Category Archives: David Bellamy

Blog Posts by the artist David Bellamy

Painting three-legged sheep

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This is a lovely time of year in the British countryside: the lanes are rife with daffodils around us, blossom is appearing, the hawthorn is already budding in profusion and lambs are chasing each other across the fields. With week after week of glorious sunshine it’s been a great time to get out sketching, and as you can glean so much from engaging the locals I stop to chat whenever I can. The previous weekend I met a farmer who simply wouldn’t stop talking.

“Had triplets last night,” he said, matter-of-factly.
“Really?” I half-queried, trying to keep a straight face.
“Trouble is, only got two t-ts.”  I raised my eyebrows, unsure of who or what he was describing.
“But I got the old ewe to give one away, with a bit of persuading.” At this point I felt we were probably discussing the problems of the mother sheep, and turned to my sketchbook.

Sheep can add life to a scene and are not that difficult to draw. I rarely give them four legs as it can appear over-crowded in a painting: three is quite sufficient. I sometimes give white-faced ones a black head to make them stand out, otherwise paint in a darker tone around them as I’ve done in this part of a watercolour composition. When out I do photograph them, but enjoy drawing them as it can usually convey a better sense of movement and dynamism – not that the sheep is especially dynamic!
This weekend I was again out on the hills when several sheepdogs raced into view around the sheep. Quickly I reached for my pencil as the farmer drove into sight in his land-rover. Alas, the dogs were ignoring the sheep, and simply hurtling past. I had hoped to get an interesting round-up scene. Even the farmer didn’t stop, just hurtled past with a wave, so I missed that one. You can’t win them all, I guess, but you have to keep trying. It’s all part of the fun…….

Painting on the Pembrokeshire coast

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    I’ve been away enjoying the mountains for a while, which makes blogging a trifle difficult, and my crazy lifestyle hardly lends itself to regular postings. Today though, I’d like to talk about the coast, which like mountains, deserts and the Arctic, is very close to my heart.

This is part of a watercolour painting of Porthliskey Bay in Pembrokeshire, named after an Irish pirate – the Irish, like the Welsh have some amazing pirates of great fame, and I’m fairly sure that the notorious Black Sam Bellamy might well have been one of my ancestors. Evening light is striking the rocks, and I’ve used mainly cadmium red. To give the impression of the wet lower parts I have darkened them with a mixture of cadmium red and French ultramarine, leaving the paper white in places for the foam splashes. Most of this was done by negative painting, but masking fluid used carefully will also work well.

Notice how the main rocks have been isolated by splashes, with no detail directly behind them. This gives them prominence, further emphasised by placing the boat nearby, with its prow pointing towards the most important rock. I’m not sure that I’d be terribly keen to be out in such boisterous seas. One useful tip is to stab or scratch out blobs of white with a scalpel or craft knife to suggest flecks of foam flying about, as it creates a feeling of liveliness in the work.

If you enjoy this type of scene, or the more gentle coastal, harbour or beach scenes, why not join us in Pembrokeshire this autumn for the course at the Warpool Court Hotel in St Davids? The good news is that due to the economic climate we have negotiated a considerable reduction in the price of the course. See my website  for details. We are blessed with an amazing variety of subjects to paint and sketch around St Davids in a lovely hotel overlooking the sea.

Getting the blues

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French ultramarine is without doubt my favourite blue – I use gallons of it. It does pay, though to vary your colours, not excessively, but in an endeavour to avoid all your paintings having too similar a colour scheme. Blue is especially important as I use it very much as a base colour for landscape work, mixing the chosen one with many colours for different parts of a watercolour. Pthalocyanine, Winsor, Manganese, cobalt and cerulean blues also have their uses, but it’s always marvellous when you find a new one that is versatile in rendering skies and water.

I’m always looking for new blues to try for my Arctic scenes, and one that caught my eye recently was the Daniel Smith Lunar Blue, a rather steely blue that granulates and mixes well, and able to produce a fine range of tones. You can see it in use on the watercolour to the right for the darker clouds. Applying it very wet, my aim was to create darker and lighter tonal variations within the lower sky cloud mass, and also to achieve a ‘lost and found’ effect whereby in some places you see the cloud edge while in other places it becomes lost, thus maintaining interest throughout the whole mass. This method involved smudging in darker mixtures in certain areas, but still only using the same colour throughout. The granulations are especially visible near the lower sky centre. In the foreground I added in some Lunar Violet to warm up the water in the stream running down the beach, while keeping the wet sand as a highlight by applying little colour to it.

Help For Heroes

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I have always been interested in military affairs, but passionately against all wars where we are under no direct threat, as we have only too sadly seen over the last few years. Equally it is tragic to see young service personnel come home so badly injured it will affect them for the rest of their lives, while our crazy politicians seem to have little respect for humanity. It was a great pleasure therefore when the Infantry Battle School in Brecon bought my painting of a night battle and the resulting sum was handed over to Help For Heroes, the charity that cares for our wounded when they return home.

The photograph shows me with Lt-Col Andrew Ward, the commanding officer of the School of Infantry in Brecon. The actual painting of the night battle scene can be seen at an earlier post entitled Shock & Draw on 14th May 2011, together with an account of the joys of sketching charging soldiers in the dark on a wet, windswept mountain on a February night with nasty things flying through the air. It was a great pleasure to work with these professionals.

Thanks for your comments, those of you who have made the effort – I do appreciate it. You will have noticed that posts are fewer at the moment. This is not because there is a lack of anything to say, but a distinct lack of time with so much happening. Hopefully things will calm down soon!

Painting and Sketching in Iceland

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We still have 3 rooms available on my painting holiday to Iceland from 20th to 28th June if any of you are interested in the amazing natural scenery of this fascinating country. There’s no camping involved, although we shall be doing some walking to the subjects which will include spectacular waterfalls, mountains, glaciers, rivers, lakes, lava formations and much more, so it will be a fairly easy way to reach and paint these scenes, many of them world-class wonders.

The holiday has been organised by Spencer Scott Travel in conjunction with Leisure Painter magazine, so for details either click the link for Spencer Scott above, or telephone them on (+44) 01825 714310. Their email address is info@spencerscott.co.uk  if you to write. I shall be demonstrating sketching and watercolour painting techniques, with particular emphasis on creating that marvellous sense of space and distance so common in Iceland, together with methods for injecting atmosphere and light into the subject. The picture on the left of a scene in North America illustrates these aspects of landscape painting. Even though it is only part of a composition it evokes a sense of vast space by the use of cool blue-greys and the tonal range which shows strong dark values in the foreground and only vague, faint ones in the far distance. By limiting the colour range this unifies the scene and creates a feeling of moodiness.
You will see that some features have been left white – the white of the paper, with other parts of the peaks overlaid with shadow washes. This effectively throws the emphasis on to the light areas. In Iceland we shall have a tremendous range of colours, including probably a number of truly dramatic black lava-scapes…..an interesting challenge for the watercolourist.