In search of a foreground

    Jenny and I have just returned from the Patchings Art Festival, a tiring but very rewarding experience for us, as we were kept busy all the time. It was lovely to see so many friends, and so many people enjoying themselves amongst the art and crafts. Catherine, my daughter also joined us and just about took over the running of our stall.

As you can see, the large screens make it easy for everyone to see all my mistakes in absolutely clear and close-up detail – you can’t hide anything on that scale! Over the two days I did four demonstrations, using the superb Saunders Waterford High White paper produced by St Cuthberts Mill, and was concerned that my cold would wreck any speech, but my throat held out for each of the demonstrations, thank goodness.

Jenny demonstrated pastel painting in the Search Press tent on Thursday and in the Patchings tent on Friday, and was extremely popular. I hardly saw her all the time we were in the showground.

Jenny and I are taking part in the Barn Gallery Summer Exhibition at Patchings Art Centre from 28th July to 30th September, along with a few other artists. Do go along if you can.

    Today I’ve been up in the mountains getting some fresh air and exercise, taking a route that led my to a handsome stand of conifers which I wanted to place as a foreground frame to the background peaks. Foregrounds are so important in a landscape painting, and I regularly plan a route which takes me to potentially picturesque features that might act as a useful foreground or lead-in to a composition. Enjoy your painting!

Demonstrating at Patchings Art Festival

June is that time in the year when the Patchings Arts Festival takes place near the village of Calverton, just north of Nottingham, and this year will be my 17th appearance there at the St Cuthberts Mill Celebrity Marquee. It’s a marvellous, summery art event in the countryside, with lots of fantastic artists demonstrating, and equally fantastic crafts-people displaying their wares, not to forget the band lending a festival note.

Jenny and I will both be demonstrating at Patchings this Thursday and Friday, 14th and 15th June, something we both enjoy as you can see above where I’m demonstrating sketching techniques to a few friends. Jenny will be in the Search Press tent demonstrating painting landscapes in pastels, while I will be in the St Cuthberts marquee using watercolours. St Cuthberts Mill produce the marvellous Saunders Waterford watercolour paper that I have loved using for a great many years now, not just for its attractive surface, but I really appreciate the robust nature of the paper, especially when I want to use techniques such as sponging, scratching and masking fluid, all of which work well without destroying the surface of the paper.
We will also be selling my new book, Skies, Light & Atmosphere, and the associated DVD, and these will be on special offer. Come along and enjoy the day.

Twilight of the Welsh countryside

The natural environment has always been close to my heart, and I was lucky enough to be born and brought up in a rural idyll in Wales. Walking and painting in this stunningly beautiful countryside has heightened my awareness of what we are about to lose if the British government’s plans for the industrialisation of most of Mid-Wales with gigantic wind turbines goes ahead. This is not confined to Mid-Wales, and the devastating effects on a hitherto unprecedented scale will most certainly not be limited to just the destruction of this glorious landscape, but has cataclysmic consequences for the local population.

Tourism is the lifeblood of our region, but how many tourists will come to see hills and moors flooded with wind turbines, completely dwarfing every other feature in the landscape? The local economy will be destroyed and a great many small businesses, including artists and crafts-people, will fold up. The authorities tell us that there will be around seven years of over-size, slow-moving convoys carrying turbines, clagging up our roads, needing new bridges, re-aligned bends and demolished street furniture, while at the same time under-mining old buildings beside the roads: visitors, locals and emergency services will be badly affected. Turbines, despite government ‘reassurances’, create an insidious low-frequency noise that many people simply cannot live with, and some have to abandon their homes. Many homes become unsellable. Most have their value reduced considerably. Turbines explode and catch fire at times, when they become highly dangerous as they emit toxic fumes over a wide area. A report in Scotland states that for every wind energy job created 3.7 jobs are lost.

Would all this sacrifice be acceptable if wind energy was an effective energy system? This is rather academic, as wind, given its intermittency, produces such little power and needs so much back-up from conventional power stations that large-scale wind farms can only be seen as a great liability. It is, however, an extremely effective source of income for the developers, for energy corporations (most of whom are foreign and therefore making a joke of government policy), for large land-owners and for many politicians. At the expense of local people, many on the poverty line.

We now know in Wales what the West means when it insists on democracy created at the point of a rifle: it does not exist here, in its acceptable form, and unless this vindictive assault on our communities and countryside is not stopped, before long there won’t be a landscape here for us to paint. See also National Opposition to Windfarms     Artists Against Windfarms

How much water?

I’m sure you’ll all agree that water is a pretty important ingredient in the act of watercolour painting, yet the way some people paint you might wonder if there is a permanent drought. How much water should you use? This, of course, varies considerably, depending on what you are actually trying to achieve. The traditional watercolour wash is a very fluid mixture: a liquid pool of colour which can be of varying colour intensity that is easily applied with a large brush.

In this scene, which depicts mainly sky, the whole sky area was first washed with clean water, then, without pause some weak Naples yellow was painted above the white central area, and gamboge slightly to the right and lower down. I immediately followed this with a mixture of French ultramarine and cadmium red across the top of the sky, down the sides and over the bottom, sitting back to watch these colours blend into each other.
At the critical moment when the whole sky began to dry I then applied a stronger wash of the same mixture across the top of the sky to form the darker clouds. There was much less water mixed into this application as I didn’t want it to run, or cause unsightly runbacks. I then moved lower down to suggest the more shapely clouds, still using the stronger mixture, but by now the sky was drying rapidly, which suited me as I wanted these strands of clouds to hold their shape. At this point I also rendered the background forest with the same colour mix to retain a sense of unity and atmosphere, the last applications of this being a fairly dry mixture with little water. Experience will tell you how much water to use, as it also depends on the ambient drying conditions, so practice these wet-in-wet and fluid wash techniques on scrap paper to improve your skill with watercolour.
   The painting is one of many from my new book, Skies, Light & Atmosphere, published by Search Press in June. It contains a wide variety of landscapes and how they are affected by these elements, including how to create interesting skies, the magic of shafts of sunlight, creative use of light and shadow, how to make the most of reflected light, losing mountain ridges in mist, and so much more. If you order the book from our website you can get a special offer with my new DVD on the same subject: this illustrates a few basic techniques for creating interesting skies, light and atmosphere, and has a wide selection of paintings and sketches with commentary on how the effects were achieved.

Sketching peculiar characters

It’s been rather wet here lately, bucketing down at times, but I haven’t been able to get out much to take advantage of such atmosphere because of too many deadlines. Sunshine is marvellous for walking and sketching, but the countryside has such glories to show us, whatever the weather. Rain can be quite stimulating, and of course you never know who you’re going to meet on the hills – this chap was clearly enjoying himself, and was well equipped for the conditions.

Whether it was his wife’s frilly pink parasol, or his own, I cared not, though the sharpened pole might have caused concern amongst some. Had I not ventured forth into the Alpine monsoon I’d have missed this glorious spectacle, and naturally my sketchbook was quickly whipped out and the vital aspects of the figure rendered on paper that became rather wet after only a few moments.

I have to hand it to these characters, allowing themselves to be seen with such outlandish accessories. Over the years I’ve accumulated many books of sketches of this more outgoing type of person, a wonderful antidote for those rainy days when you are stuck indoors feeling miserable when your sketching/painting/bog-snorkelling or pancake tossing efforts have gone slightly astray. A small A6 sketchbook, a soft pencil and a few quick lines is all it takes to capture the important points, and the image can be embellished later.

I shall be demonstrating watercolour painting for PONTERWYD & DISTRICT ART CLUB at Syr John Rhys School Hall, Ponterwyd, in Ceredigion between 7 and 9pm on Wednesday 6th June. You are welcome to come along – there is a charge for non-members and information is available from Jenny Dee on 01970 890664