I hope during this lengthy lockdown you are able to get out for exercise, fresh air and perhaps a little sketching, as these things are so vital to our well-being. Although it’s quite cold today, these winters are pretty mild compared to what it was like when I was a youngster, so there are many occasions when it is fairly comfortable to work outside. I live at the foot of vast moorlands, so I get up there as often as I can. In mid-January I sat on a rock painting distant snow-covered mountains in warm sunshine, in more comfort than many a summer day.
Today I have a winter scene on the Sussex Downs, which I did many years ago. A light coating of snow gives you the opportunity to bring in some colour while retaining the white of the paper where you wish to indicate pure snow. Keeping the landscape light in this way gives you the opportunity to make the most of cast shadows which will stand out strongly. I have cut a little off the left-hand side so that the details are not too small, although this does make it look as though I’ve plonked the farmhouse in the centre. Note the intermittent lines of ploughed furrows, which keeps it from being an overwhelming foreground. The massed trees in the distance have been enhanced by touches of highlights in places and the closest edge stands out where I have described one or two individual trees. The painting was done on Saunders Waterford NOT 140lb paper.
The second workshop is on Thursday 25th February at 3..30pm and lasts 2 to 3 hours, for which there is a fee. Again, all the details are on the Shopkeeparty site. I hope to see you there. In the meantime, enjoy your painting.
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 festivaltakes 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 interest. Note 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!
It’s a pretty miserable, wet, misty day here in Mid-Wales, the sort that puts many people right off going out to sketch the landscape, but even in winter we can get some fine days when being out with a sketchbook is a real treat. Recently we had a fall of snow and the Black Mountains looked glorious in the late November sunshine as you can see below.
Now that winter has arrived it’s worth gearing up ready for that day when you wake up and the scenery outside is stunning, and begging to be painted. Preparation in advance is the key: if you have to search for everything the snow may well have melted, the early morning atmosphere dissipated and the best part of the day gone before you are ready for action. For sketching if you want to work quickly with minimum fuss a few pencils, watercolour pencils or sticks and a small cartridge sketchbook are all you need, plus your camera. Thin gloves of the Thinsulate sort help you draw in cold conditions, but a flask with a hot drink or soup can be a great morale-booster. Even better while you are sketching is a thermal travel mug which keeps your drink hot for hours – very welcome as you wait for a wash to dry or contemplate how much more of the composition to include. Note how the flask is prominent on the sledge during this sketching break amidst Arctic icebergs! The trouble with ice and snow is that watercolour is the best medium to capture their subtleties, but in temperatures below zero this is not the easiest option……….
You can get further tips and techniques in my book Winter Landscapes in Watercolour which is available from all good bookshops, or if you would like a signed copy, from my website. At the moment there is a special free offer of a pack of Christmas cards with each copy of the book. Whatever you do don’t miss out on the marvellous opportunities for capturing winter landscapes when the colours, the light and the trees are all so evocative. Just make sure you choose the right day to venture out!
This is a great time for getting wet in the cause of art – taking your sketchbook and a watersoluble graphite pencil into the shallow surf on a safe beach and getting really close to those waves. You can create some lovely effects with a watersoluble pencil, and either brush over the sketch with a plastic aquash or water brush, or simply dip your finger in the sea and use that! The latter method, of course gives little scope for intricate detail, but that can be an advantage in stopping you fiddling.
This A5 sketch of boisterous surf on Marloes beach only took a few minutes and it shows the subtle tonal effects you can achieve with a watersoluble pencil. I worked round the small blobs of white foam, and I was especially keen to capture the interaction of hard and soft edges, many of which kept changing with the movement of the water. Even if you don’t do a full painting from it, the sketch will teach you a lot about rendering wave action. One of the main advantages such a sketch has over a photograph is the dynamism and sense of movement you can portray with rapid and energetic hand movements.
So don’t forget to take your sketchbook with you when you visit the seaside. There will always be something to catch your eye. I did quite a number of sketches that glorious June day at Marloes beach, some of which only took 3 or 4 minutes.
I have to confess that I’ve neglected this blog lately as I’ve been away enjoying the highlands of Scotland in one of the most beautiful periods of sunshine. As well as climbing some of the peaks I also found myself drawn towards the stunning coastline, and with a combination of light mist and strong sunshine, day after day brought heavenly opportunities for the landscape artist.
One of the sketches I did was of the rugged west coast as shown on the right. Here I used a 5B pencil on a cartridge pad. Most of the horizon was lost in mist, so I only hinted at it on the right. With the sun providing such strong backlighting the rocks stood out dark, with their tops catching the light, as were the areas of beach. For the sparkling water I have simply dotted the area in question, and this can be moved to suit my needs when I carry out the final painting.
A scene like this can look a little desolate without some form of life, so I would introduce bird life or maybe a small boat into a painting. A cormorant stood on a rocky promontory well to the right, and in a nearby beach a number of waders were at work on the wet sand so it would be easy enough to introduce any of these to this scene, perhaps with a strip of sand in the case of the waders. The sand would also break up the monotony of wall-to-wall stones and pebbles in the foreground.
I enjoyed every moment I lingered in this delightful spot. Nature washes away all the stresses of life, and for me always injects a tremendous energy into my work. If you go out into the landscape it will always have a lesson for you, without fail. As someone with a deep love for the natural environment I have always treasured my visits to the Highlands, but for how much longer I don’t know. With the encroach of massed wind turbines across some of Scotland’s most iconic landscapes they will before long be submerged in a ghastly industrial mess. Even if the turbines were effective and didn’t involve highly toxic manufacture, didn’t decimate the bat and raptor population, didn’t pose a considerable threat to human health, they should still be kept out of these overwhelmingly beautiful landscapes for which Scotland is (at the moment) world-renowned. As they are primarily a means of making vast profits for corporations, political parties and even many so-called ‘green’ organisations, it is little short of criminal what is happening in Scotland and Wales. Please go and see these marvellous landscapes before they are decimated, and see for yourself what is happening to one of the most beautiful countries in the world.