PRACTICAL
Dramatic forms and gentle reflections Be inspired by Judith Yates as she demonstrates how she creates her impressionistic landscapes in acrylic with layers of texture and glazes
T
here are so many aspects of the natural world that inspire me but whatever the inspiration, dramatic lighting is a main feature of my work. I am constantly aware of light effects cutting through trees, casting long shadows or shining through mists and fog. I always take a camera out with me so that I can record specific moods and details. In the studio I use photographs and on-site sketches to recreate the atmosphere of the location and, in order to create my own interpretation of the scene, I will happily edit the photographic image, leaving out any unnecessary detail.
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When I first started using acrylic paint at college the medium was still a fairly unknown quantity. I used to try to make it behave like oil or watercolour but then realised that my best approach was to embrace acrylics and their particular properties. It was through trial, error and experimentation that they eventually became my favourite medium – and remain so to this day.
Texture and suggested detail So many acrylic techniques and effects suit my intuitive approach to mark making. The fast drying time and ease of overpainting, means there is no fear of making mistakes and I am free to experiment with texture and layers,
p Late Autumn Lakeland, acrylic on canvas, 153/43193/4in (40350cm). This painting was all about the colours and textures. I made lots of different marks in the paint and layered up with sweeps of thick paint once dry but kept certain areas loose and washy as a contrast. The tree branches at the base were created by scraping through the first paint layer to reveal the background colour
which constantly results in the new and unexpected. I’m able to move onto the next stage without stopping the flow of creativity. I often use a thick impasto paint applied with a palette knife, which can quickly be followed with a thin artist June 2021
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