Archive for category Subject: Landscape

Ready to Paint in 30 Minutes – Landscapes in Acrylics || Barry Herniman

There’s something for everyone in this welcome addition to an excellent series. Barry covers trees, rocks, buildings, water, skies and even seas. Demonstrations use the watercolour technique, so you’ll be working on paper without impasto. I’ve yet to see traceable outlines that work on canvas, though I can’t see why it would be impossible.

This isn’t just a good book within the series, though, it’s a very thorough grounding in landscape elements and techniques in its own right and something to consider even if you don’t want pre-drawn outlines.

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David Bellamy’s Landscapes Through The Seasons in Watercolour

This is an expanded version of David’s Winter Landscapes which appeared in 2014. It’s therefore no surprise that this is the season that gets the greatest coverage. Overall, on a back-of-the-envelope calculation, about two-thirds is new material. For a ten quid paperback, that’s not exactly daylight robbery if you have the previous book (which, as one of David’s super-fans, you will).

If this is all new to you, be assured that the integration is good and you won’t be able to see the joins. Search Press are very good at this kind of thing and the progress is seamless. What may appear slightly odd is that it begins with Summer, especially as it comes out in Autumn. This is all down the Beastly Virus – it was one of the many titles that got delayed, having been slated for the middle of the year. Most books on the seasons begin with Spring because – well – because any start point than that is always going to be idiosyncratic. Move on, it’s not a biggie.

The whole thing is sound and well executed, with the demonstrations and overall quality of work fully up to the standard you’d expect but (whispers), sometimes don’t get from David. One or two of his more recent books have felt – to me, at least – a little rushed and almost as though his heart wasn’t in it. If you wondered whether he was losing his creative mojo, though, just look at Arctic Light. That’s a tour de force.

So, anyway, this is as thorough a guide to painting outdoors at all times of the year and in all weathers as you could wish. At 96 pages, it’s practically concise, but there’s no wasted space and it feels a lot larger. David isn’t just a great painter, he’s a great distiller of information and the way it’s presented. Do you get the impression I’m telling you to buy this? Good.

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Learn Watercolour Landscapes Quickly || Hazel Soan

This excellent little series continues to impress. Inevitably, small potted guides can only tell you a limited amount, but all the authors who have so far been involved have managed to distil a wealth of knowledge and information into the space and word count available. These are not so much books to study in depth, but rather bullet points to use as inspiration and to jump off from. Even the most experienced artist should find the uncomplicated approach refreshing for the creative spirit.

Hazel Soan is, it hardly needs to be said, one of the most experienced and instructive authors there is. Unsurprisingly, therefore, this is quite simply one of the best guides to landscape painting you’ll find. No, it’s not a complete course and yes, you might want one of those as well. However, just when you’re feeling dispirited and bogged down, this will cheer you up immensely. Hazel has made a few films; her sheer enthusiasm shines throughout those and you can even feel it off the page. She loves what she does and wants you to love it too – and you will.

Shall I tell you what’s here? In detail, no. Trust me – it’s everything you want to know wrapped up in a few short paragraphs that’ll enhance your understanding in a way it’s perhaps never experienced before. Wonderful.

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DVD Acrylic Painting || Chris Rose

My initial notes on this were rather frustrated – “talking head, too much detail, do I need to know this?” By the end, however, I was converted and I’m prepared to say that this is one of the best introductions to acrylic painting you could wish for. At nearly two-and-a-half hours, it’s longer than many films and, yes, it does go into a lot of detail. Do you need a full explanation and demonstration of stretching paper, for instance? Well, if you’re a beginner and you’ve never done it before, yes you do, and this is one of the few films that will show you the whole process in real time. I stopped banging my head on the desk long enough to give this a big tick. One-nil to Chris.

After a fair quantity of patient introduction, it’s time to get down to painting and the main body of the film is a single demonstration of a lakeside scene that includes a distant hillside, water and trees. The hillside allows Chris to show recession, the water brings in reflections and there are two lots of trees – middle and further distance, so detailed and not-detailed. It’s a rather brilliant choice and means that the work can be demonstrated in almost real time rather than having different topics introduced in separate demonstrations that are necessarily curtailed. If you’ve ever sat in front of a film muttering “but that’s the bit I wanted to see”, well, you’ll see it. Two-nil to Chris.

Oh, and finally, I like the man. He’s a warm and generous demonstrator who gets under your skin. He’s interesting even when he’s reminding you to clean your brushes before the paint hardens and they become useless. Three-nil and a clean sweep.

http://www.learnartandcrafthobbies.co.uk/portfolio/acrylic/

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South by Southwest || Jeremy Gardiner

Well, this is timely! This is an artist’s account of the South-West coast of Britain and comes just at the moment none of us can get there. Rather than just captioned images, however, each of the four main sections is curated (I don’t think that’s too strong a word) by a writer – Andrew Lambirth, Christiana Payne, Judith LeGrove and Steve Marshall. Their text covers more than just commentary and geographical information and includes history, interpretation and background material. The result is a highly cohesive whole, which makes this more than just an album or even a topographic account.

Gardiner’s work could probably be best described as interpretive realism. That’s to say, these are not simply records of views, nor yet flights of fancy. Rather, they capture the spirit of place and incorporate textures that reflect geological structure. Combined with the accompanying text, a quite remarkable sense of place is achieved.

The book was originally intended to accompany a touring exhibition at the St Barbe Gallery, Lymington, The Nine British Art and Falmouth Art Gallery. Quite what will happen to this is unclear, although maybe it will extend once we can all get out again.

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Ready to Paint in 30 Minutes – Mountain Scenes in Watercolour || Lesley Linley

Having lived for several years on Skye, Lesley is well-placed to understand the many moods and atmospheric variation of mountain landscapes and this latest addition to an excellent series covers everything from aerial perspective and tonal recession to textures in rock and reflections in water.

Each of the 32 projects concentrates on a single topic, so there are no complex scenes to get bogged down in. The whole idea is to develop your skills through simple exercises, each with a full-size A6 tracing that’s easy to transport and can be completed quickly. If you’re stuck on a larger work of your own, you could even break off for a quick bit of revision before going on – so much better than spoiling the whole thing at the last minute!

This is a delightful book in a series that’s already been well thought-out and Lesley’s confident approach makes it especially easy to follow.

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Mixed Media Landscapes and Seascapes || Chris Forsey

If you’re into mixed media, or Alison C Board’s excellent introduction has whetted your appetite, you’ll welcome this thorough guide to landscapes.

Chris works in watercolour, oil, ink, acrylic and pastel and he shows you here how to create what can only be called dynamic images by judicious combinations of some or all of them. From the simple application of gouache to highlight breaking waves to a summer lane done in watersoluble and oil pastel, Chris demonstrates ways of capturing atmosphere through careful use of materials. He is particularly sound on the use of texture to create form and pick out highlights.

The book itself has a good mixture of discussion, exercises and demonstrations. Chris will show you what you’re trying to achieve, allow you to practise the effects you want and then move on to a full demonstration that brings everything together nicely.

There’s plenty of variety here and a host of illustrations that make everything clear and easy to follow. My only complaint is that some of the reproduction is a little unsharp, making it difficult to see some of the detail when that’s what you really want.

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Mastering The Art of Landscapes || Sarah Hoggett & Abigail Edgar

This was part of a series that was originally published a few years ago, but here has a welcome reissue. The style and presentation remain fresh and the colour reproduction shows little sign of age.

The book is a portmanteau and showcases watercolour, oils and drawing media. That may mean you get material you don’t think is relevant to you, although you may also feel that the different approaches that are demonstrated present ideas outside those you would normally expect. Some people can look at a cloud demonstration and see beyond the medium it was painted in, others need very specific information relating to colour mixing and mark-making. Neither group is wrong, you just need to take what you can from what’s presented.

What you do get is a thoroughly eclectic mix of topics, subject and mediums. There are skies, sunsets, rocks, trees, flowers, seascapes, waves and even rainbows. Each of the 30 demonstrations is fully explained and illustrated and the generous page format makes it very easy to follow.

The list of contributing artists is also impressive and includes David Curtis, Trudy Friend, Wendy Jelbert, Ronald Jesty, Ray Balkwill and quite a few more.

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Landscape Painting: The Complete Guide || Richard Pikesley

This is a bold claim which requires an artist of considerable skill and versatility to pull off at all, let alone successfully. In Richard Pikesley, Crowood undoubtedly have their man. An experienced artist and teacher, he is equally at home with oil and water-based media as well as drawing and pastel (although this latter does not receive extensive coverage).

At 224 pages, this is a substantial book that addresses the creative as well as technical processes. Richard begins with the whole question of seeing: that is to say, looking and observing, finding and understanding your subject. It says a lot about his overall approach that this is the starting point of the book, just as it should be for a painting, before brush or pencil hits paper or canvas. It’s also where he looks at perspective and parallax in both monochrome and colour. There’s a surprising amount of detail here and the subtleties that Richard finds even at this early stage are typical of the book as a whole – it’s about a lot more than just process and technique and the extent gives him space to consider much more than just major points and general headings.

As you may have gathered, there’s a lot to read here, although it’s leavened with plenty of example illustrations and the sections are nicely broken up. Extensive texts can, while invaluable, easily become indigestible in a practical context and the publisher is to be congratulated on recognising this. Richard has also chosen his words carefully and has not written simply for the sake of it, something I’ve seen happen when authors are given more space than they are perhaps used to.

Much of the book proceeds by explanation and example and there are only a few demonstrations, but this is not an exercise book – however useful and instructive those can be. Reading, rather than doing is not for everyone, but this is such a comprehensive study that this potential obstacle should be easy to overcome, especially with the wealth of illustrations that leaven and enhance the text.

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Kurt Jackson’s Botanical Landscape

Kurt Jackson is that rare creature, a creator who is as at home with the written word as he is with the paintbrush. Eloquent in both media, this is his account of the natural world as he sees it. If this was a collaboration such as say, Robert Macfarlane’s The Lost Words, you’d describe it as an illustrated account, or perhaps a curated portrait. As it is, though, the two strands are inseparable and the paintings, drawings, poems and accounts of travels, excursions and experiences are a single piece.

I said that Jackson is a rare creature, and the truth is that this is a unique work and has to be taken as a whole. The words don’t explain the pictures and the pictures don’t illustrate the words; both account for the landscape as it is and as Jackson sees and experiences it. To open the book is to enter a world that is very personal, and yet at once recognisable. As individuals, we’ve all been caught in motorway jams and wondered at the variety of flora that populate the verges. (That’s from a chapter entitled Weeds that makes it clear that these neglected plants are anything but second-class citizens). We’ve also marvelled at the majesty of an oak tree and perhaps wandered through the undergrowth of a woodland, disturbing small creatures as we go.

So, what is the book like? Well, imagine looking out of an all-seeing window and listening to the words of an eloquent writer. Somehow, the two meld and sound becomes vision, vision sound. It’s no accident that Robert Macfarlane contributes a preface. He gets it.

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