Leisure Painter - UK (2019-06)

14 JUNE 2019 http://www.painters-online.co.uk

Acrylic

Step 1
1 Working on the reverse side of a piece of picture framer’s
mountcard, I covered the entire surface with yellow ochre
and cadmium red light, working quickly so that the colours
blended before they dried.
2 I finished by introducing cerulean blue chromium into the
base of the wet painting. This process helped to prime the
surface and provided an interesting ground to paint over later.

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Step 2
1 Using a^3 ⁄ 4 in. short flat brush, I painted the upper portion of the
painting using short flat strokes with a mixture of cobalt teal and
primary yellow, varying the proportions of colour as I went along.
2 Once the surface was covered, I used the chisel edge of the same
brush to flick in tree trunks using a mix of black and burnt sienna.
3 With the same colour mix, I began to develop larger trees in
the foreground.
4 Banks of bluebells were then added into the background
using a mix of light violet with cobalt teal.

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DemonstrationJeffy Knotts Wood

Tim Fisher

Meet Tim at Patchings

Art, Craft & Design Festival

(11 to 14 July) both on his

stand over the four days and

in the Leisure Paintermarquee

on Sunday 14 July where

he will be demonstrating.

See page 77 for details of the

festival and page 72 for a

special offer one of his books

from our online bookshop.

Find out more about Tim’s

courses, workshops, books

and holidays by visiting

http://www.timothyfisherartist.co.uk

TIP For this style

of painting, it may

be necessary to add

a little water into

the heavy-body

acrylics to ensure

that the paint

flows well.

You will need

nSurface

lMountcard

12 x12in.

(30.5x30.5cm)

n Golden Heavy-Body Acrylics

lCobalt teal

lYellow ochre

lCadmium red light

lCerulean blue

chromium

lPrimary yellow

lBlack

lBurnt sienna

lLight violet

lPermanent

violet dark

lWhite

Jeffy Knotts Wood is a stretch of woodland located on the edge

of the Langdale Valley, an area that provides splendid displays

of bluebells in mid April to late May. I decided to paint this

subject from memories of the place when visited in the past.

To create a starting point for the painting I began with a Conté

sketch on a piece of Sennelier 130gsm l’Esprit du Pastel paper

(page 13). This paper has a laid texture that takes all forms of

pastel well and is ideal for sketching. The paper was placed on

a surface padded with newspaper to avoid unwanted textures

showing through. I used four Conté chalks – black, white, bistre

and sanguine. I laid out the subject with sanguine, applying

more pressure to achieve differences in tone. Into the

foreground I added more detail of twigs and branches by

switching to bistre, which is a darker brown. I then finished

by applying small amounts of black and white for accents

and shadows.