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!
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!
After a week of absolutely atrocious weather in the Italian Dolomites it’s nice to be back in sunny Wales for a day or two. Although I managed a number of useful sketches, without any views because of dense mist and lashing rain for much of the time it was a little annoying, especially when you know the scenery is spectacular. The previous week at Lake Garda we suffered from intense heat during a group painting holiday, but everyone remained cheerful, kept painting and put up with all that sunshine.
On Monday evening (10th July) I will be giving a talk at the launch of my Arctic Lightbook at Stanfords Map Shop in Covent Garden, London. It’s a fabulous place for maps and guidebooks for all over the world. There are still a number of places left, and if you wish to come along, then please get in touch with Mary Ellingham at Search Press on 01892 510 850, or email@example.com
Although Arctic Light it is not a how-to-paint book, it is crammed with watercolours and sketches with a great many examples of the way atmosphere and light can be depicted in landscapes. This time I have also included many works showing wildlife, both animals and birds, which can make a real difference to a painting even if portrayed in a small scale within the composition. You can see more details at my website.
Next week I shall be demonstrating for St Cuthberts Mill at the annual Patchings Art Festival on the Thursday, Friday and Saturday, using the marvellous Saunders Waterford papers in the St Cuthberts Mill Marquee. The festival is on from 13th to 16th July inclusive and is highly recommended for its wealth of demonstrating artists, crafts and art materials, so do come along and have a chat. For further information on the event see Patchings Art Festival. We will also have a stand near the marquee with a number of my paintings, books, DVDs, etc, so hopefully I’ll see you there.
One of the most effective ways of sketching is by using pen and wash. I carry around hardback bound sketchbooks of cartridge paper amongst the many odd items in my rucsack, and these accept pen drawings well. While the dip-pen and bottle of ink are the ideal way, it is less practicable to carry around bottle of ink, so I normally resort to a technical pen, although this has a uniform line.
This sketch was done in evening light in the Maritime Alps, on cartridge paper. I began with the ink drawing using a .02 nib. Where you have considerable depth in a scene, and especially with distant mountains, or wish to draw clouds, it is imperative not to be too heavy-handed with the pen on these distant elements. I prefer more intermittent line work rather than continuous lines as seen on the building, as this will suggest distance. In places I have totally omitted the line work and relied solely on the watercolour wash outline to describe the shape of far ridges and trees. The ink line is also an excellent way of rescuing a painting or watercolour sketch that is too weak in tones.
My recent trip to the Alps was aimed at capturing snow scenes, but there was no snow until the final day when I had to leave. Somehow the snow appears to have been deliberately eluding me this winter!
There are still one or two spaces left on my Croatian painting holiday in September. This is an easy, relaxed painting holiday in congenial surrounding amidst lovely scenery, and will not involve any wild mountain work! For details check out my website at http://www.davidbellamy.co.uk/painting-holiday-to-croatia-2016/
I’ve just returned from a week of glorious sunshine in Tenerife – a stunning place for the artist who likes dramatic rock scenery in all sorts of amazing colours. At one stage my feet seemed to be on fire from energetic hiking across sharp volcanic surfaces. Mostly I was alone, hiking and sketching in the mountains, but on one day I wanted to do some work in the amazing Masca Gorge. Unfortunately this would involve no less than 3 buses just to reach the top of the gorge, so to have any hope of actually doing it I needed to join a trekking company group trip. For the artist, however fast she or he works, sketching with a group is quite a challenge.
I chose the Scandinavian Canary Trekas they are a small company well tuned to the natural environment, and don’t take massive groups as some do. It was only when we were halfway to Masca that I mentioned to Victor, the Chilean guide, that I wished to do some sketching. Happily this did not phase him, and he only had three of us to look after. The other two were Finnish friends, Kaj and Krister and we moved quickly down the incredible gorge, seeming to cross the stream about 40 times. I mainly did pencil sketches, working in a linear manner when happily most of Victor’s stops to explain features coincided with a good sketching point. When this didn’t happen I simply filled in details and tones from memory. Over the years my visual memory has become well developed, though occasionally more than just a little imagination does tend to creep in! In the above photo of the Elephant Victor is on the left and Kaj crossing the stream.
The one watercolour sketch of that day was finished later, and shows the sunlight striking the top of the massive crag at the end of the ridge on which part of Masca village is clustered. This is the start of the walk, and truly spectacular. For this I used a cartridge pad. In a painting I would move the central palm tree a little to the left, as it bothers me being so central. This is another reason why sketches are so important: they can highlight problems before you make them on the main painting. If you go out with non-artists and wish to do quick sketches then preparation is the key. Sharpen all your pencils beforehand, carry a small box of 5 or 6 colours of Inktense blocks or watercolour sticks, a sketchpad, water and 2 or 3 brushes. Watercolour pencils are also useful, but do keep your kit simple and easily and quickly accessible. Don’t forget a camera, of course.
Tenerife is a great place for the landscape artist – yes, it has mood as well as strong sunshine, and the colours are amazing. My only regret was to forget to include Perylene Red in my paintbox, as it was very prominent in the volcanic areas. If you’d like a little adventure I recommend Canary Trek