I’m planning to paint fast and loose and having a steep angle like this will encourage the paint to quickly flow down quickly. This time, I had the angle set closer to seventy degrees. Preparation & Colour MixingĪlthough I would normally paint with my paper at a thirty degree angle, or thereabouts. So I decided to start with that and work around it wet into wet as much as possible while preserving that area of light. The main thing I wanted to capture was that central glow of light. In the end I just went for a loose interpretation rather than worry about making it exactly like the image. There are a number of technical challenges to overcome in order to paint the scene as presented.įor instance, should mask out some of those leaves with masking fluid to have them in front of the dark trees. The image above is the reference image I used for thepainting. Please click here for a complete list of my recommended art supplies. Rigger Brush ( For thin tree branches etc) Buy from AmazonĪrches Watercolor Paper Block, Cold Press, 9″ x 12″, 140 pound Buy from Amazon MiscĮasy release painters masking tape Buy from Amazonįantasea Misting Spray Bottle Buy from Amazon Winsor & Newton No.6 Round Bamboo Brush (Great for grass and foliage) Buy from Amazon
Sunlight through autumn trees series#
Mop Brush (Princeton Artist Brush Neptune, Series 4750, Quill Synthetic Squirrel, Size 4) Buy From Amazon New Gamboge: Winsor & Newton | Daniel SmithĪlizarin Crimson: Winsor & Newton | Daniel Smith Brushes Raw Sienna: Winsor & Newton | Daniel Smithīurnt Umber : Winsor & Newton | Daniel SmithĬadmium Yellow: Winsor & Newton | Daniel SmithĬadmium Orange: Winsor & Newton | Daniel Smith Paynes Gray: Winsor & Newton | Daniel Smith
Prussian Blue: Winsor & Newton | Daniel Smith Ultramarine Blue: Winsor & Newton | Daniel Smith I’ve linked to where you can purchase the paints and the other art materials I used from Amazon.Ĭerulean Blue: Winsor & Newto n | Daniel Smith To create that hazy glowing effect, the overall strategy was to start with a central spot of pale blue/green which would serve as the focal point of the painting and then paint loose washes of warm colour around it. For this watercolour autumn landscape painting, I wanted to create the impression of sunlight shining through Autumn trees and lighting up a woodland path with a luminous glowing effect. I love the colours of nature and the quality of the light. Her paintings are intended both as records of actual very specific places, times of day and seasons of the year, as well as being about something more personal, where landscapes becomes metaphors, and conjure up an emotional feeling.Autumn is definitely my favourite time of the year.
Sunlight through autumn trees full#
Her paintings are full of tension, contrast and balance: contrasts of colour contrasts of natural, organic shapes with abstract geometric ones contrasts of areas of flat colour with areas of delicate detail of thick impasto with thin washes of underpainting. She uses bold colours and strong rhythmical compositions to communicate the strength and vitality of the natural landscape. Judith's work is strongly based in the Scottish landscape tradition. Petersburg, Russia and Philadelphia, U.S.A. She has exhibited successfully at home, and abroad in St. A member of the Paisley Art Institute and winner of the prestigious MacRoberts Open Prize in 1999, Judith's work is collected world wide in both private and public collections, being owned by Universities such as Strathclyde and Glasgow Caledonian, and companies such as British Midland and the Royal Bank of Scotland. Judith I Bridgland was born in Australia, and studied at the University of Glasgow, where she gained an Honours degree in History of Fine Art and English Literature.
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