For the past 6 years or so, the landscape around Ashdown Forest, not so far from Coleman’s Hatch, has fascinated me. So I thought it appropriate that in the season of rich burnt browns and now in spring of vibrant yellows, I ought to say something about it. It certainly isn’t an ideal landscape to draw and paint. It is messy and scruffy now with clashing loud mustard yellows, but muted with a rich burnt sienna of ferns. It is no easy compositional approach, unlike nearer the coast. However one big advantage is that it is more reachable, being about a 40 minute drive. It has a long history of human occupation, from 5000 years ago, and was hive of activity well into the Tudor period for hunting.

On arrival, you start to swerve around the lanes towards the rugged landscape and now in spring, early summer the bright chrome yellow gorse really hits you as you approach. A favourite of ‘Mr’ J.M.W Turner, who came under fire for featuring it heavily in his later works. It is a hard colour pigment to mix though and can take some time to bind properly. But it certainly wakes you up. Now, the colours become mixed with all the burnt reds that decaying bracken produce with mad spring yellow.

What really strikes one is the large lumps of form: grass and the ground, grass, chalk, paths, purple clumps and rich browns in season. I have drawn it many times, and attempted to paint it more so. Unlike more remote, hard-to-reach, coastal areas, Cumbrian lakes or the highlands of Scotland, there are no smooth hill lines (think Eric Ravilious) with any obvious compositional shapes to grab hold of.

It is of course well known as the home of Hundred Acre Wood, of Pooh Bear/AA Milne fame. I never went there as a child that I can recall, but it is familiar from the famous stories. I can picture the endearing illustration by E.H Shepard of Pooh looking at his behind after landing in a gorse bush. Just as prickly now as in the books, I wouldn’t suggest picking any for fun!