60 Artists & IllustratorsPlanning what to take on location is
essential, so keeping equipment simple and
portable is important. The following is by no
means a comprehensive guide but my own
choice for working in mixed media.HERRING VERSATILE EASEL
This is extremely light and has the
advantage of folding flat. It is perfect for
travel by air as it can be put inside a
suitcase. I have a shoulder bag for carrying
my materials, which I hang on the easel
with a hook to help stabilise it in blustery
conditions. Additional useful accessories
from the manufacturer include a clip-on tray
and an extension for larger boards.DALER-ROWNEY
ZIP FOLIO CASE
I use this to carry my sketchbooks, drawing
board and Herring lightweight stool. As I
prefer to stand to paint, the folder also
makes a useful table for materials when
placed on the stool.SKETCHBOOKS
I use two types of sketchbooks for different
jobs. For atmosphere sketches in charcoal,
I use an A3 Winsor & Newton Cartridge
Sketch Pad. For quick studies
in pencil, pen and watercolour, I use A4
and A5 Daler-Rowney spiral bound
hardback sketchbooks.RAY’S OUTDOOR PAINTING KITin this case, it is best for it to lie outside,
instead of inside, the picture area. This
means that the eye is led out of painting,
suggesting that more is going on. Including
buildings, animals or figures can also give a
sense of scale, as well as adding life and a
focal point to the picture. Most landscapes
are painted in a horizontal format, but
sometimes a square or portrait view can
work equally as well.
Foregrounds are important. Without them
it is impossible to appreciate the scale and
grandeur of a mountainous scene. However,
although we see more detail in the
foreground, it is better to simplify this. I often
take a lower eye level and look through
grasses to make the scene more interesting.THE WATER
Mountains and water – the two just go
together. Rivers, waterfalls and lochs impart
a life to the landscape. Few painters can
resist painting a mountain stream or
waterfall, yet are often disappointed with the
results. The bubbling, dashing turbulence is
often transformed into something static andlifeless in paint. Simplifying and working with
speed are my tips for success, whatever
medium you choose. I find using a vigorous
treatment will carry far more conviction,
particularly when painting moving water.
When working in watercolour, masking fluid
can be useful in reserving the highlights as
in mixed-media Moorland
Falls (above).THE SKIES
One of the most exciting
things about mountainous
terrain is the weather. I am
disappointed when there are
cloud-free days, as clouds and
their shadows add so much
atmosphere. Although the
changeable weather can be
frustrating, it is the different
light and transient moods that
define the character of a
place. I set the mood of the
picture by painting the sky
first, focusing on the most
interesting part of the sky.It is surprising how many artists treat the
sky and landscape as separate subjects.
When painting skies, it is important to work
quickly to organise the arrangement from the
outset – and then stick to it. Another
important consideration is the proportion of
space devoted to land and sky, and whether
you choose a high or low horizon. Of course,
in this kind of terrain, it is the landscape that
tends to dominate, with the sky playing a
secondary role.
I came across a lovely quote by the
19th-century, Scottish-born naturalist and
early conservationist, John Muir. His words
summed it up when he said: “Only by going
alone in silence, without baggage, can one
truly get into the heart of the wilderness.
All other travel is mere dust and hotels and
baggage and chatter.”
Explore Ray’s painting courses in Scotland,
Devon and Cornwall at http://www.raybalkwill.co.ukLEFT Moorland
Falls, mixed
media on
paper,
36x53cm
BELOW
Autumn Light
over Loch
Kishorn,
mixed media
on paper,
33x46cm58 Ray Balkwill.indd 60 07/04/2017 11:02