I rarely meet another person in the small woodland behind the flooded quarry works. It is a perfect place to practice my skills painting the light filtering through foliage.
Wheeling my bike, I stumbled across a man camouflaged by the path, crouching with tripod and camera. He was setting up a shot of a fox “that always crosses here late afternoon” as it moves out into the open fields bordering the wood. I quickly moved on, out of his way. I came back by another path, outside the wood, to avoid disturbing him. But to no avail, I glimpsed him through the trees, packing up and leaving disappointed. Then I realised my pad had fallen from my bike. I retraced my steps. When I finally got back, there was the fox, walking through the woods, across my path and disappearing into the crops in the field.
These two sketches were done within a couple of weeks of each other at the end of June, early July, with bright sun making shining yellow greens contrast with deep shadows. After advice on the course in June, I had abandoned phthalo blue and was mixing greens mainly with cobalt blue. Phthalo plus aurolean makes a viridian which while interesting, overwhelms the picture. Aurolean and cobalt blue makes a range of interesting tones that merge into rich or subdued neutrals with burnt sienna or rose madder. What I am missing is the contrasting darks.