Sunday, 14 August 2016

Using tonal effects to suggest mood and space

    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.

Friday, 22 July 2016

Losing mountains in clouds with your watercolours

    The last six weeks have been a breathless dash and blogging I'm afraid has consequently suffered. The Patchings Art Festival in early June was marvellous as usual and it was good to see some of you there. It is always so well organised and seems to get better every year thanks to Chas Wood and his enthusiastic team.

    More recently I've been reveling in the Italian Dolomites, a great favourite with such drama, colour and atmosphere for the landscape artist. Although there were lots of blue skies, thankfully the clouds made their presence felt most strongly at times, enabling me to get away from the picture postcard effect, though occasionally they did rather overdo it a bit and totally obscure just about everything except my feet, at high altitude.

    The illustration on the right shows one of my low-level watercolour sketches done on cartridge paper. Cloud is obscuring much of the peak and there are a number of ways of tackling this. Here I simply left the white areas as untouched paper, highlighting the white clouds by painting around them with a light grey, or as in some places a darker grey to suggest the darker mountain behind. I softened the edges of the clouds with a damp brush as I progressed, to suggest the light airiness of cloud, but sometimes a hard edge is left inadvertently. When this happens I let the paper dry then brush over the hard edge with just water on a small flat brush - a quarter-inch or 5mm one is fine. When this softens the edge I dab it with clean tissue and a soft edge has emerged.

    Other ways to achieve the effect of mountains, ridges and crags disappearing into cloud are described in my book Skies, Light & Atmosphere, published by Search Press. If you don't have the book you can order a signed copy from my website and we will include a free dot card of Daniel Smith watercolours (David Bellamy palette). I wish you many happy cloudy moments with your paintbrush.

Monday, 6 June 2016

Observing the Landscape

    Learning to draw and observe properly are essential skills for the landscape artist in watercolour, and although most artists can see objects clearly, so many have appalling problems when trying to observe and record a scene. This is one of the fundamental skills I try to teach students on my painting courses, but it does take quite some application and determination to continue practising the skills once the course has ended.

    This is a photograph of Skelwith Bridge, taken during my recent painting course in the Lake District. Whilst the lighting is a little flat, it is still pretty clear that the distant features viewed under the arch are a little darker in tone than the left-hand side of the bridge, though they are lighter than the underside of the arch to the right. Comparison of tones in this way is a vital method of working out these tonal relationships. Always think not just about the shapes before you, but the main tonal relationships as well. This will bring forward your art in leaps and bounds, and I would urge you to practice this with deliberate emphasis for at least the next month or so.

    My rough sketch of the bridge on the right was done in about 12 to 15 minutes and this is the sort of drawing that will help you with your tones. Breaking away from a pure linear response to a subject is absolutely essential in your development as an artist.

    I shall be demonstrating at the Patchings Art Festival  on Thursday 9th, Friday 10th and Saturday 11th June, in the St Cuthberts Mill Marquee, painting on the fabulous Saunders Waterford and Bockingford papers. Do come and chat. It's always a great show with superb demonstrators, marvellous crafts, paintings and art materials. I will be painting with Daniel Smith watercolours and will have available the dot-card palette of the colours I mostly use in their range, so come along and pick one up.

Sunday, 8 May 2016

Quick sketching in watercolour

    Don't you wish sometimes that life could be really dull, drab and boring? It can get a little too exciting for much of the time, leaving you breathless and with no time to sit back and recall all the fun you've had. Being out on the hills tends to energise me and is far more pleasant than sitting in the studio, especially when you have to listen to the racket of builders across the road with their loud radios and screaming stone-cutters. And I usually take a cappuccino and Danish pastry out with me anyway - it's amazing how it helps the washes flow across the paper!

    When I went out recently on the Brecon Beacons, I took with me some small sample sheets of the new Saunders Waterford High-White hot-pressed paper from St Cuthberts Mill. It really is delightfully smooth and as one would expect with St Cuthberts, it takes the washes well. As you can see in the rough sketch, the snow really does stand out on this paper. Note how the terracing of the rock outcrops appears in broken horizontal lines, with a few gullies sweeping down here and there. It's important to spend a few moments observing these aspects as they give a marvellous sense of place in your work. This paper also works well for wash and line work, and should be in the art shops fairly soon. I can't wait to work on some big sheets.

    I shall be demonstrating at  Patchings Art Festival next month in the St Cuthberts Mill marquee, on the 9th, 10th and 11th June, so I hope you can come along and enjoy the event. It's always a great pleasure to be there, with so many artists and crafts-people, and of course, all the materials to check out. And make sure you try out some of the Waterford HP paper!
 

Monday, 11 April 2016

Making powerful compositions

    Getting the composition right is critical whatever medium you use. In landscape painting there are many rules, or guides that will help you achieve a powerful composition, although like most 'rules' in painting these can be broken at times in order to create more original results. It does pay, however, to follow these rules while you are learning, and then perhaps taking a more creative approach later when you gain experience.
    In this watercolour of Angle in Pembrokeshire I have used Waterford 300lb paper with a marvellous rough surface to enhance the textural effects, particularly in the large foreground area. The large foreground pushes back the centre of interest - the cottage - and allows a large lead-in of the creek. A lead-in to the centre of interest like this helps establish it, and the boats, birds, sparkle on the water and strong orange colour in the sky all draw attention to the centre of interest. The cottage also stands out darkly against the sky. These are all devices you can use to highlight your focal point.

    The far right-hand boat gives a sense of balance to the composition, so that not everything is concentrated around the centre of interest. It is a good idea to carry out one or two studio sketches to ascertain the optimum positioning and emphasis on the painting to be done. Having the centre of interest around one-third of the way down the paper, or up from the bottom, and one third of the way along from either side always gives a powerful effect, so try not to place it bang in the centre!

    The actual painting is on display in the Breath of Nature exhibition at Boundary Art at 3 Sovereign Quay, Havannah Street, Cardiff CF10 5SF   Tel.02920 489869 until 1st May

Tuesday, 15 March 2016

Nature's Little Jokes

    My recent silence is a result of being up in Snowdonia, at last finding some snow this winter to sketch and roll around in. At times ferocious winds made sketching something of a challenge, but I returned with several good compositions to work on. One subject I spotted while driving along first thing, and luckily there was somewhere to park. The scene that caught my eye was dominated by Esgair Felen - not perhaps an outstanding subject under normal conditions, but under deep snow and with the early morning like catching it, I just had to go for it.

    I usually prefer to photograph a superb subject before sketching it, but as I arrived in position the sunlight faded. Still, I took some shots then hurried back to the car. Halfway back along the 150 or so metres the sun came out again, tempting me back. But I wasn't playing that game. Without moving, I focused the camera on the mountain despite the fact that I could only see the top two-thirds or so, and fired away, catching the glorious light on the critical part at the top. Then I realised that I'd caught a new composition - the foreground in the shots was made up of crags and rocks, making the scene look far more remote than in actuality. OK, I didn't have the lake in the scene, but I had a second exciting composition to play with.

    The watercolour sketch includes the lake and I finished it off with Derwent Inktense pencils, which are excellent for giving a watercolour sketch a bit more power. Even for my sketches, however rough, I like to paint with the beautiful watercolour sables produced by Rosemary & Co. as they come to such a lovely point and make it a pleasure to sketch in this way.

    By playing its little joke on me - albeit the pretty common one of making the subject disappear before my eyes, or losing its appeal - it had actually given me two compositions instead of one, so in future I must watch for this phenomenon more closely, as perhaps I'm missing out on many secondary scenes.......

Monday, 29 February 2016

Sketching with pen and watercolour

    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/