Monday, 8 June 2026

Every morning I wake up to see Shanghai.

Every morning I wake up to see Shanghai. Here is the view. A monoprint I made in 2010.


Here is how I captioned the piece: 

The city is cut in two by the Huangpu River. 
Shanghai is my entry into China. Tall towers, architectural flights of fancy dwarf side-streets.   
I discover one street close to the hotel is crammed full of artist material shops.

Originally posted on September 10, 2005, 

 

Left Hang Zhou on Friday evening for the weekend in Shanghai. 


Explored the side streets on Saturday morning for art stores and returned later that day and the next (!) to buy exquisite brushes and paper and Chinese ink at low (low) prices before I left Shanghai.  




We were later scooped up by local colleague’s and people-carrier-ed over to the Shanghai Museum. The building itself is an architectural masterpiece – inside and out, surrounded by lots of other great buildings, planning controls for new buildings obviously take little account of what is there already so the result is a real casserole of different styles of modernity(!) Inside we toured the sculpture, furniture, jade and bronze collections and saw some fabulous works of art dating back 6000 years and came away in awe.




 

Off to the old Bazaar, which was full of new things. These included Starbucks, MacDonald’s Haagen-Dazs and KFC. But the buildings were very authentic and many more are being restored. 



It was time for a late lunch in Lo Bo Lang Restaurant a famous restaurant, famous for its food and the famous people who have eaten there before us; including Clinton, The Queen, Peter Mandelson (oops) they all have their pictures on the wall as you enter the main dinning room.

 

The rest of the team were out on separate social events. I was pleased visit the hotel’s Italian restaurant. On the way through the lobby I was hailed  by an attractive girl in a short evening dress. 

“Massage?”  

“No thanks” I said and strode forward purposefully towards my meal. 




 

Leaving afterwards the same lady: “Room number?”

I smiled dolefully and scurried down the escalator towards the lifts and safety.

 

 Sunday, more escorted activity, shopping. First stop was the Fabric Market where Tracy had to collect the coats and dresses she had ordered and been measured for a week earlier and then on to The Fake Market. Well, not actually, we were taken to The House, a place where you enter a ground floor private room shelved out with ‘wares’ mainly handbags and other leather goods. 


One of the shop keepers wanders in with aluminium attaché cases each of watches. Purchases were made by the assembled tour group.

 

Little more to do. Back to the hotel, more email and packing (mainly quarts into pint pots) and preparing for the journey back. 


No female stalkers on Sunday evenings. After a light supper colleague Tracy and I went up to the 50th floor of the Bund Centre where they play jazz every night. We stayed for an hour looking listening to some mellow music ....



and looking out across the river at night and a hundred thousand coloured lights across the city. A far away land, full of wonderful people. Just in Shanghai and neighbouring city Hang Zhou I know enough to know that I want to come again.

 

Seeing once is better than hearing a hundred times

(Chinese proverb)

Monday, 1 June 2026

Ideas for keeping travel sketchbook

 



1986 - 2026: 116 books, therefore about 8000 drawings 


Start point: It isn’t about perfect drawings — it’s about capturing experience before your memory edits it into something boring. The best ones feel like you could step back into the day. Here are the practical guidelines artists actually follow (and break when needed):


1. Draw fast, not well

Travel sketchbooks thrive on immediacy.

  • 5–15 minute sketches
  • Accept wonky perspective
  • Capture placement + mood, not detail

If you only have time for three lines and a shadow — that's enough.
Oddly, those often become the most alive pages.


2. One idea per page (or spread)

Avoid cramming everything in. Pick:

  • One street corner
  • One café table
  • One church tower
  • One hill view

This gives each page breathing space and makes flipping through the book satisfying.


3. Mix drawing + words

Write down things you can’t draw:

  • Weather (“windy, warm light, smell of bread”)
  • Sounds (bells, traffic, birds)
  • Colour notes (“cool violet shadows”)
  • Time of day

The writing is what turns sketches into memory anchors.


4. Simplify shapes first

  • Big sky
  • Mid-ground block
  • Dark foreground – shadows? 

Squint, reduce, then sketch.  You’re designing a painting, not copying reality.


5. Limit your palette

Typical compact palette: Everything else gets mixed. This creates unity across pages.

  • Warm red
  • Cool blue
  • Yellow ochre
  • Ultramarine
  • Burnt sienna

6. Leave pages imperfect

Don’t tear out “bad” pages. They’re gold.
They show:

  • Progress
  • Weather shifts
  • Mood changes
  • Real travel rhythm - Perfect sketchbooks feel fake. Slightly chaotic ones feel lived-in.

7. Vary the page types - Mix:

  • Quick thumbnails
  • Full page sketch
  • Small colour study
  • Detail drawing (doorway, tree, pub sign)
  • Map sketch

This keeps the book visually interesting.


8. Use pens 

Ink forces decisions:

  • No overworking
  • Clear shapes
  • Stronger composition

Pen + loose wash is the classic travel combo.


9. Date and location (always)

Future you will thank you. This turns the sketchbook into a visual diary.
Even just:

  • "Tuesday — Whitby harbour"
  • "5pm — rain clearing"

10. A simple travel sketchbook ‘formula’

When you sit down somewhere. Give yourself 10 minutes

  1. Look for biggest shapes
  2. Light pencil or straight pen
  3. Add 2–3 colour washes
  4. Drop in shadows
  5. Write a few notes
  6. Stop before overworking

What makes a travel sketchbook really good?

Not skill. Not detail. Not realism. 

It’s about Pen first. Colour second. Stop early.

Think: visual postcards to yourself.


 

www.timbaynesart.co.uk  Originally composed April 2026

Friday, 22 May 2026

ART AND IDEAS Volume 3


 

A short newsletter bringing ideas in creativity, sources of inspiration, galleries and artists + any other valuable snippets on which I stub my toe! 

 

1. Under the Hammer 

e.g. Sotheby’s,  

The big auction houses, Sotheby’s and Christies, send out wonderful newsletters each week. Given their close ties to the USA, they often bring examples and insights or work from that particular part of the world. Consider signing up?

 

2. New Discoveries: Emily Patrick


Every now and again an artist passes my line of vision and things are never quite the same, and life is better. A week or so back I caught the review in The Week of Emily Patrick’s show. The show has ended. Then thank goodness for a wonderful downloadable catalogue. At college we were always encouraged to seek out the work of the artists and make meaning of it for ourselves and in our own practice. Thus it is with Emily’s work. This link might give you some sense of my excitement… https://emilypatrick.com/show.php




 

3. I’m Backing British*

Bernard Jacobson Gallery presents a group show of paintings, prints, sculptures and works on paper by British artists. This gallery/organisation is a powerhouse of all that is wonderful about British art (1900 – year to date) British Art : Part 1  

Enjoy the link…

British Art : Part 1



4. London Boy: Leon Kossoff.

Gallery Piano Nobile have published a fab piece on Kossoff. 

Link: https://www.piano-nobile.com/artists/1165-leon-kossoff/  Frank Auerbach (whom I worship) was a close friend and artistic peer of Kossoff’s over 70 years. They met at St. Martin's School of Art in the late 1940s, both studied under David Bomberg, shared a studio for a time, and were known for their thick, heavy impasto techniques.  Bomberg to be featured here soon.


 

5. Education Slot #self-improvement.

Any artist-printmaker that opens her promotional round robin with 

‘Last week I visited the John Piper exhibition at Wiltshire Museum in Devizes - what a treat! It is a fabulous exhibition and definitely worth going to.’  Gets my attention. I claim bragging rights for knowing and working with hannah@hannahcantellowstudio.co.uk

So here is a link to her programs workshop and such.  

You know what? I might sign on for one of those drawing trips

Hannah’s full newsletter here

THANK YOU  Another issue in about six weeks




Thursday, 8 January 2026

What To Look For Winter

Casting around for a theme/ the subject that my group could paint an upcoming class in mid-January I suddenly thought about the lanes in hedgerows hereabouts. How these things might be put together as an arranging to draw and paint. And this prompted to pull that wonderful Ladybird book What To Look For Winter off the shelf. 


Ladybird books were those treasures we used to read before children were given tablets and kindles. Arguably Ladybird books were more fun and nourishing.

 On my walks this week I started looking closely at the colours and shapes of plants and trees. And took these photographs for reflection. The collection is not complete however it does make you think about what is available and how very wonderful it all is in Winter…. 


Translations into watercolour

 

Then I imagined it might be good to see how the snaps translate into watercolour. These treatments might inform how others might, just might, want to consider tackling the subject we will set out on the painting table on January 19th

 

Ladybird book What To Look For Winter by E L Grant Wilson with illustrations by C. F Tunnicliffe, R.A. Published 1959 Ladybird Books Ltd Loughborough all copyrights ownerships or gratefully acknowledged by this author.