Category Archives: sketching

David Bellamy: The value of drawing

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Many of us are so eager to start painting that we tend to gloss over the need to get the drawing right before our brush touches the paper, and then we wonder why the composition doesn’t work too well. I love drawing, and drawing and doodling are a wonderful therapeutic activity, ideal for calming one after the stresses of modern living. I take my sketching in the field very seriously, even when I may have no need for any more sketches to add to the thousands already done.

This is a sketch of the attractive old Doctor’s Bridge in Eskdale. Although not completely finished, it illustrates several vital points for landscape artists:

  • By carrying out a sketch you are already arranging the composition for a subsequent painting and working out everything you need for the finished result;
  • Sketching is the ideal time to assess the major tonal values in a scene- how dark? how light? do any features benefit from an adjustment of tones?
  • More than anything else you are learning to observe, learning how to draw and seeing how different aspects of the scene relate to each other;
  • Note the cursory manner in which the background has been rendered. If you need to work quickly this kind of treatment is useful for the less important parts of a composition.

Getting the drawing right is especially vital with watercolour painting, so do try to practice this as often as you can. It will have a great impact on your painting.

This summer has been especially hectic, culminating disastrously when I experienced a heart attack at the beginning of September. Luckily in just over an hour after ringing for an ambulance I was on the operating table witnessing the whole operation as they cleared the blockage in an artery. The NHS staff were brilliant and deserve the highest praise. Please be aware that if you get chest pain that runs down into your arms and perhaps up to your jaw you need to get help quickly – don’t delay! And don’t forget, the power of art is quite amazing. Sketching is a wonderful way to de-stress and relax you. I can’t recommend it highly enough.

DAVID BELLAMY LOSING THE FOREGROUND

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How often have you viewed a scene where an exciting subject stands in the middle distance and there is a boring or ugly large feature blocking the foreground? These moments can be truly frustrating, yet it is well worth trying to work round the problem if the main subject looks worthwhile. You might be able to alter some of the details in the offending foreground feature, perhaps obscure the worst parts or introduce some really dark shadow to blot it out completely. My own preference is to use a vignette technique if possible, to lose the immediate foreground to create a more pleasing composition.

This is a rough little watercolour sketch I did while overlooking Brasov in Transylvania. The roofs, towers and domes in the middle distance appealed to me, but the foreground was marred by large buildings that were much less attractive. To include these as they appeared would dominate the composition, so I decided to just record their roofs and lose all other detail. There were hardly any windows or doors on this side anyway, so I just hinted at a little foliage and then worked in the large conifer, also losing that at the bottom. I had intended to lay some spatter over the foreground when I returned to base, but somehow forgot. A little spatter and maybe some suggested light foliage would enhance it further. I normally prefer to include a gap where there is a feature right across the foreground to suggest a lead-in, so if I followed up with a painting of this scene I would probably create such a gap perhaps to the immediate right of the large conifer.

With summer here it’s a great time for getting out to paint or sketch before nature, so I hope you are making the most of it. If you are nervous about working out of doors with or without people around then just take an A6 sketchbook in your pocket and a few pencil stubs and people will think you are just making a few notes. That will help you gain confidence to work on larger, more ambitious work. In Transylvania I was naturally a little wary of bears, Goths and vampires, but all passed without a great deal of mishap. Happy sketching!

David Bellamy – Painting limestone scenery in watercolour

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I’ve managed a pretty wild and wonderful autumn this year, though it has left me breathlessly out of kilter on the blog-writing front, I’m afraid. How I wish there was more time for writing, which I love, but sadly in this robotic world there are so many threats to writers and their writing-time. For eample, in New Zealand their libraries archive has intended to put thousands of books’ contents onto the internet, but it seems that after world-wide protests they’ve just realised there’s a thing called copyright involved!

 We’ve been blessed with a gorgeous little grand-daughter by the name of Beatrix, and look forward to meeting her on the run-up to Christmas. Her Dad’s going to be performing in pantomime at Margate, so it’s going to be a bit riotous, Covid-permitting, of course.

 This is a watercolour sketch of Gordale Scar in Yorkshire, carried out on a beautiful calm, sunny afternoon in October while sitting in a most uncomfortable position on extremely steep ground high above the valley. The light falling on the limestone really made the rock stand out, particularly against the shadowy parts. It is deliberately overworked so that I have all the details to produce a large studio watercolour, and my awkward position didn’t help. This is actually only the right-hand half of the composition and the cartridge paper has been left unpainted where the sunlight is hitting the limestone. 
   
There is too much green for my liking, but grass growing on limestone has that intense colour, and I wanted to record a faithful rendering. In a studio painting I will doubtless take more liberties, lose a lot of hard edges and make other adjustments, but my point here really is to show how working out of doors like this is to me not just a means of acquiring the information for a finished painting, but also of observing how the traditional approach will appear, so that I can see where I need to be more creative in the later attempt.

The Covid-induced layoff has been a real nuisance, but we are now organising courses for 2022 as you will find on my website .  There is one in Mid-Wales in April, and another in Cornwall in September, both popular locations with lots of interesting subjects. I may well be adding more in due course. Also on the website you will find information on my books, the last one published being the Landscapes Through the Seasons in Watercolour, and they are all available via the website

I hope you are managing to get out and about with your sketching and painting gear – even in December we can get some lovely days, and the low light can create some fabulous cast shadows.

David Bellamy – Creating a sense of movement in vehicle paintings

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Sketching moving objects can be quite dramatic, especially if it’s an enormous tank churning around in mud with bits of earth flying in all directions. Vehicles make for complicated subjects, and tanks are no exception, but when they are moving across rough ground they often throw up a lot of dirt, dust, smoke and all kinds of things that are very handy for losing parts of the vehicle and giving a strong impression of movement.

This sketch of a Soviet T-72 tank of the Cold War era was done with a 4B pencil. The cloud of dust behind it and the loss of detail in the lower wheel and track suggest movement. I’d already sketched one coming directly towards me as I tried to capture the sense of atmosphere and a fast-turning tank, but in this view I wanted to bring in more detail as it moved broadside on from my viewpoint. The advantage here was that it paused enough for me to render a lot of the detail before it resumed a steady progress to the right.

Simply suggesting some of the wheels helped to give a sense of a moving vehicle and of course it made my task easier. To indicate greater speed I would normally lose more detail at the rear, but here I wanted to include detail I might need later. Spattering more muck around at the rear would also emphasise this effect.

Whilst you may not wish to sketch in the middle of tank manoeuvres these points can help when you are painting a scene with moving tractors in a field, or excavators digging up your local green space, and it makes quite a change from a still life after weeks of lockdown!

I will be doing a free 45-minute online demo at 2pm on Tuesday 4th August which you are welcome to join in with your own painting at the same time – details are at  https://www.shopkeeparty.com/artyclasses 

and on Tuesday 11th March at 3.30 pm I will be doing an online watercolour masterclass details can be found at   https://www.shopkeeparty.com/artyclasses
Both will be live online so you’ll be able to ask questions.

Enjoy your painting…….

David Bellamy – Changing the mood in a landscape painting

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I missed doing an intended blog last week as I had three short videos to produce in connection with the forthcoming Patchings Virtual Art Festival next week. It starts on July 9th which was the intended date for the original festival, and you can find information on www.patchingsartcentre.co.uk Of the other two videos I made, one was for Painters Online at  www.painters-online.co.uk  run by Leisure Painter and The Artist magazines, and this shows ten tips I’ve put together for landscapists, while the third one was for Search Press which you can find on  www.searchpress.com  and this features a number of my crazy anecdotes on sketching expeditions. All three videos are quite different and I hope you enjoy them.

 You’ve had to wait a little longer than intended for my version of Llyn Mymbyr, so here is my effort together with the two photographs shown in the earlier blog:

This is the original scene that shows afternoon light catching the Plas y Brenin Mountain Centre buildings on the far side of the lake. As some interesting crags dropped into the water to the right of this composition I wanted to include them in the painting and illustrate how I go about bringing two visual sources of reference together for one painting.

This is the shot of the crags to the right of the above view, though it’s in shadow, a common problem when we are working outdoors, but it’s easy enough to bring two prints together and even better when you have a sketch as well. Getting these to fuse together on a laptop for the purpose of showing you, however, is not so easy for a non-tech neanderthal……..

In my version I have reduced the buildings so that interest is focused on the craggy peak, Clogwyn Mawr, which I’ve featured in strong evening light, while bringing in some mist behind the line of trees. I often change the atmosphere of a scene completely, and that really is my main lesson here: you don’t need to paint the scene as you see it, but as you would like to see it. Try small versions as studio sketches before you make a start on the painting. There are so many different ways of tackling a scene with a variety of moods and seasonal changes. Enjoy your painting!