Category Archives: David Bellamy

Blog Posts by the artist David Bellamy

David Bellamy – Painting woodland scenes in watercolour

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My last blog featured autumn trees, and as it’s such a good time to be working on trees I’ll follow it up with summer trees which can be adapted for autumn trees if necessary. Woodlands are great places at this time of year when the autumn mists create fascinating, soft backgrounds. Even in sharp visibility I tend to make woodland backgrounds less harsh as it adds a sense of mystery and simplifies the composition.

Woodland trees

This is part of a painting of a beechwood and you will see that I’ve given a different treatment to each of the three main tree-trunks. The right-hand tree was painted in while the background was still damp, and this included the foliage as well as the trunk. The soft, cool colour suggests distance. When the paper was dry I painted in the middle tree-trunk onto dry paper. The sharper edges tend to bring it closer, yet there is still no detail on the trunk. Finally the closest tree has been made larger and with strong detail and dark tones, thus really bringing it forward. I’ve also made use of the dead leaves of the previous winter lying on the ground, to enhance the warm foreground and hence push the rest of the scene into the distance.

The complete painting can be seen at Erwood Station Craft Centre, with several others. I shall be demonstrating there on Saturday 23rd November from 2pm to 4pm, on how to rescue watercolours that have not quite worked, and how to improve parts of a painting with which you may not be happy with. The cost of the demo is £7 which will be donated to the Welsh Air Ambulance. Erwood Station lies beside the beautiful River Wye, about 8 miles south of Builth Wells, and is a lovely place to explore, stop for tea and refreshments and walk some of the footpaths. At the moment Erwood bridge is closed, so you either need to approach the centre from the north via the B4567, or if coming from the south cross the Wye at Boughrood bridge and drive northwards with the Wye on your left. Ring 01982 560674 for information.

Capturing autumn colours in watercolour

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Autumn colours have been late arriving this season. I’ve just returned from running a painting course in Snowdonia, hoping for a blaze of colour, but sadly only a few trees co-operated. Despite the strong winds a lot of leaves remain on the trees and it is still worth getting out and seeking colourful subjects out there.

autumn trees

This is a small demonstration piece I did for the group. While I use a number of warm colours for autumn trees, here I’ve applied gamboge, a lovely warm yellow, with cadmium orange. To make your autumn colours really sing you need to juxtapose them against a mauve or blue-grey, as these are complementary colours. You will see this phenomenon at its best where autumn trees stand against distant hills or mountains, or against a dark sky as in the painting.

There are some good examples of this in my Mountains & Moorlands in Watercolour book, and the DVD of the same name. There is a special offer on this package, which is only available on my website.

At the moment Jenny is working on a fascinating staged pastel painting of a Moroccan scene – I pop into her studio every now and again to have a peep, and you can find it at on her blog 

Don’t forget, my exhibition in Lincoln Joyce Fine Art continues until Saturday 9th November, where you will find some watercolours from some of my books, as well as new paintings. They can be found at 40 Church Road, Great Bookham, Surrey,  Telephone 01372 458481

David Bellamy – Painting in harbours

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Harbours and moorings are often not the easiest places to sketch and paint when you find a mass of boats, masts and other nautical paraphernalia confronting you. How can you work out which mast is attached to which craft, and is that an oversized cabin or a bouncy castle in the distance – this can be especially difficult to work out in poor lighting.
Heybridge Basin
This is part of a watercolour painting of Heybridge Basin in Essex. There were many more boats than I’ve shown, but I’ve eliminated much of the visual clutter, concentrating on the more handsome vessels. This is the best way of avoiding the effect of a jungle of massed detail. When you want to identify the important and most attractive boats it helps to move around and sketch and photograph from slightly different angles. This helps to see which feature belongs to which boat. A pair of binoculars can help if you are some distance away, and watch for changes of light which can give further clues.

In your rendering of the scene try to keep the background fairly simple, otherwise too much detail will confuse the composition. Harbours can be notorious places for strong background features that can
dominate if you are not careful. In this scene I have kept the background trees devoid of any detail so that the emphasis is on the boats.

You can see the whole of this painting in my exhibition at Lincoln Joyce Fine Art, at 40 Church Road, Great Bookham, in Surrey telephone 01372 458481. The exhibition continues until 9th November and is open 10am to 5 pm, Tuesday to Saturday. There are more details on my website.

David Bellamy – Improving the sky in a watercolour

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On Tuesday 22nd October my exhibition opens at Lincoln Joyce Fine Art in Great Bookham. The watercolours cover a wide range of subjects, from mountains and pastoral scenery to coastal scenes. It’s many years since I featured any of the lovely old sailing barges in a collection, so I’m pleased to say that I’ve included some in this one.

Blackwater Mooring

The image shows a barge moored on the Blackwater near Heybridge Basin: the original sketch was carried out on a really gloomy afternoon not long before the Essex monsoon arrived. As so often happens, I tend to paint a different sky in the finished work, and have many sketches and photographs of skies for reference. In this instance I felt a brighter sky with an atmospheric distance would work well. The blue part of the sky was done with coeruluem blue, while the main clouds are a result of mixing French ultramarine and cadmium red, which was also used in the distant shore.

However, skies are not just about colour and atmosphere. Giving the compositional aspect of a sky some consideration can really enhance your painting, and here I have arranged the cloud shapes to lead towards the barge, which is, of course, the centre of interest. Note that even the soft-edged cloud in the lower right arrows its way towards the prow of the vessel. The soft edges were created by running the colour into damp areas, wet-in-wet. Also, the orangey-yellow area in front of the mainmast with its associated reflection in the water, helps to draw the eye towards the barge.

You can learn more about skies in my book Skies, Light & Atmosphere, available from my website  If you would like to attend the preview of the exhibition on Saturday 19th or Sunday 20th October, or attend the watercolour demonstration and talk on the Sunday in the Barn Hall opposite the gallery, then please ring the gallery on 01372 458481 The gallery will be open from 10am to 5pm. Lincoln Joyce Fine Art is at 40 Church Road, Great Bookham, Surrey KT23 3PW The exhibition ends on 9th November.

Sketching mist streams in the Canadian Rockies

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I’ve not long returned from a trip to the Canadian Rockies, where the mountains rise high in truly awesome splendour. I managed around a hundred sketches, many in watercolour, and the hot, sunny weather made it really a pleasure to be out sketching. Luckily I had some bad-weather days as well, even some snowfall, and this gave my work that added atmosphere: when you can see everything there is no mystery.

Canadian Rockies

This watercolour of Stoney Squaw Mountain near Banff was done on a cartridge sketchbook, showing fresh snow and wreaths of mist, which many find difficult to tackle. If you use copious amounts of water and keep your edges soft (sometimes you need to soften edges that have dried hard with a damp brush). Obviously experience with the wet-into-wet technique helps here, and you may well need to re-wet some areas to create misty shapes of crags, trees and ridges.

One of the great advantages of the colour sketch over a photograph in a situation like this is that you usually find the camera will record simply stark contrasts of dark rock and white snow, losing any sense of colour, unless strong light is highlighting  any colour. When sketching, observe carefully any colour present in rocks and vegetation, even exaggerating it if necessary, to avoid the work looking too cold or sombre.

I can’t wait to get going on some enormous compositions of the Canadian scenes.