of 15 I realized dioramas on the theme of the Second World War, vehicles and multi-poses figurines and model ships and aircraft; I paint 3D figurines since 1987.

The passion of tin figures came to me in the middle of the 90s, triggered by the admiration I have for the Middle Ages and Burgundy banners painted by Serge Franzoia, and look at Catherine Poisson’s work.

Today I admire the works of Greg Di Franco, Gianfranco Speranza, Mike Taylor, Jim Horan (I met him at the worldexpo Montreux in 2011) and many others…..

With no artistic culture, is on the job that I learned by being curious and not hesitating to criticize my pieces. Good documentation, visiting museums and examining paintings of famous painters are invaluable, not to mention the exchanges on various forums.

It is by participating in competitions as I progress; it is during such events that we have the best change to meet one time a maximum of passionate and to exchange.

I am very attracted to the ‘naturalistic’ painters for almost photographic precision and by Caravaggio for his work on the lighting. I try to translate this precision and these lights in my work.

My preference is to flat “traditional” metal of a size no larger than 75mm and in historical themes. I’m not allergic to fantasy themes, but rather flat like in the round I have not the imagination to paint them.

I only use extra fine oil paint of different brands (Rembrandt, Lefranc, Van Gogh, Sennelier…). My tube stock has formed over the years, enriched by the experience of each other and curiosity; it is the practice that makes me choose one brand over another depending on the desired effect.

I am very attentive to the quality of the preparation of the part to be painted and the paint always white background.

Paint juxtaposed layers are very thin and precise fades; the contrasts are well marked.

A basic rule: choosing a lighting angle and stick for the duration of the paint job, ensuring that lighting in all areas of the part to be coherent.

I find that too many dishes (flats) are painted with a light perpendicular to the part that crushes volumes and goes well with the counterproductive.

A second basic rule: do not copy others, but create your own style and always have fun.

Thank you, Daniel.

Daniel’s work:

Daniel was awarded a gold medal for his work on the first two elephants displayed below.

Here are some other pieces Daniel has painted:

The piece below was engraved by Vladimir Nuzhdin and painted by Daniel. It is a work in progress, and a tribute to Mike Taylor.

In a previous post, you can find Daniel’s Step-by-Step on painting the piece manufactured by the British Flat Figure Society on “Robin Hood.” Click here.

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