Winter Challenge Autumn Light

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 Oil Angela Musil Watercolour Angela Musil Acrylic 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 Gouache 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)?