Category Archives: David Bellamy

Blog Posts by the artist David Bellamy

David Bellamy – Creating a tranquil mood in a landscape painting

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As many of you will be aware, I love painting wild seas crashing on a rugged coast, but there is much to be said for the calmer moments. To emphasise this you need to concentrate on the horizontal elements as you will see in the painting below.

As you can see, the sky comprises a series of horizontal cloud effects of evening light, and this is further emphasised by the long, horizontal horizon, with the vertical features such as the mature trees pushed well into the distance. To further enhance the calm mood of the scene the washes laid over the estuary are flat, undetailed ones, and even the line of waders in the foreground conforms to a horizontal pattern. And what if you’re looking for a suitable animal to include in a calm scene – well for me none can compare with the dear old Friesian cow for suggesting a scene of utter calm and tranquility.

This painting can be found in my Seas & Shorelines in Watercolour book which is available from my website  The original painting is on display in the Attic Gallery in Swansea, Tel. 01792 653387  The gallery is open from Wednesday to Saturday 10am to 4pm and can be found at 37 Pockett’s Wharf, Swansea, SA1 3XL where a number of my paintings are on display at the gallery with a lot of other exciting artwork.

    Enjoy your painting!

David Bellamy -Painting stormy seas

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 This summer marks 40 years of my writing articles for Leisure Painter magazine, and the current issue (July 2021) contains an article celebrating this close relationship. Ingrid Lyon and her team are indeed lovely people to work with. The excellent Painters-online run by Leisure Painter and The Artist is also showing a film I recently made on how to paint a penguin, which you can see at  https://www.painters-online.co.uk/tips-techniques/watercolour/articles/how-to-paint-a-penguin-in-watercolour/    This was done from an expedition to Chile many years ago, when I visited a penguin colony near Puntas Arenas on the way to the Andes.

    I recently dropped some paintings in to the Waterfront Gallery in Milford Haven. It’s a lovely gallery on the quayside with plenty of parking and sketching space if you like painting boats and other things that bob about, so if you’re in or around Pembrokeshire do pop in if you have a moment.

    This is part of one of the paintings I left at the gallery, showing huge Atlantic breakers hitting the cliffs at Linney Head in extremely wild seas. I achieved the white splashes by leaving that part as untouched paper, but wetting the area to float in the blue-grey colour of the cliffs to define the splashes wet-in-wet in a negative way. When the paper had dried I then sharpened up some of the edges with the blue-grey wash, thus creating a varied edge around the splash. Do be extremely careful if you go out on a day like this, as the sea can be really unforgiving!

David Bellamy – Painting a Mountain Stream

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Where I live we are blessed with countless streams and waterfalls tumbling down the hills and mountains, and I like nothing better than to wander beside a mountain stream with sketchbook, well away from the hurly-burly of life. One mountain stream is worth far more than a thousand mental health quacks for our well-being. In my short demonstration painting last week on the Shopkeeparty site I painted a mountain stream on a misty day, as seen below, and on Thursday 13th will be doing a much longer, more considered workshop on the site.

    In the painting I aimed to lose much of the mountain and its detail in background mist, using the wet-in-wet technique, pulling out some of the colour on the left-hand buttresses with a damp brush to suggest light catching the boiler-plate slabs of rock. This was accentuated when the paper had dried by painting in the left-hand buttress which contrasts the softer-edged wet-in-wet approach used on the right-hand one. The central group of conifers was also painted wet-in-wet so that a real sense of distance was created when the dark-tones trees on the left were added. Notice on the cascade how the rocks are placed with hard edges at the tops and soft ones where the rocks rise out of the tumbling water. 

    Next Thursday at 3.30pm I will be running a 2 to 3- hour workshop on painting a waterfall with sunlight and autumn colours, and you are welcome to join me. I shall be showing you how to tackle many fascinating features:

  • how to introduce striking light effects
  • creating effective rock structures
  • making the most of exciting autumn colours
  • the magic of wet-in-wet passages
  • how to capture the energy of falling water
  • the importance of lost and found edges   …..and so much more!

    You will find further information at  Workshop: Autumn Waterfall with David Bellamy (shopkeeparty.com)
    I shall look forward to seeing you then.

David Bellamy – Introducing counterchange into a painting

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 One of the little subtleties I enjoy putting into my paintings is that of counter-change, sometimes simply to create a variation and sometimes out of necessity. In my recent workshop demonstration at Shopkeeparty I employed the technique for both these reasons in the painting of a farm in Nant Ffrancon.

This is the central part of the watercolour, and you can see the slate fence in the right foreground with two of its uprights light against a darker bush, while the rest of the uprights are dark against a light area of the farmyard. I could just as easily painted the two left-hand uprights dark and it would still have worked, so in this case it was painted like that just to include a little variation.

If we now move across to the barn on the right of the composition you will see that the roof has been painted dark of the left-hand side where it stands in front of a light background, and then the roof is depicted light on the right-hand side against a dark background. In this instance it was necessary to introduce counter-change to make the roof stand out at both ends. This is an extremely useful device to have in your artistic armoury, so try to incorporate it into your work whenever you can.

I have further Shopkeepeasy workshops coming up in early May and you are welcome to join in. The first is on Thursday 6th May at 2pm, is free to Shopkeeparty patrons and lasts 45 minutes, which you can check out at Mountain Stream with David Bellamy (shopkeeparty.com)          while the second one which lasts between 2 to 3 hours is on Thursday 13th May at 3.30 pm, which you will find at  Workshop: Autumn Waterfall with David Bellamy (shopkeeparty.com) for which there is a charge. Both events will feature a mountain stream with a cascade or waterfall.

I hope you are all able to get out into the countryside to paint and sketch now that things are easing up.

David Bellamy – Painting sheep and lambs in springtime

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 The onset of spring nearly always gives us all a sense of hopeful anticipation of more pleasing times to come, perhaps more so this year than ever before as we attempt to recover from this dreadful virus. I hope you are able to get outside and take advantage of the better days, and perhaps manage a sketch or two. For me, daffodils always make a powerful foreground feature, and it’s worth capturing some images of these while you are out.

     This image is part of a painting depicting lambs in early spring. Sheep are relatively easy to draw, but can pose problems for the unwary at the painting stage, especially where you have a light-coloured field caught in sunshine: you need a slightly darker area behind the sheep so that it stands out, and as you can see in this painting I have included several darker patches of grass in order to highlight the sheep. Generally I use Naples yellow for the main body, often leave a white top on head and body to accentuate the sense of light. This is normally left as white paper, but touching in a little white gouache can help rescue one that has not quite worked.

    When including lambs it is important to put across a sense of the relationship between mother and lamb, or between a number of lambs enjoying each other’s company. This makes it look so much more natural. Compare the lamb by its mother in the foreground with the one on the distant right which is lying on it’s own. The closer couple invoke a much more pleasing composition.

    One of the stronger background features is the gate. Although this has nothing to do with springtime I mention it because it is a good example of negative painting. Here, I have worked the darker colour around the gate and posts to define the light woodwork. I never include all five or so bars as it’s good to keep some hidden in the long grass! The painting was done on Saunders Waterford NOT 140lb paper.

    Enjoy springtime, and you can find more help on seasonal work in my book Landscapes Through the Seasons in Watercolour, which you can obtain as a signed copy from my website www.davidbellamy.co.uk