Recently I received an interesting email asking how to develop an artist’s ‘mindsight,’ or visualisation in constructing a painting. This is more than just assembling the various parts of a composition, and brings in more about your own feelings and imagination into the equation.
This watercolour of the Pembrokeshire coast at Amroth is an example of how visualization created a really different painting from what I saw in reality. I sketched the scene in mid-afternoon with light coming from the left. I could see the village and background hills and cliffs in strong detail and an overwhelming green. There was little atmosphere. In the studio I played around with studio sketches, tried various lighting and mood effects and considered how to increase the dramatic effect. I needed to lose most of the detail and the greenery.
I decided to change the lighting to an evening sky, bringing in atmospheric cloud to lose much of the hills, and enhance the unity by using few colours in the background, mainly French ultramarine and cadmium red. Backlighting like this adds dramatic appeal and the cascade of light above the houses highlights them as a focal point. The dark closer rocks and cliff create a sense of space, again painted in with the same colours as the background only with much stronger tones and the addition of yellow ochre in places.
How do you develop this visualisation of a scene? Firstly seek out dramatic lighting situations, sketching, recording and photographing strong atmosphere, moving around to find the most dramatic viewpoint and observing the effects created in these situations. Secondly study these phenomena at exhibitions, in books, etc, in the work of good landscape artists. Experiment with ideas, exaggerating height, tonal values and atmospheric effects, and using your imagination to create mystery, drama, intense light or moody shadows. Eliminate features that don’t work for you. This all takes time and experience, but if you make a deliberate effort to work on this aspect of painting it will improve your work enormously.
My Skies, Light & Atmosphere in Watercolour book contains a great many paintings that have been enhanced dramatically by visualising the overall atmosphere before touching the watercolour paper. Most of the skies depicted – and there is an enormous variety – have been changed to something more exciting for that particular composition. Concentrating on skies is an excellent way of beginning visualisation methods.
We have a lot of mud in Wales, and this winter it has excelled itself, making hiking something of a messy process, so it would be a pleasant change to see some good clean snow for a change. Then back to mud, of course.
I love those misty mornings with the sun beginning to filter through. It’s worth finding a local river scene on these mornings as they lend themselves well to this sort of atmosphere. This scene shows only part of the composition, and I have applied masking fluid at the top of the birch trees to accentuate the hard edges of the ice-rimed branches. When this had dried I worked in the background wet-in-wet to create a soft, misty effect, and this included the distant trunks and branches. It was an intensely cold morning. I have washed in Naples Yellow into the right-hand sky area and into the birch trees to add a sense of warmth, as well as in the reeds. The water was again achieved wet-in-wet – note how the bank below the birches has a slightly darker reflection than the bank itself.
This is taken from my Winter Landscapesbook which is crammed with ideas for painting winter scenery, even if you have no intention of going outside to take full advantage of all that glorious mud!!!
Injecting a little sunshine into your landscapes will give them a strong appeal, and the best way of achieving this is to lay cast shadows across a light surface. Nothing will give a more striking or fresh approach than doing this across a pristine snow scene. With winter upon us you will hopefully have opportunities for practising this effect before long.
In this watercolour the sense of strong sunshine has been achieved by laying cast shadows across the foreground and over the left-hand part of the roof. For the shadows I used a mixture of cobalt blue and cadmium red, although very little of the latter was included as it is a powerful colour. This produces a lovely, fresh shadow and is not as dull or overpowering as say burnt umber mixed with the cobalt blue. French ultramarine is also a superb colour if you wish to substitute it for the cobalt blue.
Note also the warm colours employed on the house and trees – this takes away the utter coldness of a snowy landscape. Aim to have white highlights on the snow, but not an overall whiteness. On the left-hand trees I deliberately applied white gouache with a painting knife. I don’t normally do this, but I wanted to show a variety of techniques in my Winter Landscapes in Watercolour book, where this scene appears.
This painting is now on show with several others in the Ardent Gallery, in the High Street, Brecon tel. 01874 623333, and is also available as a Christmas Card, available here
Don’t forget to watch out for that snow – it rarely seems to stay long these days so make the most of it whilst it’s still around, and preferably before all those tobogganers have churned it all up!
Are you making the most of the stunning colours in the countryside at the moment? It’s a great time for getting out to capture one of nature’s most flamboyant periods with your camera, sketchbook or maybe even a full alfresco painting. Watch especially for those vivid colours backlit with strong sunlight that will simply leap off your watercolour paper. Birch trees can be especially rewarding when lit up by strong light, as white trunks and warm colours work together extremely well.
My watercolour of the River Wye in autumn on the left includes a great many trees (although this is not the entire painting), but the distant conifers have been left without detail to throw the emphasis onto the trees with autumn colouring. For these I have used new gamboge, cadmium yellow pale, cadmium red and some touches of cadmium orange, with French ultramarine with a touch of cadmium red for the far conifers. The painting was done several years ago, and since then my autumn palette has changed a little: I now use quinacridone gold, transparent red oxide, Aussie red gold and cadmium red in the Daniel Smith watercolour range, as these colours fairly sing out. In the painting note that the trees on the extreme edges of the painting have been kept fairly dull. This is to throw the emphasis onto the brighter trees and to avoid drawing the eye towards those edges.
While the sun doesn’t always oblige us when we need it, don’t forget that autumn scenes can benefit from a little rain, wind and mist – elements most artists prefer to keep at a distance. Rain produces puddles which can be used to reflect these vibrant colours, and if followed by a sunny spell the result can be magical as the scene glistens and sparkles. Mist can throw the emphasis onto a small group of interesting trees and obscure the rest, and wind, that bane of all landscape artists, can send clouds of leaves hurtling through the air. To include a few of these suggests a lovely sense of a windy day. Make the most of these moments as they can add so much authenticity to your work.
You will find further tips and examples on painting autumn scenes in my bookDavid Bellamy’s Winter Landscapes, published by Search Press. It contains a chapter on the subject which is a preliminary to working on winter paintings. Signed copies are available at www.davidbellamy.co.uk
It’s been an exhausting few weeks since the last blog, and unlike some I find it difficult to write blogs in the odd cafe, while waiting for the lights to turn green, or when sitting on the back of a Bactrian camel. Anyway, my exhibition of the paintings from the Arctic Light book went well in the superb Osborne Studio Gallery in Belgravia last month. In fact you can still see the catalogue on their website, www.osg.uk.com Although they are of course, paintings of the Arctic, there is a lot you can learn from studying the images for composition, colours, skies, moods, etc. I thought you might like to see how the cartoonists see me – here’s a great caricature of me drawn by the excellent caricaturist Gary whose work is regularly featured in the Sunday Times and Daily Mail. This one appeared in The Lady recently when they did a profile on me. Is that a mischievous twinkle in the eyes?
After the exhibition I ran a course in St Davids and we were blessed with good weather. Although the wind was a bit strong, this really gave us some interesting boisterous seas, with great splashes when the really big waves came crashing in from across the Atlantic. One balmy afternoon on the cliffs in warm and stunning sunlight was truly unforgettable, and perfect for sketching.
I’m delighted to report that my Arctic Lightbook has just been awarded best outdoor book by the Outdoor Writers’ & Photographers’ Guild, on top of a marvellous batch of reviews. Although it’s not a how-to book it sells well at my demonstrations and workshops, as it’s packed with interesting and at times dramatic compositions and skies, as well as the many tales and sometimes absurd situations that seem to follow me around. I’m told many have put it on their Christmas list. Enjoy your painting!