A Happy New Year to you all: I hope you had a great festive season and are looking forward to a better year ahead. Keeping our spirits up during these grim lockdown days is vital, and after so long it’s not easy to come up with new ideas to stop our art becoming stale. Like many, I’ve been going through mountains of old stuff with a view to throwing a lot out, and that process itself has thrown up some interesting ideas. Firstly checking through old transparencies I’ve recently found some real gems from which to work up paintings. Secondly, sketches I previously hadn’t given any thought about creating a painting from have inspired me, highlighting how our tastes and perceptiveness change over the years, and why it’s important to revisit some of these old resources. Thirdly, some of the old art books can trigger ideas for new types of subject, a new medium, or perhaps a different approach to observing subjects.
So this time my tips involve the foreground in a landscape where we may wish to include flowers, plants or wild entanglements. Above is a section of detail from a painting reproduced in my book Landscapes Through the Seasons. I painted the dark areas first and allowed them to start drying. When the sheen was off them, but they were still damp I used a painting knife to score out light stalks/grasses in the right-hand red patch. When all was completely dry I then painted on the cow parsley using white gouache applied with a rigger. Finally I spatttered white gouache in places with a toothbrush. There are more foreground methods in the book to give you ideas for this tricky part of a composition. See my website for details. Enjoy your painting, and do have some fun going through those old treasures – you never know what you may find!
Today we have glorious sunshine lighting up our landscapes, so I am eager to get out into the fresh air once this is written. On Sunday I was up on the local moors in brilliant sunshine, but how different – icy blasts swept across the hills, so I kept moving. However poorly I may be I always find that getting outside lifts the spirits and I return in a much better mood. If I haven’t managed any sketches I am still eager to get stuck into painting. Such is the power of nature!
Sunshine, whether scorching or accompanied by icy blasts, is so vital to the landscape artist and it is great practice on sunny days to consider the effects of sunlight on landscape features rather than concentrate too hard on the landscape itself.
This is a watercolour sketch of Abinger Hammer nestling below the North Downs. My prime aim here was to capture the strong sense of a hot summer day, so I ensured there were strong tonal contrasts in the buildings where sunlit walls abutted shadow areas, and where the sunlight fell strongly I reduced the effect of architectural details as you can see between the clock tower and the main tree on the left. Most importantly, the shadow cast from the tree conveys the greatest feeling of sunlight, and this was the last part of the scene that I rendered. The illustration is featured in my book Landscapes Through the Seasons published by Search Press, and available from my website.