Category Archives: watercolor painting summer greens

David Bellamy – Back in Erwood

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There is something about the old stone bridges scattered about the mountain regions worldwide that feels such an idyllic subject for the landscape artist. The one I am featuring today stands on the River Artro in Snowdonia, a quiet, heavenly spot that has a calming influence on the mind. I have painted it a few times, and this view is looking upstream with light filtering through the trees.

The overwhelming greens in the top half of the composition have been tempered by the mixtures of French ultramarine and cadmium red in the lower segment, often with yellow ochre dropped in while the passage was wet. The contrasting effect of tall dark tree-trunks on the left, with the negative painting of the trunks of those saplings on the right helps to provide balance. The river naturally leads the eye up to the bridge, and I have kept the foreground water calm and lacking in detail in order to throw the emphasis on that which is closer to the bridge. The soft, blurred effect of the background trees also helps to accentuate the stronger lines of the bridge, and I have considerably reduced the number of trees in the scene.

I am delighted to say that the painting now hangs on display in Erwood Station art and craft gallery, which has just opened again, and very much in the manner of my dear friend Alan Cunningham who built it up into a highly popular venue, but who sadly passed away many years ago. It was quite an emotional moment to be invited back by Jenny, the new proprietor of the place that brings back so many happy memories. There are works by several artists and some of the most delightful crafts by talented local makers, as well as a terrific tea shop once again, and a beautiful river walk beside the Wye, so do drop in – it’s about 8 miles south of Builth Wells, just off the A470, telephone  07584 258947.
   
Finally, I’m so sorry I’ve been off the air for so long, but I went down with the ‘flu in December when I was about to send out a Christmas message, and so missed seeing the family over Christmas, including Catherine’s amazing performance as the Genie in Aladdin at East Grinstead. It took a while to get over it, and in mid-January I set off for northern Italy to explore the Alpine scenery around the Aosta Valley, though still not in perfect trim. However, it proved to be a spectacular trip and I will be covering it in my next blog. In the meantime I hope you are all making the most of this absolutely beautiful weather for sketching landscapes.

David Bellamy – Capturing colour and texture on tree-trunks

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Trees are some of the loveliest subjects to paint, whether they are part of your composition or the subject itself. Often, the villagers where I live, seeing me setting forth with knapsack will enquire where I am going.

“I’m off to find a tree,” I reply. They tended at first to look in puzzlement as several hundred trees would be visible from where we stood. Now they know I am scouting for good specimens of trees to sketch, for it’s always reassuring to know that your sketchbooks contain many examples that can be placed into a composition that needs just a little extra. Trees that are close by and reveal fascinating trunk detail make exciting subjects.

I loved the way the branches twisted snake-like in all directions on this oak, but it was the colours and textures of the lower trunk that excited me most. Seek out colour in the bark of trees and exaggerate this if need be to accentuate the character of the tree. Find good examples – not all oaks display a handsome profile – and take the outstanding textures of one tree to enhance another, perhaps more shapely specimen to combine them in one within your composition.

This illustration is taken from my new book Landscapes Through the Seasons, just published by Search Press. It includes a great many examples of trees in their various states. Many artists find summer is the most difficult time for painting trees and there are many tips and techniques for tackling all that greenery and making your trees look so much more authentic. Signed copies of the book are available on the website at www.davidbellamy.co.uk

 In the current issue of Leisure Painter magazine there is a competition to win one of my original watercolours, so do check it out.

With England once more in lockdown these are not easy times, but through our painting we can escape into other worlds. With thousands of sketches from many parts of the world I find it a great solace to be able to paint scenes from far-flung places while working in my studio, bringing back memories of exciting times amidst some remarkable people and places. So many of the sketches are linked to stories. I hope you are also able to conjure up these times through sketches, photos, diaries or even books about places where you’ve been. Sometimes all we need is a little spark to set us off on an inspirational painting, and these are some way in which to light that spark.

David Bellamy – Making the most of summer landscapes

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I’ve at last managed to see my grand-daughter after nine months…..far too long a time, but the re-union was a wonderful moment! Bit exhausting as well, keeping up with a lively 3-year-old. That, and other urgent work has kept me from doing any blogs for 6 weeks, I’m afraid.

Summer still clings on with some beautiful days, the trees in fine form. When painting summer trees in full leaf I find it easiest to do the foliage in two stages, firstly the lighter colour – usually green – and then the darker, shadow green. It pays to run your branches into the darker shadows, losing them naturally rather than in stark contrast. Make sure you stab little spots of the green outside the main boundary of the foliage as you see in the watercolour below, otherwise your foliage will appear lumpy.

Just above the stile and slightly to the right you will see some light spots of yellowy-green. These were achieved with gouache, which being opaque will show up over dark areas, unlike pure watercolour, and here they suggest detail within a dark, featureless part of the tree. The stile and some branches in the bottom right-hand bush have been done with the negative method whereby the darkest passages have been painted with a fine no. 6 sable brush to avoid those features.

This painting is featured in my new book Landscapes Through the Seasons, to be published shortly by Search Press. Amongst other things, it includes introducing flowers into the landscape, managing summer greens, brushwork for foliage, the power of introducing spot colour, coping with riotous summer foregrounds, emphasising a sense of spring and fiery autumn colours. The book is actually an extension of my Winter Landscapes book, as so many have enquired about one on summer landscapes. You will find details on my website, www.davidbellamy.co.uk in a few weeks time.

Make the most of what is left of summer and make sure you gather as many subjects to paint in sketch or photographic form before winter arrives and we get any further lockdowns. Painting is such a wonderful antidote to Covid-19!!!

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.

Painting foliage in summer

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I recently ran a course in the Welsh lake district – the Elan Valley reservoirs, where there are many marvellous subjects to paint, including glorious river scenery. With this rather cold spring weather it was important to find locations where students could work out of doors in reasonable comfort, and as there are many sheltered spots in the Elan Valley area we were able to work quite happily.

River Elan sm

River Elan

The picture shows a part of a watercolour of the River Elan which I did a few years ago on site. It’s a fairly rough watercolour, as I painted it while standing the middle of the river, using an easel. This was the optimum spot, and as it was painted to support the John Muir Trust, the Scottish-based charity that fights for the wild land of Britain, a photographer came along to record the event. Alas, after taking a few shots he fell into the river, but his camera was OK and all he got was a bit of a wetting.

Although it was mid-summer, I haven’t used many greens in the painting, much of the foliage achieved with a deliberately dull blue-grey, created by mixing French ultramarine and yellow ochre, a rather opaque colour. This dullness helps to accentuate the bright yellow tree. With foliage, edges get lost easily, as they run into one another, and you can see how I’ve introduced light edges of foliage by painting the darker washes around the edge. It pays to look at the scene through half-closed eyes as this will eliminate much detail and allow you to pick out the more important aspects of the scene, both in terms of tone and detail. Please don’t try jumping into rivers to get your paintings done – not only can it be costly in lost equipment, but it can also be rather dangerous in the wrong place!