TIMMS' FINE ART GALLERY

TIMMS' FINE ART GALLERY
MARILYN TIMMS FINE ART

Courtenay, BC CANADA
Telephone: (250) 334-1054

Demo Index Home Page Paintings Timms Workshops Links Page

"Trees"
with Marilyn TIMMS SFCA SCA

Layer 1:
Beginning with a very soft wash on dry paper, we painted the sky area, being careful to soften the edges of the wash with a damp brush to prevent a line from appearing. We continued to paint the light values from side to side and top to bottom, softening the edges as we went and avoiding the small snow white pieces of dry paper. We washed in the light blue water on the left and the light yellow areas on the right. This full light value was allowed to dry completely. Note: We used transparent non-staining paints in the layer (cobalt blue, RMG, aureolin).
Layer #2:
The uppermost distant hill was depicted using a gray made from the same combination, then water was used to soften the bottom edge of the shape, carrying it down and around the white square and stopping in a crisp, straight line. While this area was drying, we painted in a loose warm yellow wash under where the bank would eventually be.



Layer #3:
Using scratching technique, the large mass of trees on the right was depicted. Note, we used a brush stroke of water, before we introduced our tinted wash to the dry paper, then scratched and lightly wiped. We introduced more colour into the wet scratched area.
While that was drying, we crumpled up waxed paper then pushed it into a wet wash that ran diagonally along the bottom of the painting. We made sure to water the edges of the wash before we put the paint down.
Layer #4:
The grassy hill was painted with a bluer green where it met the tree line (we pulled some of this colour up into the trees too), then warmer and warmer green as it came down the slope. We let it turn into a pale burnt sienna when we got to the bottom and worked in down and through the rocks.
Layer #5:
The second distant hill was painted in a purple tone (avoiding several small light squares carefully) and burnt sienna and/or water was dropped into the wet paint to break it apart. Our single tree form was scratched in once this layer had dried completely. Finally, we used torn lengths of masking tape (placed close together then scrubbed off with a sponge) to create the light tree trunks. Note: It is important to put an extra width of tape beyond the torn pieces to allow for overscrubbing and keep the sponge perfectly clean.



Layer 6:
A light wash was painted over the white tree trunks to make them less stark, with a little more colour dropped into the upper part of each.
Starting dark and cooler then warming the colour as it came closer to us, the rocky dyke was split apart by painting a shape, then dragging liquid from it around and between the dry shapes in the waxed paper wash.
A broken toothpick was used to drag fine branches from the tops of the tree formations, varying the colours as needed.
A violet wash "cleaned up" the little hill shape and connected the background - leaving a crisp thin line on top of the water at the horizon line.
Layer 7:
Beginning at the string of rocks to the left, the darks were carefully linked together. Where they were interlocked with the trees, burnt sienna was washed from the tree to the dark, or a damp brush was used to "pull" the dark into the tree.
Where a tangled shape was needed (at the top of the evergreens) , the brush handle was used to drag the paint around.
Where the dark met a light tree trunk, the dark was traced down the edge of the trunk and a shadow was pulled from there acroos the grass. The shadowed area the crossed the dyke was painted in, then the edges were softened.

MARILYN TIMMS FINE ART

Courtenay, BC CANADA
Telephone: (250) 334-1054

Email: click here

Demo Index Home Page Paintings Timms Workshops Links Page

	Layer 1: Beginning with a very soft wash on dry paper, we painted the sky area, being careful to soften the edges of the wash with a damp brush to prevent a line from appearing. We continued to paint the light values from side to side and top to bottom, softening the edges as we went and avoiding the small snow white pieces of dry paper. We washed in the light blue water on the left and the light yellow areas on the right. This full light value was allowed to dry completely. Note: We used transparent non-staining paints in the layer (cobalt blue, RMG, aureolin). Layer #2: The uppermost distant hill was depicted using a gray made from the same combination, then water was used to soften the bottom edge of the shape, carrying it down and around the white square and stopping in a crisp, straight line. While this area was drying, we painted in a loose warm yellow wash under where the bank would eventually be.

	Layer #3: Using scratching technique, the large mass of trees on the right was depicted. Note, we used a brush stroke of water, before we introduced our tinted wash to the dry paper, then scratched and lightly wiped. We introduced more colour into the wet scratched area. While that was drying, we crumpled up waxed paper then pushed it into a wet wash that ran diagonally along the bottom of the painting. We made sure to water the edges of the wash before we put the paint down. Layer #4: The grassy hill was painted with a bluer green where it met the tree line (we pulled some of this colour up into the trees too), then warmer and warmer green as it came down the slope. We let it turn into a pale burnt sienna when we got to the bottom and worked in down and through the rocks. Layer #5: The second distant hill was painted in a purple tone (avoiding several small light squares carefully) and burnt sienna and/or water was dropped into the wet paint to break it apart. Our single tree form was scratched in once this layer had dried completely. Finally, we used torn lengths of masking tape (placed close together then scrubbed off with a sponge) to create the light tree trunks. Note: It is important to put an extra width of tape beyond the torn pieces to allow for overscrubbing and keep the sponge perfectly clean.

	Layer 6: A light wash was painted over the white tree trunks to make them less stark, with a little more colour dropped into the upper part of each. Starting dark and cooler then warming the colour as it came closer to us, the rocky dyke was split apart by painting a shape, then dragging liquid from it around and between the dry shapes in the waxed paper wash. A broken toothpick was used to drag fine branches from the tops of the tree formations, varying the colours as needed. A violet wash "cleaned up" the little hill shape and connected the background - leaving a crisp thin line on top of the water at the horizon line. Layer 7: Beginning at the string of rocks to the left, the darks were carefully linked together. Where they were interlocked with the trees, burnt sienna was washed from the tree to the dark, or a damp brush was used to "pull" the dark into the tree. Where a tangled shape was needed (at the top of the evergreens) , the brush handle was used to drag the paint around. Where the dark met a light tree trunk, the dark was traced down the edge of the trunk and a shadow was pulled from there acroos the grass. The shadowed area the crossed the dyke was painted in, then the edges were softened.