BADAS Meeting October 15th 2019

The Weatherley Centre, Biggleswade

Tim Fisher : Tunstall in Suffolk , pen and wash

Tim was last with our society in March 2017 demonstrating a Stamford Street scene in line and wash. He is a leading artist, author and popular art tutor. He became a professional artist in 2000, following a successful career in research for an international company. Since the launch of his art career Tim has won numerous art awards. He was shortlisted from 12,000 entrants for the first Daily Mail Not the Turner Prize competition with his pastel “Pink Hydrangeas”. This was displayed in the Mall Galleries, London and Leicester University.

Approaching his paintings like a researcher, Tim works with the heart of a purist and the mind of a realist. Whenever possible he collects his own reference material by observation, field sketches and photographs. He loves “the language of line” and much of his artwork features ink drawings.

Over a five year period he researched and developed the highly popular Fisher400 art paper. The distribution of the paper is now through a US company, who in turn supply Jacksons Art Supplies in the UK.

Tim is a successful author for search Press with three books, “How to Paint Flowers in Acrylic”, “Perspective” and the latest, “A Beginners Guide to Painting with Oil Pastels” released in October 2018.

He is a regular contributor to The Leisure Painter magazine with articles, reviews and test reports. The very latest news is that Tim has just been formally invited to be one of the Editorial Consultants for The Leisure Painter magazine. He also features as the first artist for their new painting demos on their website.

Tim also demonstrates annually at the Patchings Festival for The Artist and Leisure Painter magazine.

This demo can be seen live on YouTube

Tim loves working with ink and often applies other mediums over the top. He suggests checking the meaning of ‘permanent’ for pens as it can mean light fast rather than waterproof which obviously matters if washes are planned. He likes Faber Castell artist pens but also uses refillable pens. His favourite ink is by Noodle in pecan colour as it is very long lasting. Tim enjoys using matchsticks, bamboo, sharpened reeds etc to apply ink with more ‘character’, possible splodges etc. Fibre tips are preferable for more precision.

For this piece he chose to use 525g Bockingford ‘not’ surface, double sided paper. No stretching is required but he stuck the paper down with Eurotape as masking tape glue deteriorates and peels away much more easily.

Tim modifies/edits his photos to suit himself and what he wants to get from them for his drawings. He keeps his pen in contact with the paper to produce a contour drawing , creating a basic outline with the ink line and not adding extra shading, hatching etc, he goes on to add detail with his watercolours. He enjoys adding figures to his work as these give animation but says beware of scale and perspective and make them look purposeful.

He uses Stillman & Birn sketchbooks as the paper is great quality taking inks and washes well when out and about recording ideas. He favours size 6 squirrel brushes when applying washes as they always come to a good point even when old, can be pushed out like a fan brush and are much better quality then nylon ones. He likes Sennelier water colours ,based in Normandy France as they are all made ‘in-house’ as opposed to Daler-Rowney paints ,made in China and of a less consistent quality. He uses a Mijello pallet as it seals and doesn’t leak.

Tim always uses a limited palette and mixes his own colours from it, including a cool and warm shade of red, yellow and blue eg French vermillion red and Venetian red, Primrose yellow and yellow ochre. He also uses the more opaque than transparent paints as they can be pale/watered down for backgrounds and also applied brightly/thickly for fore grounds so helping create perspective. He encourages artists to mix their own colours not follow what they see slavishly, and to apply and leave the paint to do its own thing rather than fiddle with it!

He always adds light source and shadows from one direction towards the end of a piece to give a 3D effect.