I’m currently working on another moorland landscape. Here’s what I’m thinking as I paint.
- Long lines seem to be inscribed on the moors which become overwritten with the roads, paths and field boundaries as the cross, join and erase the earlier marks.
- There’s a papery feeling to the flat spaces of the high moors, especially when the grasses are dry.
- I Read that the underlying shape of the moors was created by successive ice ages over the last 500 thousand years. The glaciers rolled over the hills and they were worn smooth by the grinding action of the slow-moving ice. That’s amazing to me.
- Horizontals elements in this landscape are strong, with vertical elements remaining only as ‘grace notes’.
- Muted colours from grass, gorse and bracken gather their luminosity and vibrancy by their being right next to colours of similar tone but different hue.
- Grasses create areas of velvety softness to annoy artists.
- Distant towns are ultramarine blue and raw umber and often contain bright white roofs from out of town shopping centres and industrial zones – a contrast to the immediate wildness of the moor.
- Aerial perspective is achieved by the subtle graduation of tones towards whiteness at the horizon. And also by the natural cooling of foreground browns and reds towards cooler umbers and ochres at the horizon.