Category Archives: Daniel Smith Watercolours

DAVID BELLAMY: LANDSCAPE COMPOSITION

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Taking time to consider your composition before you begin painting is critical, and unless you are working from a sketch with a fairly well-planned composition it’s worth doing one or two studio sketches to plan the overall design. While we may feel that composition is solely concerned with the positioning of the various elements of a scene, we also need to think about the atmosphere and lighting conditions, and how this will affect the finished result.

In this watercolour of Ravenglass in Cumbria I have kept the horizon line below the halfway mark and the focal point – the cottages – approximately one third from the bottom and one third from the left-hand side in the classic golden rule of thirds. There are times, however when you may wish to ignore this rule, so don’t feel you are bound to it. Happily in watercolour you can always cut a bit off the side, top or bottom if you want to adjust matters! While most of the detail is around the cottages I placed a boat over on the right-hand side to balance things out: it doesn’t compete with the focal point but helps the overall design. Note that the boat is happily looking into the composition. It was in fact sulking a long way off to the right.

The streaks of water in the foreground were all over the place, so I changed them to use as a lead in to the focal point. Closer to the left-hand edge I have washed a dull shadow over the buildings, as it is best not to introduce strong detail or contrasts at the very edge. Between the posts to the right of the cottages you can see two figures, although these might well be mistaken for giant sticks of rhubarb as I haven’t given them much shape, Figures and animals of course draw the eye and it’s helpful to position them near the main detail. Finally we come to the format. I wanted to suggest a tranquil, early evening mood, so I opted for a rectangular layout emphasising the horizontals in the sea, the cloud formation and the ground detail, with the distant land lost in the haze by laying a glaze over it. It was painted on Saunders Waterford rough 140lb paper using Daniel Smith extra-fine watercolours.

Just to remind you that I shall be demonstrating how to use Daniel Smith watercolour sticks sticks at Erwood Station Gallery & Craft Centre on Friday 7th June when I will be signing copies of my new book David Bellamy’s Complete Guide to Landscapes. Action starts at 2pm and I will be there till 4pm so do come along and join in the fun. Erwood Station is a great place to hang out, enjoy a cappuccino and they have the most delicious cakes and pastries! I’ll also have framed and unframed paintings at a discount, but do come and have a look at these magical painting sticks and ask any questions. Erwood Station is about six miles south of Builth Wells, just off the A470 from where it is well signposted. Telephone 01982 560555

DAVID BELLAMY – PAINTING WITH DANIEL SMITH WATERCOLOUR STICKS

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For some time now I’ve been using the watercolour sticks produced by Daniel Smith, mainly for sketching out of doors. They make a great addition to my sketching gear, and although I still love using the half-pans in the great outdoors, the sticks provide a rapid method of capturing a colour rendition of a scene. Lovely rich colour peels off the sticks effortlessly with a brush, but you can also use them directly onto the paper. As I use the robust Saunders Waterford watercolour papers they can take quite rough treatment whether you apply the sticks onto wet or dry paper.

This is a rapid sketch of the Edw Gorge done whilst standing beside the river and applying colour direct from the sticks onto Saunders Waterford rough paper, then applying water with a large Pentel Aquash brush. These brushes hold their own water, so there’s no messing about with pots. I laid French ultramarine over the background, mixing in quinacridone Sienna lower down. The foliage was painted with yellow ochre plus Bismuth Vanadate Yellow in places. I then washed over it all with the Aquash brush. While the foliage was still damp I added quinacridone Sienna dirctly with the stick. To achieve sharper and more accurate detail I then picked up colour off the sticks with the brush and painted in the rock detail and trunks and branches, using lunar black for the very dark details, including some mixed into the river with French ultramarine. It was all over in a few minutes.

I shall be demonstrating how to use these sticks at Erwood Station Gallery & Craft Centre on Friday 7th June when I will be signing copies of my new book David Bellamy’s Complete Guide to Landscapes. Action starts at 2pm and I will be there till 4pm so do come along and join in the fun. Erwood Station is a great place to hang out, enjoy a cappuccino and they have the most delicious cakes and pastries! I’ll also have framed and unframed paintings at a discount, but do come and have a look at these magical painting sticks and ask any questions. Erwood Station is about six miles south of Builth Wells, just off the A470 from where it is well signposted. Telephone 01982 560555

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DAVID BELLAMY: PAINTING WIND-TORN CLOUDS

Recently I was up in the Brecon Beacons on a windy day which was unpleasant for sketching out of doors high up, but marvellous for the ever-changing cloud formations rapidly scudding across the mountains. The light and shadow effects were constantly providing new sketching opportunities. On days like these it’s invaluable to take advantage of such stunning skies, but so often if I rely simply on photographs I find the results less than satisfying. So I try to get in one or two sketches at least.

The image shows wild clouds over Corn Du, and for this I used two Daniel Smith Watercolour Sticks: French ultramarine and Lunar black, to produce an almost monochrome blue-grey. There sticks are fabulous as sketching tools, and are especially effective on a windy day like this when you can hold them in one hand which also grips the sketchbook, while painting with a synthetic Aquash brush which has water in its handle. I completely wet the paper first, then picked up colour directly off the sticks, applying one colour to the sky area and then picking up the other colour. Mixing them on the paper like this can be very effective, but you can mix them on the side of the sketch, on scrap paper, or carry a small palette – even a jam-jar lid would work well if you were limiting your colours to just a few.

Because I wet the paper first all the cloud edges are soft and my brush darted to and fro, inserting blobs of paint to create darker patches of cloud, while leaving some parts as clean, white paper. Soon the paper had dried and I then outlined the mountain peak in, softening the edges of it in places before entering the rock strata lower down. I now use these sticks constantly – the lovely rich colour lifts off so easily, and the sticks mix so well, and they have a definite advantage over a box of half-pans when you need to stand up to paint. Unless, of course you have a suitably positioned table nearby, or a friendly Egyptian policeman who is happy to hold your half-pan box as has happened to me in the past! Do give them a try.

David Bellamy – Creating textures on rocks

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It was something of a relief to learn that my blog post of last week had worked, and many thanks to those of you who confirmed you had received the post and image OK. Anyway, I’m doing my best now to make sure that things get back to normal.

The image this time is another view of the River Wye, which like many of our rivers desperately needs help to stop the ongoing pollution caused by intensive poultry farming, and sewage release. For this painting I chose Waterford rough paper to emphasise the ragged edges of the fast-flowing water and in particular to achieve the interesting texture on the large rock at the bottom left-hand corner. I brought the sky wash of cobalt blue down over the rock, weakly at this point, and when this was dry I smothered much of the rock, apart from where the light was catching the top, with strong yellow ochre, using the side of a no. 10 round sable to create a broken wash. Again, I let this dry and then introduced the green parts to suggest moss. For this I used a mixture of green apatite genuine and yellow ochre, again spreading it with the side of the brush. Finally, once that had dried I took a fine-pointed no. 6 sable and drew in the crevices with a mixture of burnt umber and French ultramarine. The painting is part of my exhibition of paintings of the Wye at Erwood Station Gallery & Craft Centre from 23rd September to Sunday 15th October and is open daily. On 23rd and 24th September there will be many eco-based activities at the Centre, and on the Sunday, which is World Rivers Day, the Goddess of the Wye will be entertaining. Erwood Station is a lovely location a few miles south of Builth Wells, just off the A470, a much-loved venue in the heart of beautiful scenery. On Monday 25th September I shall be giving a watercolour demonstration on painting the Wye at the Centre, and will be covering techniques for capturing running water, sparkling water, placid water with reflections, and of course rocks, trees and the atmosphere. This is a ticket-only event with proceeds going to the Campaign for the Protection of Rural Wales who will also be putting on a display of their work to protect our rivers. The demo starts at 7pm and tickets and information can be obtained from 01982 560555 or email erwoodstation@hotmail.com

David Bellamy – Capturing the colours of Autumn

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 Once again, autumn is with us, and the opportunity to indulge in bright, warm colours in our landscape paintings. This time last year I found the striking colours in the Bavarian Alps absolutely mind-blowing, with every day in brilliant sunshine.

This scene shows a track leading to Little Langdale in the English Lake District. I was lucky at the time to encounter snow on the distant fells, and this accentuated the bright colours of the right-hand small tree. For this I used two of my favourite Daniel Smith colours – Aussie red gold, which was applied first and when this was dry I added transparent red oxide. These two work extremely well for autumn scenes. The dark ridge in the middle distance was rendered with Moonglow, another useful colour, and in places I have pulled out the colour with a small sable to indicate lighter patches.

The painting is reproduced in my Landscapes Through the Seasons in Watercolour book, signed copies of which are available from my website

Watch out for those autumn colours and make sure you are armed with the right colours……..and if you get some snow as well, then that’s a great bonus!