Category Archives: watercolour landscape painting

DAVID BELLAMY ADDING SUPER-TEXTURE TO YOUR WATERCOLOURS

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Next month, my new book, Watercolour and Beyond is published by Search Press. It’s quite different from my earlier books in that although it begins with traditional techniques it is mainly concerned with introducing new methods to watercolour landscape painting. One example shows how to use masking fluid not just for masking out intricate details, but to employ it in a much more creative manner. Or producing delightful effects by stamping with cosmetic sponges and variegated colours. Super-granulating colours can achieve spectacular passages in your work, and by introducing non-art materials into your landscape compositions your can add a new dimension. There are also ideas for various projects, some of which don’t involve creating wall-hung art, but give you alternatives for your work.

The painting I have chosen as an example from the book shows how a foreground can be embellished with Daniel Smith Watercolour Ground, which is rather like gesso in consistency, but it will happily take your watercolour washes. I have cut out a large part of the composition so that it’s easier for you to see the amazing textural effects you can achieve with this method.

To suggest the rough foreground Daniel Smith Watercolour Ground was laid on with a painting knife a couple of days before beginning the painting, and in the final stages I laid washes of Naples yellow, potters pink and pthalo blue over the watercolour ground, merging them all in while they were still wet. The ground is especially effective in rendering rocks, cliffs, rough walls, mountainsides, river banks and many other landscape features.

One of the main aims in writing Watercolour and Beyond was to encourage experimentation and bring a sense of joy into painting. Whether you paint full-time or just now and then you will find the techniques and ideas crammed into its pages will give you plenty of inspiration and a wonderful feeling of trying something new in your painting. We no longer have a mail-order shop, but of course you can get the book direct from www.searchpress.com or from your local bookshop.

On Saturday 3rd May the Erwood Station Landscape Artist of the Year competition gets under way with the first heat. There will be one heat each month throughout the summer, and if you wish to participate you can get information at 01982 560555. It is a great place to spend the day painting with others, and is a great learning experience. I shall be one of the judges during the first heat, so maybe I’ll see you there.

David Bellamy – Warming up your Landscapes

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   When you begin a painting do you stop to consider your colour management or simply copy the colours in the original scene or photograph? Whether you are a serious artist intent on improving your work, or perhaps painting simply for enjoyment, it is so much more rewarding to create a composition where you can inject some of your own ideas to add interest.

     In this watercolour of the Brecon Beacons I decided to create a much warmer feeling than was present in the scene on that particular day, and enhance the summery mood. Apart from the cobalt blue in the sky most of the scene embodies warmer colours, and after establishing the clouds with the blue I laid on permanent alizarin crimson over the lower sky. The blues on the mountains are French ultramarine with a touch of cadmium red added, resulting in a lovely warm purpley-blue. The greens on the fields have also been warmed up with touches of gamboge, and there are also some gamboge and cadmium orange fields to liven things up. In the foreground I dropped in some Indian red wet-in-wet to produce soft edges and when this was dry spattered Indian red and white gouache before finally scratching out reeds with a scalpel.

    At the end of this week I am starting once more to do live workshops, this one at the excellent Sandpipers studio on the Wirral, while on 3rd April I start my first post-Covid course at the superb Caer Beris Manor hotel in Builth Wells. There are still places available on this course, so if you feel like getting out into beautiful landscapes again you will be very welcome. We will be sketching outside (hopefully painting as well if the weather is fine), and also working indoors in the ballroom which has plenty of room for us to keep apart from each other. Details are on my website  Emphasis will be on injecting atmosphere into your landscapes and putting something of yourself into the subject.

    Sadly we haven’t had much snow this winter, but with spring about to burst upon us let’s hope that this will herald better times for getting out and about with our paintboxes.

David Bellamy – Frolicking in the Desert

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Most of this year I’ve been painting subjects from the Middle East, a part of the world I’ve been fascinated by since I first visited in 1963, and these works will illustrate my forthcoming book, Arabian Light, due to be published by Search Press in May 2022. The subjects cover a wide variety of scenery, buildings, figures, interiors and many others, and for a taster I show below a painting of our expedition guides dancing in the desert hundreds of miles from the nearest village. For the intense darkness I’ve used the Daniel Smith Lunar black slightly mixed with French ultramarine. The granulation strength of this colour is truly mindblowing! There’ll be more on this in future blogs.

 Another book I’m pleased to be associated with is Green Parrots in my Garden, a book of poems from the Arab Middle East by Jane Ross, a Canadian poet who has lived in the Middle East amidst threats of war, but concerns herself more with the warmth of human relationships, the wisdom of ancient desert values and the beauties of artefact and design that bring her into the hearts of the people and the essence of the region. She writes of the oasis of Wadi Bani Khalid where ‘the winds are gentle zephyrs in the thick warm air,’

      ‘But ontop of Jebel Shyams the winds are sharp and piercing,
      like needles thrusting their way through the blanket;
      fiendish, dervish, absolute and wild.’

Yes, that mountain presented so many exciting images that I forgot myself in a fiery sunset, when the light vanished so suddenly that without a torch I found myself trying to pick up all my scattered brushes and pencils in the dark then navigate across a rock-strewn plateau on the edge of a canyon. 

The books features two of my paintings in monochrome, and  Jane’s website is www.janeross.ca

It will be available on Amazon via this link.

 I wish you all a very and peaceful Happy Christmas. May you have many lovely artful arty presents, and thanks for your patience in my extremely slow blog production rate in 2021

David Bellamy – Introducing humour into your watercolours

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I much appreciate the comments you make, and hope you are all keeping well and free from Covid-19. It’s certainly changing life at the moment, and surprisingly I’m managing to do more walking than normal, as I’m not travelling around with work. Getting out into nature is really the best thing we can do if possible, and May is a great time to be out on the hills with the sketchbook.

    Another vital ingredient at times like this is a touch of humour to counter the appalling news coming through every day, and relieve any worries about where it will all end. Adding a little visual humour into your paintings, even in a small way can appeal to many folk. A while back I was sketching by a farm track when no less than three red tractors came along, driven by three rotund, red-faced farmers. I grabbed my camera and waved as they rattled past, then carried on sketching as they disappeared over the horizon. After several minutes they reappeared, coming the other way, and I managed to get some more shots of them.

    I continued with my sketch, but then, back came the three tractors yet again, belching out fumes. This time they turned off at the junction where I stood and into the lane shown in the painting, which was my composition. Off past the farmhouse they roared and there was peace for a few minutes. Sure enough, shortly after they once again hove into view, still in perfect formation, coming back towards me, so I have included one of them in the painting. Unable to hold back my curiosity I stopped them as they approached to find out what they were up to. They were lost and were looking for a farm in the vicinity – probably for some agricultural soiree. I wasn’t familiar with the local area but I had a map and soon put them on the right course, and off they went.

    What I hadn’t noticed during all the coming and going was that the lead tractor had a little passenger on one side, which you can see in this close-up detail. Watch out for this sort of thing as it can enliven your work. I could have made the tractor a bit more wonky and the farmer more of a cartoon character, and these are things worth considering before you touch the paper. When out and about I do like to engage with farmers and other folk as I often learn a lot and have more time to notice any little gems like this. It’s also worth carrying a few of your greetings cards with you to give away as you sketch someone’s farmhouse. They might well buy a painting off you!  Mind how you go.

David Bellamy – Travelling the World during Coronavirus

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 I’ve just returned from wonderful times in Egypt and Yemen this week, immersing myself in fabulous scenery, although I’m afraid it’s all in the mind, as they are places that I’ve been painting, not actually visiting! That’s one of the marvellous advantages of being an artist – you can transport yourself to anywhere for a while, and I’m especially glad that at the moment I’m working on a book on the Middle East, and enjoying every moment, with so many memories flooding back.

    Given our unremitting lockdown I thought you might like a little exercise to do over the Easter holiday. This is where I show you a photograph of a landscape scene and invite you to paint it. In about a week’s time I will then show you how I tackled it. Don’t worry, you’re not expected to get the result like mine as we all have different ways of working and even hundreds of ways of producing a different painting of the scene can still all be right. The idea is to stimulate innovation and inspire you to put your own slant on the composition.

    The scene is Carn Llidi in North Pembrokeshire with the foreground in strong sunshine, but with a dull band behind the buildings to two-thirds up the peak. That dark band is extremely useful as it highlights the buildings. It covers a slope covered mainly in bracken, with some grass showing in places. In summer it is very green and in autumn the bracken becomes a definite light red colour. Move elements around to suit yourself, and for this it would be good to start with a small thumbnail sketch to ascertain where you want to place these elements. Then think about the sky treatment and the sort of mood you wish to convey: sunny, stormy, tranquil, warm evening light, or whatever appeals. Will you leave out some of the features? What will you do with the foreground hedgerow? Most importantly what will be your centre of interest? I’m afraid the small scale of this photo will not show much detail, but this can be an advantage, stopping any fiddling.

    Have a go at this composition if you wish and I’ll show my version in a week’s time. In the meantime I wish you a happy and peaceful Easter. Stay safe and enjoy any worldwide travels you do in the next few days……….in your paintings, of course!