Waterfalls are popular subjects in a painting, and I’ve had a great many exciting moments sketching them, climbing them and abseiling down them, including ones underground where they really give you that “Hey-ho, here we go, but what’s at the bottom?” sort of feeling. Having the Brecon Beacons close by is an added bonus as there are more waterfalls per square inch there than anywhere else in the country.
It is fairly easy to find waterfalls as they are usually marked on walkers’ maps, and if they have a name then you can Google them to get access information and a pretty good idea of what you can expect as descriptions are often accompanied by photographs. In this watercolour I used the excellent Saunders Waterford 300lb rough paper and increased the roughness even further in places where more rock textures were to appear by glueing thin Oriental papers in place.
My aim was to create a sense of mystery in the background using the wet-into-wet technique to blend the furthest rock and tree shapes into the misty background, then when this was dry painting harder shapes to suggest distance. The upper falls emerges from out of this atmospheric backdrop and for the falling water I leave the paper untouched so that it stands out in strong contrast to the darker sides, and especially the hard-edged rocks jutting out.
I shall be demonstrating waterfalls in watercolour at the Sandpiper Studio at Ledsham on the Wirral at the end of the month. As the first demonstration was so popular and filled up quickly, we have added another on Friday 28th October from 2pm to 4.30pm, and there are still a few places left on this one. Further details and bookings can be obtained from Julie McLean on 07788 412480 or Email her on firstname.lastname@example.org The two demonstrations will be of different waterfalls, and if you have lots of questions then bring them along! I will also be using the Daniel Smith watercolour range with their exciting colours. No abseiling is involved.
Injecting mood into a landscape painting not only makes the overall effect much more exciting, but can create a strong sense of space and distance in the work. Although this scene of Faversham Creek in Kent already had a feeling of great space I wanted to exaggerate the atmosphere even more in the finished painting. I chose a blue-grey tinted paper for this watercolour and deliberately kept the distant wooded hillsides very faint in order to create a striking contrast with the foreground features. The strong tones on and around the buildings help to push the faint hills well into the background. If everything is given the same degree of tonal strength then it will be hard to distinguish various features from each other, even with contrasting colours. Masts, gulls and some white boats were rendered in white gouache, and I have only included the main part of the composition so that the distant hills can be seen better.
I shall be giving another of my annual seminars at the Settlement, Pontypool on Saturday 1st October, and it will be covering how to create mood and drama in a painting, beginning with a watercolour demonstration, and this will be followed by an illustrated talk on the subject, including a great many examples of different landscapes and coastal scenes. You can find details on my website http://www.davidbellamy.co.uk/seminar-pontypool-october-2016/ I shall be demonstrating the exciting Daniel Smith watercolours and Saunders Waterford paper, and there will be plenty of time for you to ask any questions, so I hope to see you there.
As usual, life is so full of exciting activities that it’s hard to find time to blog, especially when I’d rather be communing with nature than with a computer. What a tremendous autumn it’s been – the combination of lots of sunshine and amazing autumnal colours has really provided some stunning images for the landscape artist.
My autumn course in Mid-Wales benefited from the colours and sunshine so much that we were able to paint out of doors in October, even quite high up in the Brecon Beacons. Here the group is painting the main peaks with a stream leading nicely into the focal point. There is still a lot of colour around, so you may well find it rewarding to get out and capture those scenes. A few dabs of masking fluid can be very effective for rendering those bright-coloured individual leaves that still hang around.
Don’t forget though, that a drop of rain can liven things up by creating puddles. These can form really useful features in a foreground, and can be introduced into a painting quite easily. They really come alive if you stand on the opposite side of the puddle to the sun, as the backlighting can create extremely bright and contrasting tones as you can see in the photograph on the right. It gets even better if you can get some of those autumn colours to reflect in the puddle, See how the light part of the puddle stands out against the darker leaves on the right-hand side, and the dark water stands out against the glistening wet surface of the path at other points. We can learn so much simply by observation like this, but it’s even better if you can manage a sketch and a photograph of the scene, as it will really drive the effect home.
It was great to meet so many enthusiastic folk at my seminar in Great Bookham last week, and the response was really heart-warming. Thanks to you all who came along for the event. My exhibition across the road in the Lincoln Joyce Fine Art gallery continues until November 14th, so there is still plenty of time to pay a visit. http://www.lincolnjoyce.com/ or Tel. 01372 458481
If you really want to give your landscape paintings a boost one of the most effective methods is to inject a strong dose of atmosphere into the scene. Unfortunately most of the time when you sketch or photograph a subject there may not be much by way of atmosphere, so in many cases you need to inject it into quite an ordinary scene. With time and experience this becomes easier. In this view of the Teign estuary in Devon you can barely see the distant Dartmoor ridges, and even then they become lost in the atmosphere at the extremities. To achieve this sense of mood and distance I have used the same wash for the ridges as I have for the lower sky area. Keeping most of the edges softened also helps create mood, as does a very limited palette. There is hardly any detail in any of the background trees and promontory, and even the centre of interest – the cottage with its attendant trees has little extra colour.
This painting is part of my forthcoming exhibition Shorelines and Summitsat Lincoln Joyce Fine Art, 40 Church Road, Great Bookham Surrey, KT23 3PW – telephone 01372 458481 Their website is www.artgalleries.uk.com The exhibition runs from 28th October to 7th November. Both the coastal and mountain scenes include strong atmospheric effects in most cases.
There are still places available at my seminar which takes place from 10 am to 3 pm on 28th October in the Old Barn Hall opposite the gallery, so you can also view the exhibition. Tickets are available from the gallery or Clockwork Penguin or telephone 01982 560237 The seminar comprises a watercolour landscape demonstration and an illustrated talk, both covering how to include animals and wildlife in your paintings – and, of course, lots of atmosphere, and you will have the opportunity of asking questions. I hope to see you there.
David and I have just returned from a trip to Kent where David did a demonstration for Hythe Art Society at the stunningly beautiful Lympne Castle, overlooking Romney Marsh, to celebrate their 50th Anniversary. We were made very welcome by this warm and friendly art group and shared their celebration tea with them after the demonstration.
We took the opportunity whilst in this beautiful corner of England to explore Dover Castle, Folkstone Harbour and St Margaret’s at Cliffe, which yielded numerous sketching subjects. The weather was beautiful as we sketched the White Cliffs of Dover in the hazy sunshine.
White Cliffs of Dover, St Margaret’s at Cliffe, sketch by Jenny Keal
I know I’ve said it before but I can’t emphasis enough how important sketching out of doors is to improve your painting. The watercolour sketch above only took about 30 minutes to complete. Working in a hardback cartridge paper sketchbook, with a slight breeze to dry the washes, I was aiming to capture the freshness of the morning and the delicate quality of the light. Leaving out lots of foreground detail to retain the freshness I was aiming for.
Photograph, St Margaret’s at Cliffe
So often a sketch can capture something that is lacking in a finished painting, and working purely from a photograph can rarely portray the magic of a place. When I look at the sketch I can smell the sea, but not when I look at the photograph.