Category Archives: David Bellamy

Blog Posts by the artist David Bellamy

David Bellamy – Adding energy into your watercolours

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Artists who work solely from photographs really do miss out on those marvellous energizing sensations of being tossed around in the wind, or being spattered in face and sketchbook by rain, snow, hail, or whatever. These sensations link you with the natural world, and provide a tremendous advantage when you wish to really make your paintings more dynamic and full of movement. But, of course, not everyone wishes to go through such experiences.

This  section of drystone wall and wind-swept bush is part of a watercolour painting where I began with masking fluid painted over where the stonework would appear. The dark bush throws up a strong tonal contrast with the top of the wall, and after this had dried I removed the masking fluid and brushed a light blue-grey wash over the right-hand end of the wall to subdue that part.

For the branches I mixed some burnt umber and French ultramarine and applied it with a number 1 rigger. To give a sense of strong wind and movement I painted with vigorous strokes outwards from the centre of the bush. When this was done I spattered a number of small blobs or spots with the same mixture, to further enhance the feeling of robust movement in the branches. With all the branches bent in the same direction it suggests a rather windy day.

Watch for these effects when you are out and about, and note them, even if you don’t have a sketchbook or camera with you. You can, of course, include them in a composition where there is no wind, just to liven things up a but, or to create a sense of movement. This can be really effective on water – I’ve just returned from a few days in London and when sketching on the Thames the water was alive in the wind, creating a real sense of sparkling movement in the sunshine.

Have a go at this more vigorous approach – it really does give your work a marvellous boost.

David Bellamy – Exploiting plastic food wrap in a watercolour

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The first snowfall of the winter arrived last Wednesday, and with glorious sunshine slanting across the landscape I abandoned all work and set off up into the hills. Familiar scenes lay transformed into jewels sparkling in the light. At one point I had a sudden urge to seek out a view at a point I had never stood before, a sort of premonition that I might find something exciting there. It was not far off the path, but about 200 yards across rough dead bracken covered in deep snow – ideal terrain to trip over and get a nice refreshing snow-bath.

When I reached the point there was no wonderful view, but as I turned back the scene before me really caught my imagination. It was a familiar abandoned house, but from a totally new angle, the whole image enhanced by the deep snow. It certainly brought it home to me that you can often find amazing new scenes simply by approaching the subject from a slightly different viewpoint.

One technique I sometimes use, mainly for foregrounds is that of covering an extremely wet wash with plastic food wrap, as I did here in the watercolour of highland deer that I came across in Glen Affric. In this instance I used Winsor blue, in places mixed with a touch of cadmium red, and varying the wash so that in places there was less strength in the colour, and even parts without any colour at all. You need to leave the food wrap in place until the wash dries completely. The method gives a spontaneous feel to the finished work. Experiment with various colours. It’s great fun to try this without any preliminary pencil work – you can do several examples at once – and when the work has dried you can see the optimum position to place your drawing before doing any further painting, and thus taking optimum opportunity of how the effect has developed.

This painting appears in my Winter Landscapes in Watercolour book and DVD, which you should find especially useful if you enjoy painting snow scenery. It is crammed with tips on how to bring sunshine into your paintings, creating misty effects wet in wet, transforming a scene by altering tonal effects, making the most of warm colours in winter, and much more. If you wrap up well, use a thin pair of gloves and carry one of those vacuum cups with warm coffee, you can make the most of a snow scene caught in the lovely low sunlight of a calm winter’s day. Leave the food wrap for the studio though!

David Bellamy – Sketching complicated harbours

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It’s a tremendous bonus when everything seems to work so well – my Christmas holiday was extended this year by a trip to Devon, and my luck was in: Dartmoor was at its best in frosty conditions with not a cloud in the sky. I was also greeted on the coast with lovely sunshine and some strong atmosphere at times, which suited me down to the ground.

I carried out a couple of sketches of Teignmouth Harbour in late afternoon lighting, and as it is an extremely detailed scene I really needed to subdue the urge to put everything into the sketch. What really attracted me was how the sunlight and cloud shadow highlighted various aspects of the scene, so this called for patience to wait for the right moment to capture those parts that attracted me. The far hillside was crammed with buildings, so my aim was to use cloud shadow to reduce this overwhelming mass, and also to throw the emphasis onto the white boat. I worked on blue-grey tinted watercolour paper, using white gouache for the highlights, much of the washes being done later. Although some of my houses are a little too large, this matters little in a sketch as the finished work can be corrected. Being selective about what you include in a composition is vital, otherwise the work becomes far too cluttered.

This paper is kept in loose sheet form in a sketching folder, with several other types of paper, some of which are tinted, some NOT (or cold pressed), rough or hot pressed, and this gives me great flexibility in choosing the right paper for a particular subject. Carrying a pad for each type of paper would probably need a packhorse with me on sketching trips, so think about making up a pack of sheets of your favourite papers when you work away from home, or on holiday. For further guidance on light and atmosphere see my Skies, Light & Atmosphere in Watercolour 

I hope you all had a great Christmas and wish you much happy painting in the new year.

David Bellamy – Sketching in Tenerife

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Victor & Kaj at Masca smI’ve just returned from a week of glorious sunshine in Tenerife – a stunning place for the artist who likes dramatic rock scenery in all sorts of amazing colours. At one stage my feet seemed to be on fire from energetic hiking across sharp volcanic surfaces. Mostly I was alone, hiking and sketching in the mountains, but on one day I wanted to do some work in the amazing Masca Gorge. Unfortunately this would involve no less than 3 buses just to reach the top of the gorge, so to have any hope of actually doing it I needed to join a trekking company group trip. For the artist, however fast she or he works, sketching with a group is quite a challenge.

I chose the Scandinavian Canary Trek as they are a small company well tuned to the natural environment, and don’t take massive groups as some do. It was only when we were halfway to Masca that I mentioned to Victor, the Chilean guide, that I wished to do some sketching. Happily this did not phase him, and he only had three of us to look after. The other two were Finnish friends, Kaj and Krister and we moved quickly down the incredible gorge, seeming to cross the stream about 40 times. I mainly did pencil sketches, working in a linear manner when happily most of Victor’s stops to explain features coincided with a good sketching point. When this didn’t happen I simply filled in details and tones from memory. Over the years my visual memory has become well developed, though occasionally more than just a little imagination does tend to creep in! In the above photo of the Elephant Victor is on the left and Kaj crossing the stream.

The one watercolour sketch of that day was finished later, and shows the sunlight striking the top of the massive crag at the end of the ridge on which part of Masca village is clustered. This is the start of the walk, and truly spectacular. For this I used a cartridge pad. In a painting I would move the central palm tree a little to the left, as it bothers me being so central. This is another reason why sketches are so important: they can highlight problems before you make them on the main painting. If you go out with non-artists and wish to do quick sketches then preparation is the key. Sharpen all your pencils beforehand, carry a small box of 5 or 6 colours of Inktense blocks or watercolour sticks, a sketchpad, water and 2 or 3 brushes. Watercolour pencils are also useful, but do keep your kit simple and easily and quickly accessible. Don’t forget a camera, of course.

Tenerife is a great place for the landscape artist – yes, it has mood as well as strong sunshine, and the colours are amazing. My only regret was to forget to include Perylene Red in my paintbox, as it was very prominent in the volcanic areas. If you’d like a little adventure I recommend Canary Trek

David Bellamy – Creating a feeling of past times in your watercolour landscape

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The vast range of styles, approaches and emotions generated in our paintings makes the art world such a wonderful place for us to explore. It never ceases to amaze me what an exciting world we have in the arts. I mention emotions in particular, for to respond with passion and feeling is vital in whatever genre we paint. Sure, we all do ‘bread and butter’ work, as it’s not easy maintaining that level of high emotion for our most important works.Road to the Brecon Beacons sm

Emotion in art is often triggered by a sense of nostalgia, and one small, yet effective way of introducing this into landscape paintings is to include symbols of yesteryear, whether you are painting old sailing boats, steam locomotives, or whatever your theme may be.

In this watercolour the old county road stretches away towards the Brecon Beacons, and on the right-hand side I have included the old sign-post that still stands there. This style of sign-post is slowly disappearing from the British countryside, and it’s amazing how including just a minor element like this can evoke a marvellous sense of the past. Watch out for these little gems if you like to put across this feeling of past times in your paintings. The signpost was created with masking fluid which will give you a strong, stark edge to the feature.

This is one of several of my paintings now on display at the Ardent Gallery in the centre of Brecon, tel. 01874 610710 Pop in and treat yourself to a coffee there while you look at the Christmas show.