The third of the acrylic exercises set by Paul Talbot-Greaves in the March issue of The Artist has been popular with readers, with 21 different versions being sent in to share in the gallery, including one completed in encaustics!

From the paintings (all of which can be seen here) Paul selected Helen Melia's version (see below) for appraisal this month, saying 'Once again it has been a great privilege to view the entries for this month’s challenge. For those who’s work hasn’t been selected for appraisal, I want you to know that I do look at and read every single one so please don’t feel ignored. I know how sensitive we can all be. It’s also great to see others commenting and lending encouragement so do keep up the good work folks.'

Paul's appraisal

Well done with this Helen as the subject really was quite vague with subtle colours and a narrow margin of values. You have some lovely patches of simplicity here which really complement the more detailed flowers and leaves that you have added. I particularly like the softness achieved between these and the wall. I also think you’ve done really well to keep the painting light but still maintaining depth with those darker shadows. I do think you could perhaps add a little more contrast to the flatter grass areas though. If you look back to the reference image and my painting in the magazine, you will notice how I have made the patches of green towards the bottom right corner much brighter. These in conjunction with the snippet of wall details form the focal area and you’ll notice that when you look at my painting, this is where your eye constantly returns to. If you achieved a similar high contrast focus, your painting will be even stronger. Don’t mix ultramarine and cadmium yellow for the bright green though, as the result will be too grey. Use your Prussian blue instead and if you have a brighter yellow such as lemon or similar, use that too. I notice your fence post went a little wobbly? If this happens and you don’t like it, rub it straight off with a wet cloth whilst the paint is still active and providing the rest of the painting is dry, you won’t affect anything else. Things like this happen to me all the time!

Look out for more of Paul's exercises over the coming months and send in your versions to [email protected] for inclusion in the gallery and the chance of a critique from Paul.