WendyJelbert
Visit http://www.wendyjelbert.co.uk for details
of Wendy’s workshops, classes, products,
latest exhibitions and news.7 Think shapes, not details. Half closing
your eyes and blocking out all the clutter
is a gem of an idea. The scene is now
simplified and easier to achieve. The shapes
need to be analysed: how dark and light
are they and which colour? Here the hills,
the distant undulating slithers, which weave
through the background, all are tonal and
coloured shapes. The right-hand hill is a
gentle mound, but darker and almost the
same tone as the left-hand smaller hillock.
All this will help create a quick, free-looking
and accurate painting.t10 The white of the paper forms exciting
shapes that are in contrast to other features
in the work. Mykinos in Greece is a fine
example, and here I used masking fluid
before I started to paint, knowing that the
marking would be highlighted at the final
stage and form a strong contrast near the
focal point.thttp://www.painters-online.co.uk JUNE 2017 41
8 Let there be a section of your work
that holds a little space for your viewer’s own
discoveries. Here both the fruit and the floral
background loosely blur, flow and mould
together so there is little definition between
the two. The onlooker can then make his
or her own interpretation of the scene.t9 Negative and positive shapes are vital; the whole scene depends on them. Tuscan
Vineyard, taken from one of my sketchbooks, demonstrates this well, where the sky,
the earth’s patterns and the spaces between the vines are formed by shapes. They are
intriguing and essential. These are present in nearly all the paintings ever created!tLP06 39-41 Jelbert_Layout 1 06/04/2017 10:39 Page 41