We are blessed with so many stunning river and stream subjects of great variety in the UK, and whatever the weather may throw at us there is something truly pleasurable to sit beside a bubbling brook or fast-flowing mountain cascade. These features can also make excellent lead-ins to an interesting focal point, and there is something almost lifelike in a moving stream.
In this watercolour I’ve played down the actual river, to concentrate more on the surrounding forested hills and the large crag on the right. By introducing a lot of mist I’ve simplified the background, although there is still much detail visible. With a river or canal it will add a sense of mystery and interest if you have the further part of the river turning round a bend – we are all eager to see what’s round the bend!
For the misty effect use plenty of water and build the scene up gradually, dropping the blue-greys or green-greys of the distant trees into a damp area to create lovely soft edges where tree masses appear and disappear into the mist. By placing hard-edged forms with strong tones such as those just above and to the left of the crag, in front of misty passages you will create a powerful sense of depth in the painting.
On Monday 29th April Jenny Keal and myself will be demonstrating for Holderness Arts at Burton Pidsea Memorial Hall, Back Lane, Burton Pidsea HU12 9AN, from 10am to 3pm. I shall be doing a watercolour demonstration in the morning and Jenny will be carrying out a pastel demonstration in the afternoon. Information and tickets are available on 01964 670269 or from the Burton Pidsea shop. Tickets won’t be available at the door on the day. Do come along if you can. We will have books, DVDs, art materials and a number of paintings for sale, and are happy to answer your painting questions. Click here for more information
I’ve just returned from running a sketch & walk course in the Lake District with a lovely group of students, where the biggest problem was a lack of water! This is something which is rarely encountered in Lakeland, and it did confound attempts to sketch certain waterfalls rather devoid of water. Still we had a great time and at least we eventually found some in Coniston Coppermines Valley.
The watercolour on the right is the view we painted, though I actually did this three years ago during autumn when there was more water in the beck, and the hillsides were alive with warm colours. This also happens to be on the cover of the summer issue of Leisure Painter magazine, featured in an article on creating wisps of cloud and streamers, which can so enhance your work. It was painted on Saunders Waterford rough 140 lb paper, and to achieve the soft misty edges I scrubbed with a damp half-inch flat brush. Losing ridges and parts of a hill or mountain can add so much mood and mystery to a landscape, and the article covers various ways in which you can achieve these effects.
These softening-off techniques are a common feature in my books, especially theWinter Landscapes in WatercolourandSkies, Light & Atmosphere in Watercolour. Some artists feel that a standard broad-washed blue or grey sky can fit any landscapes, but I put great effort into my skies to introduce exciting and interesting cloud and atmospheric effects that suit a particular landscape, so there are a great many examples of these in both books.
In Lakeland my biggest problem with the students was keeping up with the three octogenarian ladies, one of whom was leaping up and down precipitous slopes like an over-active monkey. What a great pleasure it is to see people respond so well to the beauties of nature.
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!!!