Sketching in remote places

I’ve just returned from a trip to South Greenland with my friend Torben Sorensen, hence the lack of blog posts over the past month. Our objective was to sketch and paint the spectacular mountains near Nanortalik, which is about 45 miles north-west of Cape Farewell, the southernmost tip of Greenland. To gain access to the area we hired an inflatable zodiac to go up Tasermiut fjord, a 50-mile stretch with stunning peaks on either side: a rather crazy idea as neither of us had ‘driven’ such a boat before, and perhaps when we found it had a hole in the bottom we should probably have abandoned the idea rapidly.

We carried on, and had to do quite a bit of baling out, as well as heaving the craft over rocks and beaches at anything but high tide. Sunny weather blessed us most of the time, but clouds and cloud streamers added greatly to the atmosphere. When you can see everything the view tends to lose its aura of mystery.

Watercolour, of course, is supreme in conveying a sense of atmosphere. This is a rough watercolour sketch of icebergs near Cape Farewell, done on cartridge paper, which generally dries rather quickly and so makes laying complicated watercolour washes quite difficult, as in this case where I’ve had to work the darker sky round the light foreground berg. Even wetting the paper first still leaves one prone to ugly brushmarks across the cartridge paper. However, as it’s just a sketch this doesn’t matter. The important thing was to capture the subtle colours in the ice, the slightly darker overall tones on the further skyscraper-like icebergs, and a general sense of the atmosphere. At the same time I wanted to suggest the coldness of the Arctic sea. These aspects are difficult to render with a pencil.

I regard sketches as working documents which will give me all the information I need to complete a full watercolour painting at home. Photographs help a lot, but often lose the subtleties of tone and colour that is needed to produce an authentic portrait of the scene. And naturally, being out in the natural wilderness sketching is a wonderful therapy, especially when you know that you really don’t have to exhibit the result!

Painting snowy landscapes

At last, real winter has arrived, and for the landscape artist having the countryside cloaked in deep snow is a great inducement to get out and capture some new scenes, even if you can’t stand the cold for long and have to rely on the camera. I’ve just returned from an extremely rewarding trip to North Staffordshire where we did some filming for a DVD on winter landscapes. Snow simplifies the landscape considerably, making it easier for the artist.

In this view on the North Staffordshire Moorlands I selected a back-lit angle by choosing mid-afternoon to visit the spot – back-lighting tends to add drama to a scene, and lose detail in more distant features. The road acts as a good lead-in and the right-hand electricity pole breaks up the far ridge, so it might be worth leaving in. One of the cows in the middle distance (left) is looking out of the picture, so I would turn her round to look at the house. After I’d finished the sketch the chimney on the left-hand building started to emit smoke, so I then adjusted the sketch to include smoke, but had it emerging from the right-hand house, which was my centre of interest.

My first painting course this year is at the Caer Beris Manor Hotel in Builth Wells, Mid Wales from the 7th to 12th April, and there are still a few places left. The gentle, rolling landscapes provide a wealth of subjects, with the more dramatic Brecon Beacons to the south, so there is something for most tastes, and plenty of interest for non-painting partners. Although it is primarily for watercolourists, Jenny will be on hand to demonstrate pastel landscapes as well as offering tuition in the medium. You can check it out on our website, or telephone the hotel on 01982 552601, or email them at info@caerberis.com