tag:blogger.com,1999:blog-79392075387226518312024-03-14T06:03:51.106+00:00DavidBellamyArtThe blog of David Bellamy, artist and authorDavid Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.comBlogger269125tag:blogger.com,1999:blog-7939207538722651831.post-68368844508003164392023-10-31T16:09:00.001+00:002023-10-31T16:13:07.787+00:00Lighting effects in Landscape Painting My exhibition at Erwood Station was a great success with sales, interest and raising money for the <b>Campaign for the Protection of Rural Wales,<b>although the initial part proved a little difficult as I was under the weather for a while. It's great to have exhibitions in the major galleries, but this time I was really happy to do something locally. Erwood Station will continue displaying some of my work, and it's a lovely place to visit.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq7-M9a5YiAUibboi_P8Rg49BdMtS6qlghLnC9INzrgO0S-ZoWaQBEFubRS-Sk_AwBk4mYHzo5DCZOh6cNQVkuiC41ZnObQ4qQDiHycyWN280dWo5AaLtbieMtXOhhjlrN_91NUmsGCGKZdfms84UHdwDqWu0kyb1UZ9bdnZCFzpESjQggi1k3WsdqFVA/s1200/Sunlight%20over%20the%20Beacons%20sm.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="858" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq7-M9a5YiAUibboi_P8Rg49BdMtS6qlghLnC9INzrgO0S-ZoWaQBEFubRS-Sk_AwBk4mYHzo5DCZOh6cNQVkuiC41ZnObQ4qQDiHycyWN280dWo5AaLtbieMtXOhhjlrN_91NUmsGCGKZdfms84UHdwDqWu0kyb1UZ9bdnZCFzpESjQggi1k3WsdqFVA/s320/Sunlight%20over%20the%20Beacons%20sm.jpg"/></a></div></b></b>
The scene I am showing today is a watercolour of the Brecon Beacons where I have used lighting effects to create interest. Before carrying out a painting it really helps if you consider your ligting arrangement beforehand. This particular composition shows quite complicated lighting areas, and for this I did a preliminary studio sketch with emphasis on the tonal values of the various passages. Normally I prefer to let the main light flood over the focal point - in this case the farmhouse and outbuildings, but I strayed from the norm here by keeping an area of light in the middle distance, beyond the farm, with the farm itself not especially well-lit. Trying new variations from your usual approach can be exciting and lead to interesting effects.
The light on the background peaks provides variation, though I did not want this to compete too strongly with the focal point. I love interesting skies and sometimes indulge in cloud-watching for some time, and although this composition could well have been served effectively with a simple sky, I often can't resist working up a cloud mass that contains a striking patch of light as in this case. Do take time to consider your lighting treatment in your painting as it can make a terrific difference to a work.David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-6648419726242693572023-09-05T18:01:00.000+01:002023-09-05T18:01:11.852+01:00Creating textures on rocks It was something of a relief to learn that my blog post of last week had worked, and many thanks to those of you who confirmed you had received the post and image OK. Anyway, I'm doing my best now to make sure that things get back to normal.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhs_agkfjwJ_WELEWllgVf-K670drKRzLijF0-lOyU4dijy9eS2eNfgXfrPNuwG3vMiScCqqdWrWZukllpsRqpW0xtWjnxBBSVBVIdoj-PaEX1HMjT8fbb12OAu_tE1zFq66lYkYUwjHOKGh9XqNd1KK4Vbz1gIrUutX5OWVMDL4xAB8YyYYOXtyRTElk/s1200/Sunshine%20and%20mist%20on%20the%20Wye%20sm.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="872" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhs_agkfjwJ_WELEWllgVf-K670drKRzLijF0-lOyU4dijy9eS2eNfgXfrPNuwG3vMiScCqqdWrWZukllpsRqpW0xtWjnxBBSVBVIdoj-PaEX1HMjT8fbb12OAu_tE1zFq66lYkYUwjHOKGh9XqNd1KK4Vbz1gIrUutX5OWVMDL4xAB8YyYYOXtyRTElk/s320/Sunshine%20and%20mist%20on%20the%20Wye%20sm.jpg"/></a></div>
The image this time is another view of the River Wye, which like many of our rivers desperately needs help to stop the ongoing pollution caused by intensive poultry farming, and sewage release. For this painting I chose Waterford rough paper to emphasise the ragged edges of the fast-flowing water and in particular to achieve the interesting texture on the large rock at the bottom left-hand corner. I brought the sky wash of cobalt blue down over the rock, weakly at this point, and when this was dry I smothered much of the rock, apart from where the light was catching the top, with strong yellow ochre, using the side of a no. 10 round sable to create a broken wash. Again, I let this dry and then introduced the green parts to suggest moss. For this I used a mixture of green apatite genuine and yellow ochre, again spreading it with the side of the brush. Finally, once that had dried I took a fine-pointed no. 6 sable and drew in the crevices with a mixture of burnt umber and French ultramarine.
The painting is part of my exhibition of paintings of the Wye at Erwood Station Gallery & Craft Centre from 23rd September to Sunday 15th October and is open daily. On 23rd and 24th September there will be many eco-based activities at the Centre, and on the Sunday, which is World Rivers Day, the Goddess of the Wye will be entertaining. Erwood Station is a lovely location a few miles south of Builth Wells, just off the A470, a much-loved venue in the heart of beautiful scenery.
On Monday 25th September I shall be giving a watercolour demonstration on painting the Wye at the Centre, and will be covering techniques for capturing running water, sparkling water, placid water with reflections, and of course rocks, trees and the atmosphere. This is a ticket-only event with proceeds going to the Campaign for the Protection of Rural Wales who will also be putting on a display of their work to protect our rivers. The demo starts at 7pm and tickets and information can be obtained from 01982 560555 or email erwoodstation@hotmail.com
David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com2tag:blogger.com,1999:blog-7939207538722651831.post-68849137691998944652023-08-28T15:43:00.002+01:002023-08-28T15:43:49.717+01:00Painting the WyeIt's been some time since I last created a blog post - the problem has been that the blogging software appears to have been crapulated by the blogging company without warning or providing any idea of how to fix it. The pictures simply appear as a string of incomprehensible characters, which of course, is not what you would want to see. Additionally I have been away from home a lot this summer, but now we're trying to fix it.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCazvqDCGMAdj-92wt1JzK2nNPp-x9xbhjTtOpHO0jxIFmoD3N5Xjqn7QrblygjM-oCded3GGfcvgj15zYpvncESP2t4vTDuU4cuQpDmr1V-J4-kFzpRSX2JjHrJpyAHSOaRuZGftV7UmiX4THwkKne1K0ocdOdKxgTyOmlINRobWsez3DW0AwOSPTFM/s1200/Black%20Mountains%20from%20the%20Wye%20sm.jpg" style="display: block; padding: 1em 0; text-align: center; clear: left; float: left;"><img alt="" border="0" width="320" data-original-height="900" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCazvqDCGMAdj-92wt1JzK2nNPp-x9xbhjTtOpHO0jxIFmoD3N5Xjqn7QrblygjM-oCded3GGfcvgj15zYpvncESP2t4vTDuU4cuQpDmr1V-J4-kFzpRSX2JjHrJpyAHSOaRuZGftV7UmiX4THwkKne1K0ocdOdKxgTyOmlINRobWsez3DW0AwOSPTFM/s320/Black%20Mountains%20from%20the%20Wye%20sm.jpg"/></a></div>
The image I have before me is an 8-line string of characters, but I am hoping that the resulting image on your screens will be a watercolour of the River Wye in Summer. The mountain and water have been kept simple, the more distant water a horizontal sweep of cobalt blue with very little water on the brush, softening down into a light area, with some dark reflections introduced at the sides. The dark tones on the closer trees suggest the impression of distance in the composition. I have over-done the foreground flower collection a bit, but sometimes it is interesting to include strong detail in the foreground when most of the composition is quite simple.
The painting will be part of a small exhibition at Erwood Station Gallery & Craft Centre, which lies a few miles south of Builth Wells in Powys. It starts on Saturday 23rd September and runs until 15th October, every day. I shall be giving a demonstration of painting the Wye in watercolour on Monday 25th September at 7pm, admission by ticket only because of limited space. Telephone 01982 560555 for the Centre. More details with the next blog which hopefully will have all the problems resolved, although at the moment I'm more inclined to believe in magic than these software geeks!David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-80163416908139858432023-08-14T15:33:00.003+01:002023-08-14T15:33:51.881+01:00Blogging difficulties It's been rather a long time since I produced a blog post, the reason being that not only have I been away for a considerable amount of time, but there have been problems with getting the blog to work. I simply haven't had the time to try to sort it all out, and in fact with many software problems that seem to imply deliberate degrading, it's becoming something of a menace. My blog provider now doesn't seem to be capable of setting up images, so I'm afraid this post has no image. I shall have to set up on a new blog provider in the next few days.
This summer has been a frenetic series of trips around England and Wales, from Dartmoor to the Lake District, and Pembrokeshire to the Patchings Art Fest, all exciting stuff, but I wish it could have been more spread out! I've also been working intermittently on books and articles, so it's been non-stop.
My next project is a small exhibition at Erwood Station starting on 23rd September for 3 weeks. The paintings are watercolours of the upper River Wye, one of the most beautiful riverine stretches in the country, and it is also aimed at highlighting the dreadful problems of pollution which those in authority seem to have little concern about. We are supported in this by the <a href="www.cprw.org.uk">Campaign for Protection of Rural Wales</a>. More information in my next blog.
I hope to get things back to normal soon.
David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-12553080463425743022023-04-04T15:57:00.000+01:002023-04-04T15:57:17.431+01:00Painting with harmonious colours<p> One event in the year that I especially look forward to is the Patchings Art Festival, and I shall be demonstrating there once more on the fabulous Saunders Waterford and Bockingford papers, in the St Cuthberts Mill marquee on the mornings of 13th, 14th and 15th July. If you've never been, do treat yourself this year as it is a terrific show in lovely surroundings, and overflowing with artists demonstrating their various styles. There's no place quite like it for being supercharged with artistic inspiration! </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL-aUI0L_8358QToEla1XqaF7Y3D4clwbN7Lk5lSKlofmHrBn42hH3Ghf95TZ3DRkPXCTDdxyPA1-RzkjpWxbSK9JyJI3dnv9_SqIncpSQR9MLyyqZYlGb73owcQniUfy5hPTX0YdU05b6Ly0nZsyc8AZHbGkyLPbdXdojm8NtKn2aSvBJBoI3FheR/s1693/Bridge%20in%20the%20Cynfal%20Gorge%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1693" data-original-width="1589" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL-aUI0L_8358QToEla1XqaF7Y3D4clwbN7Lk5lSKlofmHrBn42hH3Ghf95TZ3DRkPXCTDdxyPA1-RzkjpWxbSK9JyJI3dnv9_SqIncpSQR9MLyyqZYlGb73owcQniUfy5hPTX0YdU05b6Ly0nZsyc8AZHbGkyLPbdXdojm8NtKn2aSvBJBoI3FheR/s320/Bridge%20in%20the%20Cynfal%20Gorge%20sm.jpg" width="300" /></a></div> This is just part of a small watercolour as I want to highlight more of the detail, and some of the techniques used I will be showing at Patchings. The moody background was created with the wet-into-wet method, with the whole of the background carried out with just burnt umber. Whilst the wash was still wet I suggested the trees with a rigger, the larger ones with a number 4 brush, and with hardly any water on the brush - almost pure paint so that it did not run. Naturally I test it on the side first to check if the timing is right.<div><br /></div><div> On this side of the bridge I introduced other colours: yellow ochre, cadmium red and French ultramarine. My aim was to keep the colours in harmony, all in the brown-ochre segment of the colour wheel. The ultramarine, of course is not in that category, but I've mixed it in such a way that it is simply darkening the effect with burnt umber, and not displaying any sign of its blueness. Adopting this approach will give your work a great feeling of unity.</div><div><br /></div><div> I hope to see you at Patchings in July and for further information on the Patchings festival check out these links:</div><div><br /><ul style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: small; margin-bottom: 0cm; margin-top: 0cm;" type="disc"><li class="m_-7716970415475181913MsoListParagraph" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0cm;">To book tickets <a data-saferedirecturl="https://www.google.com/url?q=https://patchingsarts.tygit.com/shop/groups/pk/dc4104183eabdf2c336eaec6dae4fba8&source=gmail&ust=1680706135404000&usg=AOvVaw2lSqprLxku20NrK_lKkSri" href="https://patchingsarts.tygit.com/shop/groups/pk/dc4104183eabdf2c336eaec6dae4fba8" style="color: #1155cc;" target="_blank">https://patchingsarts.tygit.<wbr></wbr>com/shop/groups/pk/<wbr></wbr>dc4104183eabdf2c336eaec6dae4fb<wbr></wbr>a8</a><u></u><u></u></li><li class="m_-7716970415475181913MsoListParagraph" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0cm;">Patchings page <a data-saferedirecturl="https://www.google.com/url?q=https://www.patchingsartcentre.co.uk/patchings-festival/&source=gmail&ust=1680706135404000&usg=AOvVaw11DC-g6RT6dUKZmMMj1uHx" href="https://www.patchingsartcentre.co.uk/patchings-festival/" style="color: #1155cc;" target="_blank">https://www.<wbr></wbr>patchingsartcentre.co.uk/<wbr></wbr>patchings-festival/</a><u></u><u></u></li><li class="m_-7716970415475181913MsoListParagraph" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0cm;">Patchings Instagram <a data-saferedirecturl="https://www.google.com/url?q=https://www.instagram.com/patchings_art/&source=gmail&ust=1680706135404000&usg=AOvVaw1s27ZAYbGXrBf6Dg7jW8xs" href="https://www.instagram.com/patchings_art/" style="color: #1155cc;" target="_blank">https://www.instagram.com/<wbr></wbr>patchings_art/</a><u></u><u></u></li><li class="m_-7716970415475181913MsoListParagraph" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0cm;">St Cuthberts Mill webpage: <a data-saferedirecturl="https://www.google.com/url?q=http://www.stcuthbertsmill.com&source=gmail&ust=1680706135404000&usg=AOvVaw3zp4Bek1mGrlDRNUyPVZoa" href="http://www.stcuthbertsmill.com/" style="color: #1155cc;" target="_blank">www.stcuthbertsmill.com</a><u></u><u></u></li><li class="m_-7716970415475181913MsoListParagraph" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0cm;">St Cuthberts Mill Instagram: <a data-saferedirecturl="https://www.google.com/url?q=https://www.instagram.com/st_cuthberts_mill/&source=gmail&ust=1680706135404000&usg=AOvVaw3b-CE3Vom9yiJtw1boGt57" href="https://www.instagram.com/st_cuthberts_mill/" style="color: #1155cc;" target="_blank">https://www.instagram.com/st_<wbr></wbr>cuthberts_mill/</a> </li><li class="m_-7716970415475181913MsoListParagraph" style="font-family: Calibri, sans-serif; font-size: 11pt; margin: 0cm;"><br /></li></ul></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-13624849947296656632023-02-23T15:40:00.000+00:002023-02-23T15:40:21.506+00:00Back in Erwood<p> There is something about the old stone bridges scattered about the mountain regions worldwide that feels such an idyllic subject for the landscape artist. The one I am featuring today stands on the River Artro in Snowdonia, a quiet, heavenly spot that has a calming influence on the mind. I have painted it a few times, and this view is looking upstream with light filtering through the trees.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXGDijKZ8BhS88QcQnBWsTZlmyWwyRniwS20d7tY-UV-JmpWQAsgnk1wxT9fxEBzh1P4SnrxHmRyCsAWceBxRVibCvGD_SVDbPfn5MvF9ECFpOTKBTLwgR5lutT1BBQrs30kJqBt1DrHXtw41VeLrgvR2EyQkDXmlqw-jzvZHDNVpjRT-NWmNtncKo/s1200/Bridge%20on%20the%20River%20Artro%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1200" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXGDijKZ8BhS88QcQnBWsTZlmyWwyRniwS20d7tY-UV-JmpWQAsgnk1wxT9fxEBzh1P4SnrxHmRyCsAWceBxRVibCvGD_SVDbPfn5MvF9ECFpOTKBTLwgR5lutT1BBQrs30kJqBt1DrHXtw41VeLrgvR2EyQkDXmlqw-jzvZHDNVpjRT-NWmNtncKo/s320/Bridge%20on%20the%20River%20Artro%20sm.jpg" width="320" /></a></div> The overwhelming greens in the top half of the composition have been tempered by the mixtures of French ultramarine and cadmium red in the lower segment, often with yellow ochre dropped in while the passage was wet. The contrasting effect of tall dark tree-trunks on the left, with the negative painting of the trunks of those saplings on the right helps to provide balance. The river naturally leads the eye up to the bridge, and I have kept the foreground water calm and lacking in detail in order to throw the emphasis on that which is closer to the bridge. The soft, blurred effect of the background trees also helps to accentuate the stronger lines of the bridge, and I have considerably reduced the number of trees in the scene.<div><br /></div><div> I am delighted to say that the painting now hangs on display in Erwood Station art and craft gallery, which has just opened again, and very much in the manner of my dear friend Alan Cunningham who built it up into a highly popular venue, but who sadly passed away many years ago. It was quite an emotional moment to be invited back by Jenny, the new proprietor of the place that brings back so many happy memories. There are works by several artists and some of the most delightful crafts by talented local makers, as well as a terrific tea shop once again, and a beautiful river walk beside the Wye, so do drop in - it's about 8 miles south of Builth Wells, just off the A470, telephone 07584 258947.</div><div><br /></div><div> Finally, I'm so sorry I've been off the air for so long, but I went down with the 'flu in December when I was about to send out a Christmas message, and so missed seeing the family over Christmas, including Catherine's amazing performance as the Genie in Aladdin at East Grinstead. It took a while to get over it, and in mid-January I set off for northern Italy to explore the Alpine scenery around the Aosta Valley, though still not in perfect trim. However, it proved to be a spectacular trip and I will be covering it in my next blog. In the meantime I hope you are all making the most of this absolutely beautiful weather for sketching landscapes.<br /><p><br /></p></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com2tag:blogger.com,1999:blog-7939207538722651831.post-18067804236203597032022-11-28T12:34:00.000+00:002022-11-28T12:34:18.567+00:00Painting weathered stonework<p> I don't know about you, but I do love weathered stonework, whether it's a humble dry-stone wall snaking across a windy hillside, or part of a monumental masterpiece of some ancient temple. When I visited the vast Roman site of Baalbec in Lebanon's Hezbollah heartland the amount of outstanding weathered and sculptured stonework really took my breath away.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd2QO1wFuYIZ25ot7EUjaMoz0vLK4nme6-QP1kxynwt8sMipg11VYC_SoiCzAbwSSZgMyVc8rLHCMq_OpYcXlLgrq04TsPh9yDCP38fiC3WS4kbZTNY26FybQEKWhi01rEGqVQlhuaz2XNDaMbGh227OoZlbmciOeYTumraMAUbLGOaD5gPZPST_gT/s1200/Roman%20Stonework%20at%20Baalbek.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="1200" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd2QO1wFuYIZ25ot7EUjaMoz0vLK4nme6-QP1kxynwt8sMipg11VYC_SoiCzAbwSSZgMyVc8rLHCMq_OpYcXlLgrq04TsPh9yDCP38fiC3WS4kbZTNY26FybQEKWhi01rEGqVQlhuaz2XNDaMbGh227OoZlbmciOeYTumraMAUbLGOaD5gPZPST_gT/w408-h217/Roman%20Stonework%20at%20Baalbek.jpg" width="408" /></a></div> The illustration shows a small part of an enormous watercolour of the main courtyard at Baalbec. By keeping the edges fairly soft, this has imparted a weather-worn appearance. In the large side of the left-hand block of stone I began with a wash of alizarin crimson, dropped in some yellow ochre higher up and weak French ultramarine on the right. When the paper had dried I drew in the Roman lettering using a number one round sable, easing off the pressure in places to almost lose the outline of the letter, and in fact deliberately missed some parts. Again I allowed the work to dry before vigorously rubbing parts of some letters with a small flat brush to lose even more minor parts, before applying a wash of lunar black mainly over the right-hand side. This DanielSmith colour granulates with a vengeance, speckling the piece as in the original stonework. I applied it slightly unevenly and added the odd little blob here and there. I have created this in a traditional manner, building it up slowly overall, but there's no reason why you shouldn't include these techniques in combination with a more abstract design. <div><br /></div><div> The original painting can be seen in my book <i style="font-weight: bold;">Arabian Light</i> which is not a practical guide, but nevertheless contains a wealth of inspirational watercolour techniques, with particular emphasis on capturing light and atmosphere. Why not put it on your Christmas list? You can find more details on my <a href="http://www.davidbellamy.co.uk/david-bellamys-arabian-light-book/">website</a></div><div><br /></div><div> I have delivered new paintings to the Ardent Gallery in Brecon www.ardentgallery.co.uk so do pop in if you are in the area. I have also done a Christmas card which is sold in support of the Campaign for the Protection of Rural Wales, and details can be obtained at <a href="https://mail-attachment.googleusercontent.com/attachment/u/0/?ui=2&ik=0d941ff3f6&attid=0.1&permmsgid=msg-f:1748840336709432276&th=184521053e70b3d4&view=att&disp=inline&saddbat=ANGjdJ9cHkiRZdqhMdzBVzL9vj940C7oZSqntqHEFYx-Zeya46wNZ8X0K_JS4AjKeyODxsNlSudNEk4jK_k7OZbLoRM5vALjzES2n9UWiuKpPtGhbFDRw_9AJsDe2CLWQpI8F8DUdbyqQDr5zSPyOb2smMAn05gfd3IU_bXTqNvtWgr_9IyyohFbGEt1OVodoIB-QxdfSnXlrSiQ59R3TSlRPjAanmqiF7F-IPUEBDy2AfwxkLQfB5lG2wGecgKzcZcviCQSKUucIW9dsVfOJ8MHtYIGqRVaoGa9dzEJgH8fWE1ZRLqsS_hRGJ7z9H9ZiAEPyLqdGITRuW8s0DTScZ971NFyb9fJMXeXRZ3CApCLba9NNlUnzEw-B1ab_d8396zrp4-w06FCGR6H51QMthg4RgNpeMlY99icqQaUMUDCCuaaN_reFFE2zbqglb-pAFiYK2JU5rHlZ7n3XbuyotlbSd7a9lwuso4PBxWbyJKZ1JAc667eJCvf5T11sL49WoaxxUVLub2AK3rVd4lnH6cI1OYpCcpp9xuXRGmz9wQAwi0zaZWzea3aYbzDcMGM1F49sP3Bqujp_MZePICGtdz3xnEPWRFUwuRf0wO8aIslstSMLcxdh_ipH6PPbdlH7KaGRNb4B4zK-GHMazWlecaQh56RniRajQ3FgQtmLWoyUMzR6O5_eMs3LHMzXfqJf9HF-kFZ8qWm8aE6Q3vCHvD05pvLsfOy55KuGt0GfFaU9eEiWJvAY5qCcoReOEMxjImYvvd6QSfY5KIX1jC9Fs27ofKQIWHhR6gsg0DOd76OwuxUKtClVrBJbY3BZUu38A6qXFpXrukHsFBld14BHZtPSysTdFUdWTPYMVjNaRFPkOJFcYQUR4r6YFWiE2x3xUDbHXUEXe9SoTz4wWxBu11rdMnSnY_jgZdiP95V2Yct84u0XWLONvvS8XTV7tM">CPRW</a></div><div><br /></div><div> </div><div><br /></div><div><br /><p><br /></p></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-81681290515254940532022-10-25T14:35:00.001+01:002022-10-25T14:35:19.297+01:00Capturing the colours of Autumn<p> Once again, autumn is with us, and the opportunity to indulge in bright, warm colours in our landscape paintings. This time last year I found the striking colours in the Bavarian Alps absolutely mind-blowing, with every day in brilliant sunshine.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtAPbCJwS26Ri8HqYbUH0bfdlqkk9i9zF2YcAPGwibUK_buxgD_UFk2RmFQaPCeDZzbyCZ9MMuLTirZdFgk_QnFlOivqTtcEWb4st1fVWcfXLZ7Pg3tqnWbxJfC86X49wAjuCwKy-ouOYvLFskk5Ibd4g7euBD_iu_JXaQKtJAbmpMCjsZoTTMYoop/s1200/Track%20to%20Little%20Langdale%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1200" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtAPbCJwS26Ri8HqYbUH0bfdlqkk9i9zF2YcAPGwibUK_buxgD_UFk2RmFQaPCeDZzbyCZ9MMuLTirZdFgk_QnFlOivqTtcEWb4st1fVWcfXLZ7Pg3tqnWbxJfC86X49wAjuCwKy-ouOYvLFskk5Ibd4g7euBD_iu_JXaQKtJAbmpMCjsZoTTMYoop/s320/Track%20to%20Little%20Langdale%20sm.jpg" width="320" /></a></div><br /><p> This scene shows a track leading to Little Langdale in the English Lake District. I was lucky at the time to encounter snow on the distant fells, and this accentuated the bright colours of the right-hand small tree. For this I used two of my favourite Daniel Smith colours - Aussie red gold, which was applied first and when this was dry I added transparent red oxide. These two work extremely well for autumn scenes. The dark ridge in the middle distance was rendered with Moonglow, another useful colour, and in places I have pulled out the colour with a small sable to indicate lighter patches.</p><p> The painting is reproduced in my <i style="font-weight: bold;">Landscapes Through the Seasons in Watercolour</i> book, signed copies of which are available from my<a href="http://www.davidbellamy.co.uk/davids-latest-book-landscapes-through-the-seasons/"> website</a></p><p> Watch out for those autumn colours and make sure you are armed with the right colours........and if you get some snow as well, then that's a great bonus!</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com2tag:blogger.com,1999:blog-7939207538722651831.post-20460129100633417662022-09-20T17:56:00.000+01:002022-09-20T17:56:14.444+01:00Determining Colour in Landscape Painting<p> A few weeks ago I received an interesting query about how one determines what colours to use in response to a landscape. I could write a book on this fascinating subject, but I'll try to answer that as best I can in this limited space and perhaps follow it up with an article on the subject later.</p><p> In some of the practical art books I read during my early days we were warned against relying too much on the colours in photographs taken of landscapes as the colour reproduction was often unrealistic, and it was best to work from the landscape first-hand to achieve the precise colours in the scene. This approach, however, adopts the premise that we simply want to copy exactly what is in front of us, and to blazes with any of our own artictic creativity. In our paintings we are not trying to emulate photography.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinXZeYrNuvgw0vepylXhn35bV-sYzbVXDUEocl2XWV0KDBo1GMgm2s-xL-dEVXlWyqvmK_-SXoN8FdWxMXLKHeBnM7L7cmoky-Rbll-sRTC29z3i1vTq1QoMpwVcEFJpRAicELPUoO0o0u6_Si9ML4YW4tLqO0qoAaaBj8NnbCNagZOfSLpUxEX7uQ/s1200/Parrog%20Moorings%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="813" data-original-width="1200" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinXZeYrNuvgw0vepylXhn35bV-sYzbVXDUEocl2XWV0KDBo1GMgm2s-xL-dEVXlWyqvmK_-SXoN8FdWxMXLKHeBnM7L7cmoky-Rbll-sRTC29z3i1vTq1QoMpwVcEFJpRAicELPUoO0o0u6_Si9ML4YW4tLqO0qoAaaBj8NnbCNagZOfSLpUxEX7uQ/s320/Parrog%20Moorings%20sm.jpg" width="320" /></a></div><br /> In this painting the topographical features and buildings are fairly faithful to the scene, but the colours could not be much more different to what was actually present on this occasion. I have grossly romanticised the colours with mauves, orange, alizarin and other colours for both sky and land, and created a glimmer on the water. JMW Turner likewise used colour on many occasions for its emotional power, rather than sticking to what was before him, much to his contemporaries' astonishment. Colour is closely bound to mood and emotion, so much thought should be given to your proposed palette before you begin painting.<p></p><p> You may wish to take a less romanticised approach, but even so it is perfectly legitimate to alter the colours from the original scene. Colours are affected by the weather, light, seasons and a host of other factors. For example, one day a field can be a pale green perhaps, and the next when the farmer has cut the hay it can be a distinct Naples yellow. Fields get ploughed up and lighten in tone and colour when the dry out, and I have seen a cottage roof change in brilliant sunshine from black to the most brilliant gleaming whiteness after a shower of rain followed by more sunshine. I often change a field by the centre of interest from a dull green to a shimmering yellow to draw the eye in, and perhaps do the opposite to the landscape at the edges of the composition so that it doesn't draw the eye away from the centre of interest.</p><p> Landscapes are commonly overwhelmed with greens, but if you try to copy every green you can see you will be ovewhelmed, and the result can look chaotic. What may look right in reality or a photograph simply may not work in a painting. We need to interpret colour as much as we need to do so with other aspects of a scene. Choose a maximum of three or four greens. Variegate them by dropping in other colours while they are still wet, but also consider changing them for a totally different colour. I've even seen red grasses out there, so you have quite a range to choose from!</p><p> OK, but what if you see a colour out there that you really like, and want to replicate? Study it carefully and experiment with as many colour mixes as you can in an effort to achieve a decent result, but you need to do this on separate paper, not on the composition you are working with. If it's still not working touch in a third colour into the mix. Another way is to take out colour swatches of various greens (or whatever colour you wish to relicate) and try to match one as close as possible to what excites you, noting whether it is darker, lighter, warmer, cooler, more or less intense, and so on. Back at home you can then experiment further and study other artists' work to see if they have created a similar colour, and by which mixtures have they achieved the result.</p><p> I hope this helps. I've recently returned from Cornwall where I ran a course organised by Alpha Painting Holidays. Matthew not only organised a great location, but also organised some truly wild weather which brought us some amazingly dramatic seascapes with huge breaking waves. It was great fun. </p><p> I have a zoom demonstration on Saturday 24th September at 12.30 pm in conjunction with Patchings Art Centre, so do please join us if you can. It's free and will last one hour. I shall be demonstrating coastal scenery, and the link is as follows: </p><p><a data-saferedirecturl="https://www.google.com/url?q=https://us02web.zoom.us/webinar/register/5316631053963/WN_N66AL9z_R7aRVuQVf_Ca2w&source=gmail&ust=1663771197139000&usg=AOvVaw1m95EjklxIF63R6beVyU26" href="https://us02web.zoom.us/webinar/register/5316631053963/WN_N66AL9z_R7aRVuQVf_Ca2w" style="background-color: white; color: #1155cc; font-family: Arial, Helvetica, sans-serif; font-size: small;" target="_blank">https://us02web.zoom.us/<wbr></wbr>webinar/register/<wbr></wbr>5316631053963/WN_N66AL9z_<wbr></wbr>R7aRVuQVf_Ca2w</a></p><p><br /></p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-68936350093286349322022-08-23T14:47:00.001+01:002022-08-23T14:47:28.072+01:00Painting Mountains You can't see<p> </p><p> Mountains are often best painted when you can't really see them - that is, you can't see very much of them as they are mostly hidden in cloud. This lends an air of mystery, and you wonder what else is hidden within that mass of clouds. That is most definitely the case with this watercolour of a string of common eider flying up Kongsfjorden in Spitzbergen, with the backdrop of Alpine-style peaks partly hidden behind streams of cloud. Even if you can see everything clearly it often pays to lose some part of the mountain in cloud, shadow or a squall.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02XWaEzpyUKKBTQZB75JTmudzcvabOckhBJWuc-M0428SgWU1_Y8NmJGH4zWmKDg0McJxn_ZYsPpC5Mg_K8tI5HOHiI7ys62V9VdcgxWgIbIjFZ3RFqz1eqNuBr7zCeHbCF5EGZ5RCBddaEhu2KM3zbqtcwm1hSgkS7_JpjxJGcISmii14xnzKZZp/s800/Common%20Eider%20on%20the%20wing%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="800" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02XWaEzpyUKKBTQZB75JTmudzcvabOckhBJWuc-M0428SgWU1_Y8NmJGH4zWmKDg0McJxn_ZYsPpC5Mg_K8tI5HOHiI7ys62V9VdcgxWgIbIjFZ3RFqz1eqNuBr7zCeHbCF5EGZ5RCBddaEhu2KM3zbqtcwm1hSgkS7_JpjxJGcISmii14xnzKZZp/s320/Common%20Eider%20on%20the%20wing%20sm.jpg" width="320" /></a></div><br /><p> This is one of ten paintings I have in the exhibition at <a href="https://www.patchingsartcentre.co.uk/whats-on-guide/">Patchings Art Centre </a>in Nottinghamshire, from Saturday 27th August to Sunday 2nd October. The exhibition features artists from the Search Press art books stable, and will include demonstrations by most of the artists. I shall be doing a demonstration on Saturday 24th September, which will be online. It is always a great pleasure to work with Patchings with their unfailing high standards, efficiency and generosity.</p><p> It's been a busy summer, with a holiday in Pembrokeshire in July with the family, including the grand-daughters who kept us so busy. It was great to be with them, though lion-taming is much easier. After that I was badly in need of a holiday, so then spent some time in Snowdonia. There I found it far too hot to climb high mountains - jumping into rivers was a far more sensible idea, and I took things at a slower pace than usual. This actually helped the standard of my sketches and I was pleasantly surprised at the results. </p><p> By the way, if you want to make a splash see the October issue of <i style="font-weight: bold;">Leisure Painter </i>magazine for my feature on creating surf splashing over rocks.</p><p><br /></p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-38976330805361186442022-07-20T14:38:00.002+01:002022-07-20T14:40:50.640+01:00Painting by the sea<p> Last week the Patchings Art Festival lived up to its usual high standards: it was a great pleasure to be demonstrating before the enthusiastic audiences in the St Cuthberts Marquee once more after a two-year absence because of Covid. Meeting so many of our friends, students, artists, manufacturers and by no means least, Chas and Liz Wood and their family who organise such a fabulous event, as always was truly heart-warming, and the response was so eager that Jenny and I were quite mind-blown at the end of each day. As the song goes, <i>"Nobody does it better," </i>- you're simply the best, Chas and Liz.</p><p> Sadly, a number of people have had to pull out of my course in Cornwall from 4th to 8th September due to illness, so there are 2 or 3 vacancies should anyone wish to join us near Mullion. With the fabulous Cornish scenery at a lovely time of year, this is a great opportunity to do some exciting work with a variety of fascinating subjects. I shall be doing many demonstrations, both outdoors and in the studio, and details are available from <i style="font-weight: bold;">Alpha Painting Holidays</i> on 01934 733877 or by email: <a href="mailto:joinus@alphapaintingholidays.com" rel="noopener noreferrer" style="background-color: white; border: 0px; color: #1982d1; font-family: "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; text-align: center; vertical-align: baseline;" target="_blank">joinus@alphapaintingholidays.com</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdPZ3QpyBk1g48HBgbr-ESWGpw7Vlc7KzlKy1szCwf-RktjWW0X4U6xYKefUwbmnpZsXTb10ldXla_SWokx7s5VbkCrkuXVrmVQLBUvxYJG0no6r_D3RmzQU2FQwUc_XIizAsZGUNDmBZP7eqvSPDBXRC70SOOZXIiTI3gzotmCMvGUaLUC-dC0aox/s1200/Sunlight%20breaking%20through%20sm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="883" data-original-width="1200" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdPZ3QpyBk1g48HBgbr-ESWGpw7Vlc7KzlKy1szCwf-RktjWW0X4U6xYKefUwbmnpZsXTb10ldXla_SWokx7s5VbkCrkuXVrmVQLBUvxYJG0no6r_D3RmzQU2FQwUc_XIizAsZGUNDmBZP7eqvSPDBXRC70SOOZXIiTI3gzotmCMvGUaLUC-dC0aox/s320/Sunlight%20breaking%20through%20sm.jpg" width="320" /></a></div><br /><p> Skies, light and atmosphere are all vital ingredients in landscapes and seascapes and these will be a strong feature of the course in Cornwall, with a sprinkling of wildlife in the form of seabirds in many of the paintings. Waves often give artists some troublesome moments, but as you will see in the painting above, these can be kept simple, yet providing a sense of liveliness. Enjoy your summer painting!</p><p><br /></p><p><br /></p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-34791330774542719312022-06-30T15:24:00.003+01:002022-06-30T15:24:49.642+01:00Losing bits of the subject<p> As landscape artists we often see far too much in a scene for the good of our painting, and slavishly copy as much of the detail as we can. It really does pay to think about your need to include even what may seem to be an important part of the subject, and ask yourself if it does help to include the whole feature, or can you make subtle changes before that brush touches your paper?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGJA09qBjcSBy5kcvLYU0AcglCyW8Ca5RxGP0SzPUaiW6hsfJoRU7wrvu_UhJ1qOtZPakPNoVbL_M0aVMkbbp8HR5YZBBTy3EbNT-YIXaHGugLjKGRYt50T2t2ubHtXqGOZ6n_H9TL0YAms8Yo7h2a2CGXDF6JJGHURNWSLrMpy_-KWtVb3vigpPae/s1200/Penyghent%20with%20Golden%20Eagle%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="812" data-original-width="1200" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGJA09qBjcSBy5kcvLYU0AcglCyW8Ca5RxGP0SzPUaiW6hsfJoRU7wrvu_UhJ1qOtZPakPNoVbL_M0aVMkbbp8HR5YZBBTy3EbNT-YIXaHGugLjKGRYt50T2t2ubHtXqGOZ6n_H9TL0YAms8Yo7h2a2CGXDF6JJGHURNWSLrMpy_-KWtVb3vigpPae/s320/Penyghent%20with%20Golden%20Eagle%20sm.jpg" width="320" /></a></div> In this view of Penyghent in Yorkshire, although I could see the entire mountain clearly, I felt that the profile was too stark: there was no mystery. So I introduced some lower cloud on the right to lose that strong curving edge of the peak by bringing down the shadow part of the cloud with French ultramarine and cadmium red over the yellow ochre of the mountainside. Then, by emphasising the shadowy shape of the lower part of the fell as it came out of the cloud, the overall shape of Penyghent was retained. The work was done on Saunders Waterford 140lb NOT paper.<div><br /></div><div> I will be demonstrating at <a href="https://www.patchingsartcentre.co.uk/patchings-festival/">Patchings Art Festival on 14th, 15th and 16th July. </a></div><div>The demonstrations will take place in the St Cuthberts Mill Marquee each morning. It will be great to return to Patchings after the two-year absence because of Covid. We will also have a small stand at the event, so do come along and see us.</div><div><br /></div><div> Unfortunately my webinar with Painters On-line had to be cancelled because of my throat and chest infection which made it impossible for me to speak properly, but we are back on track now and the event is rescheduled for 11am on 4th August when I will be painting a Nile scene. I'm sorry for any inconvenience to anyone who booked. See details at <a href="https://www.painters-online.co.uk/webinars/evening-light-on-the-nile-with-david-bellamy/">Painters Online</a> </div><div><br /></div><div><a href="https://www.patchingsartcentre.co.uk/patchings-festival/"><span style="color: black;"><br /></span></a><p> </p></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-63259226736646182202022-05-31T15:26:00.000+01:002022-05-31T15:26:01.850+01:00On-line painting demonstration<p> With so much happening at the moment it's not easy to remember everything I need to say, so chaos is reigning here. My exhibition <i style="font-weight: bold;">Arabian Light,</i> which launched my new book of the same name, has ended at the excellent <b>Osborne Studio Gallery</b> in London, and it was a great success - quite a relief during these straightened times!</p><p> I shall be continuing with the same theme during my Webinar for <a href="https://us06web.zoom.us/webinar/register/2016472695191/WN_HsAO-Mf8TreCn14uDFtcSQ">Painters-online</a> where you can book a place. It takes place at 11am on Tuesday 21st June, and I shall be painting a view of the River Nile in evening light with an interesting sky and lots of atmosphere. You are welcome to ask questions during the event.</p><p> <i style="font-weight: bold;">Arabian Light</i> is not a practical guide, but is packed with sketches and watercolours from the Middle East, with lots of colour, and shows how I approach working on location. Signed copies are available from my <a href="http://www.davidbellamy.co.uk/david-bellamys-arabian-light-book/">website </a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkPdVLsXGx889Y3WHBP98Ll3MftyjHRgzu4Pn_xcPVf8vC-IVAdxr-YN9KaY3e3GK7f6Da1A-eE9FVxBM4bcFE-dw-mQP4Y1iFNXA2-X4vXbBobFHZpZcVOeoy7_PTXV1-CqM0_KVlqQIQ5KvP8jJwgRrYoiYT9-maB4AZkWEFgEDynhzxey3fqgH/s640/David%20Bellamy's%20Arabian%20Light%20Cover%20(1)%20(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkPdVLsXGx889Y3WHBP98Ll3MftyjHRgzu4Pn_xcPVf8vC-IVAdxr-YN9KaY3e3GK7f6Da1A-eE9FVxBM4bcFE-dw-mQP4Y1iFNXA2-X4vXbBobFHZpZcVOeoy7_PTXV1-CqM0_KVlqQIQ5KvP8jJwgRrYoiYT9-maB4AZkWEFgEDynhzxey3fqgH/s320/David%20Bellamy's%20Arabian%20Light%20Cover%20(1)%20(1).jpg" width="250" /></a></div><br /><p> I recently dropped some new paintings in to the <b><a href="http://www.thewaterfrontgallery.co.uk">Waterfront Ga</a>llery</b> in Milford Haven (tel. 01646 695699), which is right on the quayside opposite the marina. They include one of St Govan's Chapel viewed from across the bay from St Govan's Head.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9qs-2iFh3oUELCLDxvbx8nIa0xonsI2SkFK33TCzPogbAEFCCsPUrFYbCOvcra7lGhTkkxXhNqpezfQjnlyugll5oSA44MMCXZsDV3B_DcmM26bvVKjvI4fsyLVyDujkWlc-c1rsn-ITkQAr2XjDbM5bPzBqrQNWRwVmObJ1Pmq25g7oNwikf5P9I/s1564/St%20Govans%20Chapel%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1564" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9qs-2iFh3oUELCLDxvbx8nIa0xonsI2SkFK33TCzPogbAEFCCsPUrFYbCOvcra7lGhTkkxXhNqpezfQjnlyugll5oSA44MMCXZsDV3B_DcmM26bvVKjvI4fsyLVyDujkWlc-c1rsn-ITkQAr2XjDbM5bPzBqrQNWRwVmObJ1Pmq25g7oNwikf5P9I/s320/St%20Govans%20Chapel%20sm.jpg" width="246" /></a></div> This shows the main part of the composition, the chapel caught in strong sunshine while mist is rising over the backgroiund cliff. Most of the rocks in sunlight have been left as white paper and lacking in detail, while those in shadow stand out in contrasting tones. It is the cast shadow that emphasises the effect of sunlight, further accentuated by the dark foreground rock structures.<div><br /></div><div> Enjoy your painting!<br /><p><br /></p><p><br /></p><p><br /></p></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-77764912129382102532022-05-12T17:24:00.003+01:002022-05-13T11:43:36.796+01:00Lost and Found effects in a painting<p> In any painting, if you include everything you see the result will just be an overworked photographic version. While some people appreciate this approach, most see the benefit of 'editing' the image to produce a cleaner, more atmospheric and painterly work. One of the most important aspects of my creative process is that of using atmosphere and the 'lost and found' technique to heighten the effect of a moody scene.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVkJaFfFzyfaJaKeREA63frC03-RLP0H0NrUetLqe-Os7GwP4ijzRfIkLCH1QlNV3Gi_bUpgN87qSfn8i0hdUw4D9s3MBvZMOCwxKmVYlc18JM6qcPlbB-hjBEPPlU2bNLSzeNEQGRQO8uIr8a2wDY0a0BRhYteNd-G2laS47wAW02mIIYn96mGc_/s1200/Tombs%20of%20the%20Caliphs,%20Cario%20cp%20sm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="739" data-original-width="1200" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVkJaFfFzyfaJaKeREA63frC03-RLP0H0NrUetLqe-Os7GwP4ijzRfIkLCH1QlNV3Gi_bUpgN87qSfn8i0hdUw4D9s3MBvZMOCwxKmVYlc18JM6qcPlbB-hjBEPPlU2bNLSzeNEQGRQO8uIr8a2wDY0a0BRhYteNd-G2laS47wAW02mIIYn96mGc_/w320-h220/Tombs%20of%20the%20Caliphs,%20Cario%20cp%20sm.jpg" width="320" /></a></div> This watercolour of the tombs of the caliphs in Cairo shows the scene bathed in warm evening light after the sun has set, using the atmosphere to completely eliminate any detail in the distance, while also subduing much of the architectural information on the main buildings. Not only does the rising smoke hide much detail, but the lost and found effect can be observed further to the left where some of the elements have been faded out. You can achieve this by deliberately reducing the detail until that passage becomes almost blank, or another extremely effective method is to simply paint in the main architectural features as normal, and when this is dry fade part of it out with a damp sponge or by lightly scrubbing out with an old soft-haired brush.<div><br /></div><div> I shall be painting a similar scene to this as a demonstration at <b><a href="http://www.eastgrinsteadbookshop.co.uk">The Bookshop</a> </b> in East Grinstead at 7pm on Thursday 19th May. It is pretty much fully booked, but because of Covid there are likely to be a number of cancellations, so it might be worth telephoning the bookshop on 01342 322669 They will, of course, have copies of my new <i style="font-weight: bold;">Arabian Light</i> book. The exhibition of the same name will be continuing from 18th to 27th May at the <a href="http://www.osg.uk.com/exhibitions">Osborne Studio Gallery</a> in London Tel. 020 7235 9667, where you can see the paintings from the book.</div><div><br /></div><div> Watch out also in<a href="https://www.painters-online.co.uk/webinars/evening-light-on-the-nile-with-david-bellamy/"> Leisure Painter Magazine</a> for my on-line webinar on 21st June where I will be painting a sunset scene on the River Nile - more about that in due course.<br /><p><br /></p></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-999142790231605292022-05-04T15:20:00.001+01:002022-05-04T15:20:13.506+01:00Bringing atmosphere, drama and the sublime to a village painting<p> Many landscape painters love working on tranquil village scenes where time seems to stand still and locals engage in conversation. Here I am deviating from the traditional village composition to add a strong ingredient of atmosphere, drama and the sublime, for this village stands high on the very edge of a vast canyon in the mountains of Oman.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWvT5pquI5ptiAeB4hWsENIsR0lrneLkehu9gxVpeGOJHKTwd8nhNby9O8KycU6HbPM2vZQsiLVNs2k2Nb655pmfcMYqmMXsfFEkPXmHkBu6vNJQWopQW0GtE41HBnuyQO5a28iSv98eWL0ViEvWDFTW-iNSVhMLyEVqEnoxKj6lyAOWZHg1M2ZoU/s1200/Al%20Aqur%20Village,%20Jebel%20Akhdar%20sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="826" data-original-width="1200" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZWvT5pquI5ptiAeB4hWsENIsR0lrneLkehu9gxVpeGOJHKTwd8nhNby9O8KycU6HbPM2vZQsiLVNs2k2Nb655pmfcMYqmMXsfFEkPXmHkBu6vNJQWopQW0GtE41HBnuyQO5a28iSv98eWL0ViEvWDFTW-iNSVhMLyEVqEnoxKj6lyAOWZHg1M2ZoU/w400-h275/Al%20Aqur%20Village,%20Jebel%20Akhdar%20sm.jpg" width="400" /></a></div> In this watercolour the morning mist cloaks the background mountains and subdues detail in the further parts of the village, in places aided by strong light bleaching out features so that they are only half-seen. Two figures stand near the centre, drawing the eye - you don't need to make your figures large in order to emphasise the human aspect, but note how there is no detail behind them. This really makes them stand out. They stand at the edge of a sheer drop, thus dramatically creating a sensation of the sublime, a feeling of possible danger. While this latter sensation is rarely found in a British village you can still enhance such paintings with carefully considered atmosphere and even a little drama with the right lighting.<br /><p> This painting is featured in my new book, <i style="font-weight: bold;">Arabian Light,</i> published this month by Search Press, and packed with paintings and sketches of my travels in the Middle East. Details of the book are on my website. The book will be launched at my exhibition in the <i style="font-weight: bold;"><a href="mailto:gallery@osg.uk.com">Osborne Studio Gallery</a>,</i> at 2 Motcomb Street, London SW1X 8JU Telephone +44(0)20 7235 9667 The exhibition runs from 18th to 27th May and I will be in the gallery for much of 18th if you would like to pop in for a chat.</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-85371982476649172902022-03-14T17:54:00.001+00:002022-03-14T17:54:08.705+00:00Painting massed trees in a landscape<p> Most of the time I find there is too much action happening and not enough talking - it's great fun, but leaves little time for communicating, and there is not enough room in this blog to cover everything. I'll have to leave my sketching adventures in Snowdonia of last week for the next blog. </p><p> Yesterday in Aberedw we had an event to raise money for the Ukrainian refugees. We are only a tiny village but we raised over £1,000 and will be trying to get another event organised soon in which I hope to be able to sell paintings in support of these unfortunate people. It's hardly believable that this is happening in Europe in the 21st century, and sadly we have a pretty poor political representative locally, so I've been active in ruffling some political feathers as well.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdt2uH4rHuT9mSV-ICIninr4zwPDPNkO7HGSpqveVjCO8dpBxadkUFDLp-yxeIcR_G2efCdogJNsbkHD6mGFnAdPOqUwf7V1mQMnTl-c8XYWtMZ_a7vwMPv7YCDgc6UaA4k219Srk1Srt_mTagWqjS4_nJi36jJkrJUCSSbz9-RbZb7wU-mz-7ZeEw=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdt2uH4rHuT9mSV-ICIninr4zwPDPNkO7HGSpqveVjCO8dpBxadkUFDLp-yxeIcR_G2efCdogJNsbkHD6mGFnAdPOqUwf7V1mQMnTl-c8XYWtMZ_a7vwMPv7YCDgc6UaA4k219Srk1Srt_mTagWqjS4_nJi36jJkrJUCSSbz9-RbZb7wU-mz-7ZeEw=s320" width="320" /></a></div><br /><p> As with Covid, it is amazing how art, like nature, can help us in wartime, whether to take our mind off the dangers of war, or perhaps cooling our anger at the appalling and brutal actions of dictators like Putin. With spring about to burst upon us it's a good time to get out into the landscape. One of the things that cause many students problems is when trees are massed together. Trying to make sense of it all can seem unsurmountable at times.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhzXkBvF0rtlgXKtz6tRF0YUifb4s3JhKI4dSJIhkbwoZNfIP8zsHPgmKR5ReMzLwzv-R95gdDmn3bA8yVuMrkxveG7AW-C_WXpx-n5CR2k56aFK3ZIl1OFjDfbOttfSWMQ8RDfSCZmWg-aWj-R3AqF9_lhFIY3XZEfYZPJleGNoFjRIOHlqFgoU-Kk=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="838" data-original-width="1200" height="223" src="https://blogger.googleusercontent.com/img/a/AVvXsEhzXkBvF0rtlgXKtz6tRF0YUifb4s3JhKI4dSJIhkbwoZNfIP8zsHPgmKR5ReMzLwzv-R95gdDmn3bA8yVuMrkxveG7AW-C_WXpx-n5CR2k56aFK3ZIl1OFjDfbOttfSWMQ8RDfSCZmWg-aWj-R3AqF9_lhFIY3XZEfYZPJleGNoFjRIOHlqFgoU-Kk=s320" width="320" /></a></div><br /><p> In this section of a painting you will see the varying tones on the four blocks of conifers, the strength of tones suggesting a sense of depth in the scene, aided by a feeling of a misty day. It's usually a good idea to include a bright colour amongst duller ones as you can see in the bottom centre. The light is coming from the left so the edges on the right-hand side of the trees have been kept soft, while those to the left are harder-edged where they are caught in the sunshine. The bright yellow foliage does not appear in the centre of the full painting as that would not be compositionally helpful.</p><p> My watercolour course in Builth Wells from 3rd to 8th April still has a few vacancies, and anyone who would like to join us on a non-residential basis will be welcome. The Caer Beris Manor Hotel will charge a modest fee for refreshments and hotel facilities, plus a tuition fee of £215. You can check the course information on my <a href="http://www.davidbellamy.co.uk/mid-wales-painting-course-apr-2022/">website</a> and book the course with the hotel on 01982 552601 We shall be using the hotel ballroom as a studio this time, so there is plenty of room for us all to work and keep apart.</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-60936392747015991632022-02-28T17:48:00.001+00:002022-02-28T17:48:39.897+00:00Warming up your Landscapes<p> When you begin a painting do you stop to consider your colour management or simply copy the colours in the original scene or photograph? Whether you are a serious artist intent on improving your work, or perhaps painting simply for enjoyment, it is so much more rewarding to create a composition where you can inject some of your own ideas to add interest.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi_E80-fHsQMhhQe-CUZlte6tcsSa0szKHtz3UTpEbj7IyuM0ysCezEODM5NpS01UGObpzaz_HrA69tpSlZb2eGCBbm0H61K59sj8jVz4NY4F0SeZNFSTiv3fxRlrQjdcSRCnJTXgqXHyjunJe8qg7KznDA3OcQLFRsg7d5kf34-tXclVmca3QEMEf7=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="824" data-original-width="1200" height="220" src="https://blogger.googleusercontent.com/img/a/AVvXsEi_E80-fHsQMhhQe-CUZlte6tcsSa0szKHtz3UTpEbj7IyuM0ysCezEODM5NpS01UGObpzaz_HrA69tpSlZb2eGCBbm0H61K59sj8jVz4NY4F0SeZNFSTiv3fxRlrQjdcSRCnJTXgqXHyjunJe8qg7KznDA3OcQLFRsg7d5kf34-tXclVmca3QEMEf7=s320" width="320" /></a></div><br /> In this watercolour of the Brecon Beacons I decided to create a much warmer feeling than was present in the scene on that particular day, and enhance the summery mood. Apart from the cobalt blue in the sky most of the scene embodies warmer colours, and after establishing the clouds with the blue I laid on permanent alizarin crimson over the lower sky. The blues on the mountains are French ultramarine with a touch of cadmium red added, resulting in a lovely warm purpley-blue. The greens on the fields have also been warmed up with touches of gamboge, and there are also some gamboge and cadmium orange fields to liven things up. In the foreground I dropped in some Indian red wet-in-wet to produce soft edges and when this was dry spattered Indian red and white gouache before finally scratching out reeds with a scalpel.<p></p><p> At the end of this week I am starting once more to do live workshops, this one at the excellent Sandpipers studio on the Wirral, while on 3rd April I start my first post-Covid course at the superb Caer Beris Manor hotel in Builth Wells. There are still places available on this course, so if you feel like getting out into beautiful landscapes again you will be very welcome. We will be sketching outside (hopefully painting as well if the weather is fine), and also working indoors in the ballroom which has plenty of room for us to keep apart from each other. Details are on my <a href="http://www.davidbellamy.co.uk/mid-wales-painting-course-apr-2022/">website</a> Emphasis will be on injecting atmosphere into your landscapes and putting something of yourself into the subject.</p><p> Sadly we haven't had much snow this winter, but with spring about to burst upon us let's hope that this will herald better times for getting out and about with our paintboxes.</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-32295251657338573692022-02-08T14:18:00.002+00:002022-02-08T14:18:38.035+00:00Painting an tranquil evening sky<p> I've just delivered some paintings to the<a href="http://www.atticgallery.co.uk"> <b><i>Attic Gallery</i></b></a> in Swansea's Maritime Quarter for a mixed show running until 26th March, and there are some excellent works on display. You will find the gallery at 37 Pocketts Wharf, SA1 3XL and the telephone number is 01792 653387. My mainly Pembrokeshire scenes includes one of my favourite locations of East Angle Bay.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdSJVRGWdLyqgMME2dvB3YQQkWiVxDTMy5M6Adiy2JrCgxrb1nIJ9XOpfvIBcCjz86m-0XGBAhTLOH-0cas8fezS3A4Bx_JhZO9518ddtDwpMekAI7xiRbbVIMcXkzkYtGKYCV_dEvCQbdaSbeGoTiVZRXLDLiqOvo4bHX1U2QqtTyUDj0oKIjH4h/s1200/Tranquil Evening, Angle sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdSJVRGWdLyqgMME2dvB3YQQkWiVxDTMy5M6Adiy2JrCgxrb1nIJ9XOpfvIBcCjz86m-0XGBAhTLOH-0cas8fezS3A4Bx_JhZO9518ddtDwpMekAI7xiRbbVIMcXkzkYtGKYCV_dEvCQbdaSbeGoTiVZRXLDLiqOvo4bHX1U2QqtTyUDj0oKIjH4h/s320/Tranquil Evening, Angle sm.jpg" width="320" /></a></div> This watercolour shows a tranquil winter evening with Angle church forming the centre of interest. I've kept the main design in harmony with the emphasis on horizontals on the creek, the lie of the land and with the clouds. In the sky the Aussie red gold also has a horizontal bias and is deliberately strong around the lightest part of the sky to heighten the glow. Positioning the church with the creek leading towards it, and the reflected light on the water brings it all together and it is important to ensure that all these varied elements support one another in this way. Sometimes nature needs a little tweeking to produce a good composition. <br /><p> If you are planning on exploring more of the UK rather than travelling abroad this year you may well find the Great British Wildlife & Environment Map of great help. It features over 1,500 wildlife hotspots, eco events, conservation projects and days out in the natural environment, places where it holds interest for those artists who love to get out amidst nature and perhaps sit quietly to observe wildlife. It has an amazing amount of detail on both sides and is produced by marvellousmaps.com</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKa24JiSrb4c0qxJ50AEUyROq56IAu5q92GBjOIPpZzZyhgG-fMYF2FlC_AV0hxS7OgAe_zgvZ8eNm2RB3staiPlbXRIFW5RAkxyBG8-iOiO8lxZy1U1e305LMoQfurqy1fUhjerDIsnQ2EalK_X_NcaN797v-vNH1FTLKQrBm5pzwoVKUIskFdLG7/s2110/Marvellous Maps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2110" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKa24JiSrb4c0qxJ50AEUyROq56IAu5q92GBjOIPpZzZyhgG-fMYF2FlC_AV0hxS7OgAe_zgvZ8eNm2RB3staiPlbXRIFW5RAkxyBG8-iOiO8lxZy1U1e305LMoQfurqy1fUhjerDIsnQ2EalK_X_NcaN797v-vNH1FTLKQrBm5pzwoVKUIskFdLG7/s320/Marvellous Maps.jpg" width="182" /></a></div><br /><p></p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-56191253584876116892022-01-19T11:33:00.000+00:002022-01-19T11:33:02.687+00:00Painting Snow Scenes<p> Well, at this time of year we're supposed to see some snow, but the only time I've come across the white stuff this winter is on the high mountains, so last week I did encounter brilliant snow effects in the Brecon Beacons, accompanied by the most divine light flooding the western face of Cribin. Alas, I'd left my paintbox in my Viper haversack and the resulting sketch done with watersoluble pencil failed to capture the amazing colours, and I was too high up to make a quick dash for the car.</p><p> So here I will show you a pen and wash sketch I did of New Radnor church many years ago in beautiful snow conditions. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgiYTOoS4VaZJdJULZNLhTqQZW4hdHlH1EQDeUOtPI91sGt-ma5zAt1LFuqHr-b9JHEmL943k2TyMRLYV3InQbavGClmkQrf-ScLBoHXC3qEIa5jNWi2kcxS2ye7_Ar7Culqk10JbSplOJazPpfyKLATaO64FV78FliNGFlwUU3GiZJpqwzEMLDOunl=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="832" data-original-width="1200" height="222" src="https://blogger.googleusercontent.com/img/a/AVvXsEgiYTOoS4VaZJdJULZNLhTqQZW4hdHlH1EQDeUOtPI91sGt-ma5zAt1LFuqHr-b9JHEmL943k2TyMRLYV3InQbavGClmkQrf-ScLBoHXC3qEIa5jNWi2kcxS2ye7_Ar7Culqk10JbSplOJazPpfyKLATaO64FV78FliNGFlwUU3GiZJpqwzEMLDOunl=s320" width="320" /></a></div><br /><p></p><p> This was done in an A4 cartridge book with limited colours. Everything is cool, except the yellow ochre on the buildings. In a painting I would simplify the scene, as the cottages compete with the church, which is the main centre of attention. I'd probably put these cottages into shadow, making them quite dark to throw the emphasis on the church caught in strong sunlight.</p><p> Christmas was a happy, but wild affair of tearing round Kent, Sussex and Hampshire to see various members of the family. Still, I was able to relax at times with a rivetting novel set in the French Alps around Chamonix, <i style="font-weight: bold;">Running Water & The Guide,</i> by A E W Mason, himself an Alpinist active in the early 20th century. It has been brought to life again by Professor Roberta Grandi with an excellent scholarly introduction and notes on Mason's life and career. I thoroughly enjoyed the plot and recommend it whole-heartedly. The cover shows my watercolour of the Brenva Ridge and the misty slopes of Mont Blanc. It's available on Amazon.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjj4okZerAgszwnjGCZ4kFEwLWTMDSnsas-dnLUYiObL4SV7pxQN7QNM0hlsvf6TldFXP6q-WkqwruyCRt5jZBYtnjAKTk6rWkWribk9xgSZKJpf11aJwK4X8GR36RgLob4zIrnPVFESmsue0KSmJJmhpZZI71hzoWLkc2OKGiOSKZ-hHbjKBpRTOvm=s1696" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1696" data-original-width="1104" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjj4okZerAgszwnjGCZ4kFEwLWTMDSnsas-dnLUYiObL4SV7pxQN7QNM0hlsvf6TldFXP6q-WkqwruyCRt5jZBYtnjAKTk6rWkWribk9xgSZKJpf11aJwK4X8GR36RgLob4zIrnPVFESmsue0KSmJJmhpZZI71hzoWLkc2OKGiOSKZ-hHbjKBpRTOvm=s320" width="208" /></a></div><br /><p> The sun is beckoning me out, so I will leave you with the hope that 2022 will be a great year for you all, after all the problems of Covid, and I wish you much happy painting!</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-17750742191532051402021-12-16T15:59:00.000+00:002021-12-16T15:59:49.896+00:00Frolicking in the Desert<p> Most of this year I've been painting subjects from the Middle East, a part of the world I've been fascinated by since I first visited in 1963, and these works will illustrate my forthcoming book, <i style="font-weight: bold;">Arabian Light,</i> due to be published by Search Press in May 2022. The subjects cover a wide variety of scenery, buildings, figures, interiors and many others, and for a taster I show below a painting of our expedition guides dancing in the desert hundreds of miles from the nearest village. For the intense darkness I've used the Daniel Smith Lunar black slightly mixed with French ultramarine. The granulation strength of this colour is truly mindblowing! There'll be more on this in future blogs.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidHC7mnr2jIuQ4_0RMSms3z8xz47CcU6yoG9Haw95JNqAFL7ixoN-Eyf0CYMrkCFMFjQpzEkCbMjX1YEhIaeFEGME2S3EnC7J5RtDho94Lt4hYEzrvPeegmfMB8UhTgyQM40UD-H-NsQjymuwCH3SdHOW0_wWjsNQOX6VXE6JgQkk61GGX3Ip3gtaW=s1200" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="669" data-original-width="1200" height="204" src="https://blogger.googleusercontent.com/img/a/AVvXsEidHC7mnr2jIuQ4_0RMSms3z8xz47CcU6yoG9Haw95JNqAFL7ixoN-Eyf0CYMrkCFMFjQpzEkCbMjX1YEhIaeFEGME2S3EnC7J5RtDho94Lt4hYEzrvPeegmfMB8UhTgyQM40UD-H-NsQjymuwCH3SdHOW0_wWjsNQOX6VXE6JgQkk61GGX3Ip3gtaW=w369-h204" width="369" /></a></div><br /><p> Another book I'm pleased to be associated with is <i style="font-weight: bold;"><a href="https://www.amazon.com/Green-Parrots-My-Garden-Middle/dp/1988440807">Green Parrots in my Garden</a>,</i> a book of poems from the Arab Middle East by Jane Ross, a Canadian poet who has lived in the Middle East amidst threats of war, but concerns herself more with the warmth of human relationships, the wisdom of ancient desert values and the beauties of artefact and design that bring her into the hearts of the people and the essence of the region. She writes of the oasis of Wadi Bani Khalid where 'the winds are gentle zephyrs in the thick warm air,'</p><p> 'But ontop of Jebel Shyams the winds are sharp and piercing,</p><p> like needles thrusting their way through the blanket;</p><p> fiendish, dervish, absolute and wild.'</p><p>Yes, that mountain presented so many exciting images that I forgot myself in a fiery sunset, when the light vanished so suddenly that without a torch I found myself trying to pick up all my scattered brushes and pencils in the dark then navigate across a rock-strewn plateau on the edge of a canyon. </p><p></p><p style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhQ6MzMWWpbb89vYCzxUROqCYjfw_oSyVhfVp2RCyr_gMnbJqBeAwQYalrLMg5_oCjvfTBQYGA6o8Z3THARLjp78dysdD6c16wUEhVvmISvdQ8t5DCA6r5a9fSoUPaI6qVgOHWnntnAqNC3arZXEsP7iRBMeaychJl8xNakR88LL_rFGltdCeAlSTrc=s2033" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2033" data-original-width="1360" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhQ6MzMWWpbb89vYCzxUROqCYjfw_oSyVhfVp2RCyr_gMnbJqBeAwQYalrLMg5_oCjvfTBQYGA6o8Z3THARLjp78dysdD6c16wUEhVvmISvdQ8t5DCA6r5a9fSoUPaI6qVgOHWnntnAqNC3arZXEsP7iRBMeaychJl8xNakR88LL_rFGltdCeAlSTrc=s320" width="214" /></a></p><br /> The books features two of my paintings in monochrome, and Jane's website is www.janeross.ca<p></p><p>It is available on Amazon via the link above.</p><p> I wish you all a very and peaceful Happy Christmas. May you have many lovely <strike>artful</strike> arty presents, and thanks for your patience in my extremely slow production rate in 2021</p><p><br /></p><div style="text-align: left;"><br /></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-37218810678209072792021-12-01T14:31:00.001+00:002021-12-01T14:31:26.618+00:00Painting limestone scenery in watercolour<p> I've managed a pretty wild and wonderful autumn this year, though it has left me breathlessly out of kilter on the blog-writing front, I'm afraid. How I wish there was more time for writing, which I love, but sadly in this robotic world there are so many threats to writers and their writing-time. For eample, in New Zealand their libraries archive has intended to put thousands of books' contents onto the internet, but it seems that after world-wide protests they've just realised there's a thing called copyright involved!</p><p> We've been blessed with a gorgeous little grand-daughter by the name of Beatrix, and look forward to meeting her on the run-up to Christmas. Her Dad's going to be performing in pantomime at Margate, so it's going to be a bit riotous, Covid-permitting, of course.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj5eLPTIim8j0H9HMESK9bS2SSx44s9GVsOW2dg8-sKuGJAWcaEvWX6gKLtNMocgJzTiKH4H4LhiD5zVNIWZta5MicOxT-oyjaje1n0bj5E-3frG8gLLvvnXNKiX6Hsu2CvQXtFGRPbasgWsXmUqVxbOZUuGZik2-13ekIr1e7XGglxROUv_8HhVLch=s1665" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1665" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj5eLPTIim8j0H9HMESK9bS2SSx44s9GVsOW2dg8-sKuGJAWcaEvWX6gKLtNMocgJzTiKH4H4LhiD5zVNIWZta5MicOxT-oyjaje1n0bj5E-3frG8gLLvvnXNKiX6Hsu2CvQXtFGRPbasgWsXmUqVxbOZUuGZik2-13ekIr1e7XGglxROUv_8HhVLch=s320" width="231" /></a></div> This is a watercolour sketch of Gordale Scar in Yorkshire, carried out on a beautiful calm, sunny afternoon in October while sitting in a most uncomfortable position on extremely steep ground high above the valley. The light falling on the limestone really made the rock stand out, particularly against the shadowy parts. It is deliberately overworked so that I have all the details to produce a large studio watercolour, and my awkward position didn't help. This is actually only the right-hand half of the composition and the cartridge paper has been left unpainted where the sunlight is hitting the limestone. <div><br /></div><div> There is too much green for my liking, but grass growing on limestone has that intense colour, and I wanted to record a faithful rendering. In a studio painting I will doubtless take more liberties, lose a lot of hard edges and make other adjustments, but my point here really is to show how working out of doors like this is to me not just a means of acquiring the information for a finished painting, but also of observing how the traditional approach will appear, so that I can see where I need to be more creative in the later attempt.</div><div><br /></div><div> The Covid-induced layoff has been a real nuisance, but we are now organising courses for 2022 as you will find on my <a href="http://www.davidbellamy.co.uk">website</a> There is one in Mid-Wales in April, and another in Cornwall in September, both popular locations with lots of interesting subjects. I may well be adding more in due course. Also on the website you will find information on my books, the last one published being the <i style="font-weight: bold;">Landscapes Through the Seasons in Watercolour,</i> and they are all available via the <a href="https://www.davidbellamy.co.uk/">website</a></div><div><br /></div><div> I hope you are managing to get out and about with your sketching and painting gear - even in December we can get some lovely days, and the low light can create some fabulous cast shadows.<br /><p><br /></p><p> </p></div>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-81010041426956764042021-10-17T18:43:00.003+01:002021-10-17T18:43:20.164+01:00Creating Autumn Still Lifes<p> Wandering through the woodlands at this time is a real pleasure for the artist, with the great variety of warm colours as the leaves turn. I can't resist picking up a handful of leaves and taking them back to the studio to play with. There's nothing like the process of experimenting with artistic ideas for stimulating our work, even if you have tried the particular process before.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-4S91KptytVU/YWxb_1YS2lI/AAAAAAAACKI/ceHMQFNGQgcpc7HyXW1sL3-jk8YbD0UlwCLcBGAsYHQ/s1200/Autumn%2Bleaves%2B5%2Bsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1200" height="229" src="https://1.bp.blogspot.com/-4S91KptytVU/YWxb_1YS2lI/AAAAAAAACKI/ceHMQFNGQgcpc7HyXW1sL3-jk8YbD0UlwCLcBGAsYHQ/s320/Autumn%2Bleaves%2B5%2Bsm.jpg" width="320" /></a></div><br /><p> A branch of leaves - or perhaps I should say, a twig of leaves in case we get too carried away - can make a superlative still life subject, but here I have pushed the leaves into thick watercolour paint straight out of the tube, applying a few different colours for each leaf before placing them on the paper. With a sheet of tissue paper over the leaf I then rub it with fingers to create the image. It can be hit or miss, but when it works the result can be inspiring. You can work in two or three leaf images in this way and perhaps add some spatter and further detail, lettering, collage or whatever. The addition of a little thickener such as Winsor & Newton's Aquapasta may help improve your results.</p><p> You can get ideas on painting autumn scenes in my <i style="font-weight: bold;">Landscapes Through the Seasons </i>book, available through my <a href="https://www.davidbellamy.co.uk/davids-latest-book-landscapes-through-the-seasons/">website</a> </p><p> We are now planning painting courses for 2022, and details of these should be released before long. At the moment I'm spending a lot of the time away from the studio, so these blogs have been in short supply. Anyway, enjoy your autumn painting and do have a go at recording those stunning leaf shapes in one form or another!</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-80100076046013780702021-09-14T18:41:00.000+01:002021-09-14T18:41:21.407+01:00The importance of your little blobs<p> I see my last blog was on 1st July, the long gap being the result of an all-action summer with little time for writing. In August I visited Germany, partly to do some research and partly as a holiday. Getting round the Covid tests proved quite a challenge, creating stress and uncertainty on occasion. In Wales I ordered a self-test from Boots, only to find I could not send it in time because there were no Priority Post-Boxes in the area, although the Royal Mail showed plenty of these around, including one apparently in Llanelwedd Quarry of all places! This is totally unacceptable behaviour.</p><p> In Pembrokeshire I've recently dropped off a number of paintings at the <a href="https://thewaterfrontgallery.co.uk/">Waterfront Gallery</a> in Milford Haven. The gallery shows a wide variety of paintings styles and is a very pleasant place to visit. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Rp2ziRI9Exw/YUDbRM8I_HI/AAAAAAAACJI/y-CkF80LDhkyorC-sK6XqmI3uUeulrXnQCLcBGAsYHQ/s1500/Ebb%2Btide%2B%2528corner%2529%252C%2BAngle%2Bsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1500" height="256" src="https://1.bp.blogspot.com/-Rp2ziRI9Exw/YUDbRM8I_HI/AAAAAAAACJI/y-CkF80LDhkyorC-sK6XqmI3uUeulrXnQCLcBGAsYHQ/s320/Ebb%2Btide%2B%2528corner%2529%252C%2BAngle%2Bsm.jpg" width="320" /></a></div><br /><p> This is part of one of the paintings at the gallery, and shows a quiet corner of the composition. The centre of interest is away to the left, off-picture here, and the boat acts as a means to balance the composition. I did not wish to make it too prominent, so I lost the bottom of the blue hull in the muddy foreshore and dotted in white gouache blobs here and there to add interest in suggesting seagulls. On such a small scale it's not easy to give the impression of birds, but I used a number one rigger and tested the white gouache on dark rough paper before applying it to the actual painting. This method also has the advantage of getting rid of excess white paint on the brush before doing it for real. If you over-blob and get a ghastly mess, simply wash it off with a damp brush, dry the area with a tissue and wait till the paper is dry and then try again. With practice you'll find this will improve enormously.</p><p> I shall try to make my blogs more regular in future, but the call of the wild is hard to resist........</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-38808769276050814172021-07-01T15:50:00.001+01:002021-07-01T15:50:15.118+01:00Creating a tranquil mood in a landscape painting<p> As many of you will be aware, I love painting wild seas crashing on a rugged coast, but there is much to be said for the calmer moments. To emphasise this you need to concentrate on the horizontal elements as you will see in the painting below.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PmVR3qDCKvk/YN3Rtu4mOcI/AAAAAAAACF4/L7VHLrOP0Kw2Fu1UKMHgYS9UOuGpBx1JwCLcBGAsYHQ/s1500/1%2BWaders%2Bon%2Bthe%2BTaf%2BEstuary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="1500" src="https://1.bp.blogspot.com/-PmVR3qDCKvk/YN3Rtu4mOcI/AAAAAAAACF4/L7VHLrOP0Kw2Fu1UKMHgYS9UOuGpBx1JwCLcBGAsYHQ/s320/1%2BWaders%2Bon%2Bthe%2BTaf%2BEstuary.jpg" width="320" /></a></div><br /><p> As you can see, the sky comprises a series of horizontal cloud effects of evening light, and this is further emphasised by the long, horizontal horizon, with the vertical features such as the mature trees pushed well into the distance. To further enhance the calm mood of the scene the washes laid over the estuary are flat, undetailed ones, and even the line of waders in the foreground conforms to a horizontal pattern. And what if you're looking for a suitable animal to include in a calm scene - well for me none can compare with the dear old Friesian cow for suggesting a scene of utter calm and tranquility.</p><p> This painting can be found in my <i style="font-weight: bold;">Seas & Shorelines in Watercolour </i>book which is available from my <a href="https://www.davidbellamy.co.uk/davids-seas-shorelines-book/">website</a> The original painting is on display in the <i style="font-weight: bold;"><a href="http://www.atticgallery.co.uk">Attic Gallery</a> </i>in Swansea, Tel. 01792 653387 The gallery is open from Wednesday to Saturday 10am to 4pm and can be found at 37 Pockett's Wharf, Swansea, SA1 3XL where a number of my paintings are on display at the gallery with a lot of other exciting artwork.</p><p> Enjoy your painting!</p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com0tag:blogger.com,1999:blog-7939207538722651831.post-52228104956058765142021-06-02T14:31:00.001+01:002021-06-02T14:31:09.848+01:00Painting stormy seas<p> This summer marks 40 years of my writing articles for <i style="font-weight: bold;"><a href="http://www.leisurepainter.co.uk">Leisure Painter</a></i> magazine, and the current issue (July 2021) contains an article celebrating this close relationship. Ingrid Lyon and her team are indeed lovely people to work with. The excellent Painters-online run by Leisure Painter and The Artist is also showing a film I recently made on how to paint a penguin, which you can see at <span style="background-color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12pt;"> </span><a data-saferedirecturl="https://www.google.com/url?q=https://www.painters-online.co.uk/tips-techniques/watercolour/articles/how-to-paint-a-penguin-in-watercolour/&source=gmail&ust=1622726000762000&usg=AFQjCNEHIcJl8L29oq_CcBjSf5EXGQtj9g" href="https://www.painters-online.co.uk/tips-techniques/watercolour/articles/how-to-paint-a-penguin-in-watercolour/" style="background-color: white; color: #1155cc; font-family: Arial, Helvetica, sans-serif; font-size: small;" target="_blank" title="https://www.painters-online.co.uk/tips-techniques/watercolour/articles/how-to-paint-a-penguin-in-watercolour/"><span style="color: #0563c1; font-size: 12pt;">https://www.painters-online.<wbr></wbr>co.uk/tips-techniques/<wbr></wbr>watercolour/articles/how-to-<wbr></wbr>paint-a-penguin-in-<wbr></wbr>watercolour/</span></a> This was done from an expedition to Chile many years ago, when I visited a penguin colony near Puntas Arenas on the way to the Andes.</p><p> I recently dropped some paintings in to the <i style="font-weight: bold;">Waterfront Gallery</i> in Milford Haven. It's a lovely gallery on the quayside with plenty of parking and sketching space if you like painting boats and other things that bob about, so if you're in or around Pembrokeshire do pop in if you have a moment.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JTpYOIF0Ojc/YLeFjMdKnCI/AAAAAAAACEI/r0nt21rfILAn1acwTZ_fcugKIFowdiadgCLcBGAsYHQ/s1200/Stormy%2Bseas%252C%2Bcp%2Bsm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="895" data-original-width="1200" src="https://1.bp.blogspot.com/-JTpYOIF0Ojc/YLeFjMdKnCI/AAAAAAAACEI/r0nt21rfILAn1acwTZ_fcugKIFowdiadgCLcBGAsYHQ/s320/Stormy%2Bseas%252C%2Bcp%2Bsm.jpg" width="320" /></a></div> This is part of one of the paintings I left at the gallery, showing huge Atlantic breakers hitting the cliffs at Linney Head in extremely wild seas. I achieved the white splashes by leaving that part as untouched paper, but wetting the area to float in the blue-grey colour of the cliffs to define the splashes wet-in-wet in a negative way. When the paper had dried I then sharpened up some of the edges with the blue-grey wash, thus creating a varied edge around the splash. Do be extremely careful if you go out on a day like this, as the sea can be really unforgiving!<br /><p><br /></p>David Bellamyhttp://www.blogger.com/profile/02977971315814150406noreply@blogger.com2