• Kate Rundell

Winter Challenge Autumn Light

Updated: 4 days ago

The members have produced some amazing pieces of work for this challenge.

Pamela Hudson

Gold Season

Oil on canvas. This is partly from a photo and partly imagination

Lesley Feakes

On the River

John Hamilton

This is on a very rough open canvas which hasn’t been primed so the light shines through when it is held up. It creates a beautiful sparkle to contrast with the dark monochrome tones. The picture is of a sea loch in Scotland where the low sun has broken through the mist and created sparkles everywhere.

Glyn Roberts

My neighbour John, a furniture restorer who is a superb craftsman.

Michael Haynes

Walking in the City

Michael Haynes

Walking Through The Woods

Clive Dand


Angela Musil


Angela Musil


Pat Lock

Acrylic on board

Graham Lock

An Autumnal Stroll

A 15" x11" watercolour. I used a cool Prussian Blue for the sky, to contrast with the warm yellows, reds and oranges of the leaves.

Sally White

Wet into wet background, then pen and then colour. My first attempt was far more considered and precise and looked AWFUL. In frustration I started again and got this down in about 20 minutes.

Lesley Feakes

Beech Tree

Alison Chandler

My two paintings done in the same woodland are very different. The first in oils using the limited Zorn palette (cadmium red, yellow ochre, black and white) was done over a couple of sessions in the depths of the wood with not much light filtering through. The second in acrylics was done much more quickly on a sunny day on the edge of the woodland.

Alison Chandler

LeeLee Kock

Saturday morning in Dering Woods


Gunda Cannon

Autumn hues

Watercolour, pen & ink collage

220 x 140mm

David Dixon

Drawn in ink and coloured in acrylic and watercolour. 50x40 cm

Jason Smith

"Filtered Autumn Light”

Bowl Materials: English Sycamore, Acrylics

Dimensions: 25cm x 2.5cm

While painting this, I had in mind a low Autumn sun - its rays filtering through the boughs and decaying foliage of a broadleaf wood, down to the forest floor below. Whilst being undeniably abstract I did allow myself a degree of influence from Klimt’s Tannenwald series which is a favourite of mine. It can be a considerable challenge to translate something like Autumn Light on to a three dimensional turning, and although I am pleased with the end product I’m not certain that my choice of a bowl with a central working portion was ideal in this circumstance (a thin necked hollow form may have worked better perhaps)?