David Bellamy – Painting autumn scenes in watercolour

Autumn is upon us, and with the trees turning colour it’s a great time to be out capturing those magical views, whether in sunshine, rain or whatever: rain can create more atmospheric scenes, but if you can catch that moment after a shower when the sun comes out and makes everything sparkle it can be truly magical – watch out for those stunning reflections of colour and light in the puddles. 

This year autumn is also bringing out my new book, Landscapes Through the Seasons, which has just been published by Search Press. It is in fact an expansion and update of my Winter Landscapes book – many people were asking about a summer book, but with other books in the pipeline I could not have written a whole book on summer landscapes for several years. The spring and autumn sections have also been expanded.

The illustration shows a watercolour sketch done on a cartridge sketchbook on a sunny November afternoon and reproduced in the book. If you are out sketching at this time of the year it really does pay to use colour, whether in watercolour, watercolour pencils, acrylics, inks or whatever you fancy. Note that the most powerful  effects occur when abutting the complementary colours of purple and orange against each other – if that tree of glowing orange doesn’t quite come in front of that distant purple hill, then give it an artistic shove and see the effect. Likewise warm yellows against the blues and purples will make your autumn scenes sing. Flying leaves and trees with just a few single leaves remaining can add to the season’s visual treasures, and these can be achieved in watercolour by little dabs of masking fluid. By applying a dark colour over these dabs you can then create sparkling light leaves when you rub off the masking fluid. Let your yellows, reds and oranges run into one another in the foliage to vary the overall effect.

The later paintings in the book are carried out with Daniel Smith Extra-fine watercolours, and many of these are exceptionally effective for autumn colours, such as Aussie red gold, transparent red oxide, moonglow and quinacridone Sienna. Quinacridone gold and gamboge are also great colours for this time of year. We all need something new to brighten up these difficult days of lockdowns, so treat yourself to some of these amazing colours.

David Bellamy – Making the most of summer landscapes

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 – On-line watercolour workshop of a Mountain Painting

I write this as a follow-up to my online workshop this afternoon on Shopkeeparty, which was a simple 45-minute demonstration in watercolour of the Middim Khola River in the Nepal Himalaya where I led a trek and paint group in 2000. The aim was to demonstrate how to achieve a sense of space and distance, create a tranquil mood in dramatic backlighting, dropping in spot colour and illustrating several brush techniques.

This shows the finished painting: I added a little extra sparkle by scratching with a scalpel below the trees and finally painted in a few dark blobs in the foreground to suggest larger stones in the river, but otherwise it is basically as completed during the workshop. If you took part I hope you enjoyed the experience and if you missed it you can still find it on Youtube

Next Tuesday, 11th August I will be running a watercolour Masterclass again with Shopkeeparty, and this will last around 2.5 to 3 hours. The subject will be Blencathra mountain in the Lake District with Thirlmere in the foreground, and of course with much more time I will be covering so much more, showing mountain structure, atmosphere, reflections in still water, massed and individual trees, crags, how to introduce more colour naturally, brushwork, negative painting and much more. I will be using my favourite, Saunders Waterford paper. Details are available at    https://shopkeepeasy.com/davidbellamy   You will be able to ask questions throughout and we will move at a pace that will ensure you can keep up with the painting being demonstrated. The Masterclass painting will bring in more colour than the above scene which was aimed at creating a strong moody backlit subject.

In the meantime, enjoy your painting!

David Bellamy – Creating a sense of movement in vehicle paintings

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 – Enjoying the detail in a painting

How do you cope when you are presented with a complicated scene such as a harbour full of boats of all colours and sizes? Beat a hasty retreat and look for a simpler subject? I love painting and sketching boats, and there’s always a way round the problem: you can leave out craft that don’t appeal, reduce their number, enlarge one so that it hides two or three others, or perhaps cast a dark shadow over the ones further away.

    This is a watercolour I did of Oare Creek in Kent, a place crammed with lots of lovely craft, and although there seem to be a lot in the composition I did leave many more out. This is one of those works that doesn’t have just one centre of interest – there is a whole line of them! I do this sometimes as it makes quite a change, and some buyers do enjoy a mass of detail, and to get a sense of the place you do need to suggest that many boats line the creek, especially if working to commission.

    On occasion in scenes like this I lay shadow across many of the boats, simply suggesting them, and highlight the main ones – the focal point – with strong lighting. If you wish to subdue one or two off-centre then just paint them in silhouette as I have done with the boat on the extreme right background. The masts and gulls were rendered with white gouache when everything else had been completed. If need be I create dark areas deliberately so that white gulls can be placed there and stand out. This is at fairly low tide so much of the mud-banks are revealed. To avoid too much monotony I have made some lighter and on the right bank splashed in some cadmium red to add interest. The painting was done on Saunders Waterford hot pressed, 140lb weight.

    Now most of us are able to get outside do make the most of the summer days to find some new subjects. This is important not just from the point of view of finding new material to paint, but getting outdoors rejuvenates us and gets us away from the lethargic indoors syndrome that can deplete our enthusiasm for creating anything. There is nothing better than perching on a rock warmed by the sunshine, overlooking a stunning view while sipping a cappuccino as you sketch. I’ve been out there with my new Daniel Smith watercolour box of gorgeous half-pans lately, so it’s been a double pleasure!