David Bellamy – Seeking out a rural lane to paint

I have a great affection for rural lanes, especially old rutted cart-tracks. While they are superb for leading you into a composition they are also excellent subjects in their own right. When I plan a sketching trip I often seek out winding lanes on the walking map, and where they lead to an interesting-looking subject such as a mountain or hill, then there is a strong chance of a good subject.

This particular lane heads towards the Brecon Beacons and I tramped it on a sunny winter day. I particularly liked the way the low sunlight cast shadows across the lane, and was keen to include this aspect, as well as giving the feature a few extra ruts for good measure. Ruts, puddles, clumps of grass and weeds and stones can be exaggerated or even added if they are not present, to give the composition more character. Keep a file of drawings, sketches and photographs of these countryside features so that you can add them in when needed. Undulating hedgerows with gaps here and there enhance the rustic nature of the place as do mature trees and bushes, and if you’re feeling really bold why not include a rustic shepherd wending his weary way home?

The painting was done on a sheet of quarter-imperial Saunders Waterford rough paper, a beautiful surface to work on, and the rough surface enhanced the track, especially where I used drybrush strokes.

It’s been all-action since my last blog, from the marvellous annual festival at Patchings Art Festival in Nottingham’s Robin Hood country where I demonstrated the Saunders Waterford papers for St Cuthberts Mill, and had the pleasure of meeting a lot of you. I’ve also just returned from an immensely rewarding trip to Germany, so that has a lot of potential for some great artwork.

I do hope, like me, you’ve enjoyed this amazing summer and made full use of it with your paintbrush!

David Bellamy – Painting in hot weather

We’ve had intense heat here in Wales now for weeks, and the landscape is starting to resemble a desert in places. For the landscape artist it’s an interesting time, and strangely our skies have not been entirely blue and cloudless – in fact the cloudscapes have been fascinating and worth sketching in their own right. Here are a few tips for working outside on hot days:

  • Get up at 6am and be out there sketching and painting by 7am while it’s still cool;
  • Try to keep the paper out of direct sunlight as it hurts the eyes and affects tonal values;
  • Use plenty of water, both in your washes and to drink!
  • Watch that suncream as it can act as a resist to watercolours;
  • In case you don’t find any shade take along a sun-shade or umbrella;
  • Make the most of those lovely cast shadows, and they will be at their best at 7 am!
The Patchings Art festival takes place from Thursday 12th to Sunday 15th, and we will be there on the first three days. I shall be demonstrating in the St Cuthberts Mill marquee on their marvellous Saunders Waterford paper. We also have a stand in the art materials marquee, so do come along and have a chat. The festival is incredibly popular and is just about the best day out in the country for the aspiring artist.
I have just dropped a number of paintings in to the Ardent Gallery in the High Street, Brecon. If you are in the area do pop in and have a look around as they have some lovely work on display. Their telephone number is 01874 623333. The watercolour of Cottage on Mynydd Dinas (see below) is one on display.
 
The brooding sky and background moorland ridge throws the emphasis firmly onto the sunlight cottage forming the centre of interestNote how I have slightly darkened the lower part of the cottage roof in order to make it stand out against the stark white of the front wall. Sadly, there are not many of these traditional old Pembrokeshire cottages remaining now.
We are taking a group of painters to Ronda in Spain during September, and the painting holiday booked up very quickly. Unfortunately two people have had to drop out because of illness, so if you fancy coming along you will be very welcome. Details of the painting holiday are at http://www.davidbellamy.co.uk/painting-holiday-to-andalucia-september-2018/  It is organised by West Norfolk Arts who do a really superb job of organising these holidays for us, and they appear to know every shady spot around the Mediterranean!

David Bellamy – Lurking in the undergrowth

Patchings Art Centre is currently showing a marvellous exhibition of paintings entitled 30 Artists for 30 Years in the Barn Gallery at the centre. This celebrates their 30 years in existence which grows from strength to strength every year, and is the highlight of the year in many artist’s calendar. Their Art Festival in July is the most spectacular art and craft event in the country, and I urge you to pop along and see these works by artists who have exhibited and demonstrated there over the years. You will find the centre in Oxton Road, Calverton, just north of Nottingham – the postcode is NG14 6NU.

   While I was in Kenya I did manage to find a little time to do a short safari to capture a few more animals and birds in my sketchbooks. In this, one of the calmer moments of my entire trip I drew an eland wandering through the grass, adding in the colour later. Much of the time though it wasn’t at all calm, what with monkeys eyeing up my cereal bar – the speed at which they hit you is awesome, and you do rather feel glad it’s a monkey and not something bigger with huge teeth; also rather nasty things lurking in the undergrowth when you go for a wander to stretch your legs……yes, wildlife is absolutely fascinating!

Many thanks to all of you who sent good wishes for my recovery – it was really nice of you, and you can be assured that I’m now fully back to standard mischief-making status. Enjoy your painting, and do come and see me at Patchings in July – it’s a great occasion!

David Bellamy – Ice on the Equator

For many years one of my ambitions has been to climb Mount Kenya to sketch those amazing peaks and the other-worldly plants that grow high on the mountain. Most people head for Kilimanjaro, as it’s the highest in Africa, but Mount Kenya is much more beautiful. So this month I thought if I don’t do it soon I never will.

I aimed to get up to around 14,000 feet from where I would be able to sketch the peaks. It’s not a difficult climb, but I’d been unwell with a chest infection most of the winter, and climbing to high altitude with breathing problems was a pretty crazy thing to do. Interestingly there are many wild animals on the slopes of the mountain: buffalo, elephant, panthers, and possibly the occasional lion, so hiking with that lot round the corner could be quite an experience!

I set off with a guide called Wilson, a cook and porter named Chris and a second porter, Stanley. Apart from my chest ailment I was also suffering from Delhi Belly, which tended to weaken me. Day 2 was an especial struggle. It began badly when, as I was eating breakfast in a hut a monkey ran in and grabbed my pancake, egg and a slice of bread, and shot off, leaving a trail of breakfast debris behind him. As the mountain lies on the equator the daytime heat was overpowering and although I only carried a daysack it was really heavy with extra water, sketching gear and all sorts of other gear. Heavy rain on the second day made things worse and high up I had to make frequent stops. By then we were amongst the exotic plants, so I sketched many of these as I rested. Eventually we found a cave to stay overnight, and as it had its own amazing garden of exotic plants I could happily sketch away from the cave entrance.

 Day 3 dawned bright and clear but I was eating my breakfast before dawn for an early start. After setting off we soon encountered ice-glazed rock. Six am on Mount Kenya is a magical time to be climbing, even when you are functioning well below par and this was the most enjoyable part of the climb. Wilson was extremely knowledgeable and we made better progress in the cool of the early morning. A glorious blue sky was punctuated only by strings of mare’s-tails over the peaks which rose sharply in front of us as we climbed a rocky ridge. I then sketched quickly, well aware that by late morning those peaks were likely to disappear, and sure enough, much earlier than I expected the clouds rolled in – lovely wispy airy clouds, but still gradually blotting out the view. This was disappointing, but I’d had a great few hours before the clouds arrived, and although my sketches were not my best, I had achieved what I came here to paint.

I organised the trip through Mount Kenya Climbers, based in Naro Moru. Their contact address is  info@mtkenyaclimbers.co.ke  and my guide was Wilson Gatoto who is happy to arrange expeditions up many of East Africa’s mountains. His email address is   legohi@yahoo.com   Chris provided some excellent meals, but sadly I had little appetite. Stanley was a really cheerful and considerate fellow and as his daughter enjoyed art I gave him some paints, a brush and paper before I left. I did have further adventures with wildlife, but that’s another story…..

David Bellamy – Creating an illustrated journal

One of my great enjoyments is keeping an illustrated journal, although because of a lack of time it tends to be rather intermittent – it’s just so stress-free to paint or sketch for yourself and add notes about your experiences, and this is especially rewarding on a holiday or journey. I am therefore pleased to announce that I have teamed up with Leisure Painter Magazine over the next six months to offer a monthly competition to encourage folk to get out and try their hand at producing a journal. Jakar International have kindly agreed to supply the monthly prizes, so do please have a look at the current (April) issue of Leisure Painter.
     The illustration shown right is taken from my sketchbook-journal done on a visit to Holland, and shows the typical notes I often add beside the picture. I don’t really class this as a sketch, as I feel it is more of a diagram drawn solely to illustrate the fascinating architectural styles in Old Amsterdam. I had no intention of creating a finished painting from this: it was done for my enjoyment, although many other sketches in the A4 book were intended as sources for future paintings. Working this way, with no pressure to produce a brilliant piece of artwork can be liberating as well as helping your work to improve.

The houses varied from colourful to a more drab colour, so it’s a good idea to pick out those colours that appeal most to you, rather than paint every house exactly as you see it before you. Note that I have run most of the house colours into one another, rather than paint each one with individual exactitude. I have left out a great many windows, but feel I should have omitted even more, or at least reduced the strength of detail is some.

I shall look forward to seeing how you all fare in these competitions, and I must point out that this is not limited to those who travel far and wide – you are very welcome to join in even if you are house-bound, and there are many ideas for you in my current article in Leisure Painter. Make sure you don’t miss out on the fun!