Tag Archives: atmosphere

David Bellamy – Injecting a sense of atmosphere into your paintings

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If you really want to give your landscape paintings a boost one of the most effective methods is to inject a strong dose of atmosphere into the scene. Unfortunately most of the time when you sketch or photograph a subject there may not be much by way of atmosphere, so in many cases you need to inject it into quite an ordinary scene. With time and experience this becomes easier.
 In this view of the Teign estuary in Devon you can barely see the distant Dartmoor ridges, and even then they become lost in the atmosphere at the extremities. To achieve this sense of mood and distance I have used the same wash for the ridges as I have for the lower sky area. Keeping most of the edges softened also helps create mood, as does a very limited palette. There is hardly any detail in any of the background trees and promontory, and even the centre of interest – the cottage with its attendant trees has little extra colour.

This painting is part of my forthcoming exhibition Shorelines and Summits at Lincoln Joyce Fine Art, 40 Church Road, Great Bookham Surrey, KT23 3PW – telephone 01372 458481  Their website is www.artgalleries.uk.com  The exhibition runs from 28th October to 7th November. Both the coastal and mountain scenes include strong atmospheric effects in most cases.

There are still places available at my seminar which takes place from 10 am to 3 pm on 28th October in the Old Barn Hall opposite the gallery, so you can also view the exhibition. Tickets are available from the gallery or Clockwork Penguin or telephone 01982 560237 The seminar comprises a watercolour landscape demonstration and an illustrated talk, both covering how to include animals and wildlife in your paintings – and, of course, lots of atmosphere, and you will have the opportunity of asking questions. I hope to see you there.

Jenny Keal – Sketching in Kent

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David and I have just returned from a trip to Kent where David did a demonstration for Hythe Art Society at the stunningly beautiful Lympne Castle, overlooking Romney Marsh, to celebrate their 50th Anniversary. We were made very welcome by this warm and friendly art group and shared their celebration tea with them after the demonstration.

We took the opportunity whilst in this beautiful corner of England to explore Dover Castle, Folkstone Harbour and St Margaret’s at Cliffe, which yielded numerous sketching subjects. The weather was beautiful as we sketched the White Cliffs of Dover in the hazy sunshine.

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White Cliffs of Dover, St Margaret’s at Cliffe, sketch by Jenny Keal

I know I’ve said it before but I can’t emphasis enough how important sketching out of doors is to improve your painting. The watercolour sketch above only took about 30 minutes to complete. Working in a hardback cartridge paper sketchbook, with a slight breeze to dry the washes, I was aiming to capture the freshness of the morning and the delicate quality of the light. Leaving out lots of foreground detail to retain the freshness I was aiming for.

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Photograph, St Margaret’s at Cliffe

So often a sketch can capture something that is lacking in a finished painting, and working purely from a photograph can rarely portray the magic of a place. When I look at the sketch I can smell the sea, but not when I look at the photograph.

David Bellamy – Painting figures in action

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Drawing and painting figures is always fascinating, whether to include in a landscape painting, as subjects in themselves, or in a fantasy context as you will see below. Life drawing is easily the best way of learning to draw the figure, though this may hardly be necessary if you are simply wishing to add a few tiny figures into a wide open landscape. I love drawing figures, especially action ones, really doing something interesting, and much of the time these tend to be humorous.

This is a small part of one of the illustrations from my children’s book Terror of the Trolls, where several trolls are gorging themselves – one is eating a leg of some sort, the one on the left is warming his feet in the soup, and the third is flat out after a heavy drinking session. Getting people to pose for these activities was not a real problem, though some of the more gymnastic poses in other parts of the book did rather leave me scratching my head! Note here how you cannot see the whole body of any one troll, and this makes it look more natural, especially in non-fantasy situations. Try to have your figures relating to each other, and not there just to ‘fill the gap’. Back-ground figures can remain as silhouettes, thus throwing the emphasis more onto the main figures.

One especially effective technique that occurs repeatedly in this scene is that of creating soft edges. This not only lends atmosphere, but suggests depth and distance as one sharp-edged feature will come forward, in front of the softer-edged one. Terror of the Trolls is the second book of the Llandoddie tales and is available from our website

Last night Jenny and I enjoyed the Erwood Station Craft Centre Christmas Party, where the lovely Lorraine King entertained us with her wonderful repertoire of songs. It was a wild night (outside!), and in addition to the bridge being closed, three other roads were cut off by fallen trees, so it was a wonder that so many folk attended, having hiked over hill and vale or probably coracled across the Wye. Nothing stops the Erwood Station Stompers! It closes for Christmas and re-opens on 14th February.

Jenny and I thank all of you who have sent in so many kind messages over the last year, and wish you and your families a very Happy Christmas wherever you live, and may your painting give you many moments of great pleasure and success in 2014

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.