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A Wendy Parkyn Acrylics Workshop 

(3rd Sept 2019)
'Moors and Tors'

(A)  Wendy started with a demonstration by with a question ~ 

“What do we do to give distance in a painting?”

Answer: - Use Colour – the cooler the colour the better the impression of distance. Warmer the colour used in the foreground denotes nearer and more detail is also painted in the foreground of a painting.

Scumbling - to scumble the background to reduce the colour, ie hills – mix a very watery mix of blue and white paint, to a watercolour consistency, very weak in colour. Then using the brush in a rotating motion paint this mixture over the area you wish to subdue the colour. Best to do once as once dry you can always apply another layer.

Wendy Starts

Note: Clicking on any image will enlarge it, in a new page, and make it zoomable (use scroll-key)

Other Techniques to use in Landscape

 Glaze - to bring the painting ‘forward or to warm/brighten the colours you can glaze over the area or the whole painting. To do this you must NOT use white or an opaque colour, it must be a transparent colour, not one that has white in it. Again, a very weak solution of colour, a primary yellow mixed to a watery consistency and painted over the foreground will brighten the area and can be used to represent sunlight.
To represent Shade use a weak glaze of blue, and for a sunset use a weak red glaze. Always apply once as when dry you can (if needed) apply a second or third glaze.

Rocks and Walls – Using a painting knife you can flick water onto a painted rock area which will dry and leave a rock texture/speckled effect. Another trick is to paint a pile of rocks/boulders with just black paint or a dark colour first, then using a painting knife gently scrape and remove colour to provide highlights.
Alternatively paint 2 or 3 colours and then scrape with a knife giving a mixture of coloured texture. For a stone wall, again paint a dark row of colour, pick up all the colours you wish to have within the wall, e.g. white, raw sienna, raw umber, black, on the same knife and then using the edge of the knife to apply to the wall, moving the knife along so that you deposit the colours onto the wall.

Tip ~ The 'Gold' make of acrylics do dry very slowly, so ideal for certain paintings.

(B) The Demonstration
All Images will open (when clicked), enlarged in a new page

Stage 1
Stage 1

Wendy starts with a Sketch
This may be slightly different to the original photograph, if certain features do not suit the final piece 

Stage 2

Stage 2

Wendy used a mix of Naples Yellow with a tiny touch of red to create the sky
She stressed in any painting getting the tone right was important  *1

Stage 3

Stage 3

For painting the distant hills, Wendy used cobalt blue, plus a bit of yellow plus a bit of raw umber.
  If in doubt *2

*1   Starting at the back enabled you to get the correct tone & from this you should be able to assess the correct tones as you move forward. Always start your painting from the back/distant view, then middle ground, and lastly foreground. When painting the sky use a to and fro movement of the brush, not a straight wash as in watercolour!
*2   If in doubt of the colour, paint a bit of paper and hold it to your reference picture to see if it meets your criteria

Stage 4

Stage 4

Now Wendy worked on the Green Middle-distance Areas.
For the green areas, colours used were Naples yellow, Cobalt blue. 

Stage 5

Stage 5

Mark in any distinctive features,
as in a Tree, so you will know the correct position, as even though you will paint over it the marks will still show through.

Stage 6
Stage 6
Scary Green – many ways to mix green but Wendy recommends Perylene Green only made by Winsor & Newton – also available in watercolours!  *3

*3   When mixed with primary yellow and other colours can provide an all round mix of different greens. 
 NB – to mix a green nearest to Perylene, mix Crimson and Pthalo Green.

Stage 7
Stage 7

Mid-section of painting use a brighter mix & darker for gorse.
For the Wall Wendy used Raw Umber, black, raw sienna, and white. Instead of black you can use paynes grey.
Stage 8
Stage 8
For the gate.
Wendy painted in the area first and the gate over it. 

Rather than leave a space and try and infill the background view through the gate. Mark in any distinctive features,
Stage 9
Stage 9

Scumbling the background adds the distance effect.

See Scumbling at the top of the page

Finishing off

Front of picture –  Gorse in paynes grey with bright yellow for flowers. For a sunny base, use a pale yellow, then a raw sienna.
Trees – always paint upwards from base of trunk and as branches would grow from the trunk – paint with small pointy brush – not al of branches, just enough to provide structure. Use a round scrubby brush with relevant colour to rub/scrub over the tip of the branches and downwards – using a dry brush technique – drag the rush in and down from outside of tree down to trunk.
Going back over the painting from background to front using previous palette colours to correct, etc. Mid-section using a ‘stabbing’ technique with brush to imply shrubs, texture, etc, on the moor. For the area behind the wall paint in some raw sienna to show coarse grass growing upwards. For the gorse you can always splatter with yellow, can use a sponge, moving colour with fingers, ensure it isn’t a regular pattern. Remember all texture at the front! 
Front of picture – yellowy dead grass – raw sienna, fan brush and touch of raw umber over the top. Can also use a knife or end of brush to scrape out a few strokes. 
Dry the painting (hairdryer), scumble background if felt necessary. Glaze if wished (to remove use kitchen towel). Remember to dry before applying other techniques. Normally would scumble first, then glaze.

The Final Painting ~ Brentor Church ~ Wendy Patkyn
Finished Painting (Brentor Church)

A Couple more Tips ~ 

1) Use a ‘fluffy dry brush’ to fluff up and remove brush marks/lines from an acrylic painting, gently moving brush over the painting.  Remember to wash the brush after use to remove any paint!
2) Black and yellow will also make green!
3) Wendy often uses cut-outs of e.g. people, sheep, animals, seagulls, boats, to hold up to a picture to see if it would add anything before attempting to paint figure/animal, etc onto painting
The Group then returned to their work-stations to produce Moorland Screnes
 Wendy came to the assistance of those in need, giving advice to all 

L. A. G. Members Painting L. A. G. Members Painting


With guidance from Wendy and by the end of the tutorial these are some of the works the Group produced
Sample 1
Sample 2
Sample 3
Sample 4
Sample 5
Sample 6
Sample 7
Sample 8
Sample 9
Sample 10
Sample 11
Sample 12

Notes by Linda & Images by WebArt-monkey

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