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    David Bellamy's Seas & Shorelines in Watercolour
    David Bellamy's Seas & Shorelines in Watercolour
    David Bellamy's Seas & Shorelines in Watercolour
    Ebook252 pages1 hour

    David Bellamy's Seas & Shorelines in Watercolour

    By David Bellamy

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    About this ebook

    Learn to paint the varied and dramatic coastlines of the world, with this guide from the expert teacher—includes four step-by-step demonstrations.

    Renowned watercolourist David Bellamy shares his passion for painting seas and shorelines in this inspiring and practical book. His extensive travels mean that seas and shorelines from all over the world appear in the paintings—and you can benefit from his knowledge and experience with advice on:
    • finding subjects and painting the different moods of the sea
    • rocks, crags and cliffs
    • adding figures and animals into your artworks


    Also included is an in-depth look at the painting and sketching techniques required, so painters at every level can start creating their own beautiful seascapes.
    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateMay 17, 2019
    ISBN9781781265871
    David Bellamy's Seas & Shorelines in Watercolour

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      Book preview

      David Bellamy's Seas & Shorelines in Watercolour - David Bellamy

      Introduction

      Painting by the sea has always been a popular activity for both the occasional painter and the professional. Sitting on the beach sketching, working up a simple drawing at a quayside café, or painting on the deck of a cruise ship makes up a pleasurable part of a summer holiday for some, while to others it is a year-round activity in all seasons. The combination of painting and enjoying the sea environment is especially therapeutic, taking you away from the debilitating haste and stresses of modern life. While you are encouraged to work from this book indoors, never has it been so easy to collect images of your own to work from, so I do urge you to go forth with a sketchbook and pencil, alongside a camera, smartphone or similar gizmo, and capture those fascinating scenes on the coast.

      Before you go outside, however, the book guides you in how to tackle the various types of subject found on the coast, so that you gain both experience and confidence in drawing and painting before having to undertake these terrifying pleasures. Don’t feel you need to create crashing waves, intricate boat designs, complicated harbour scenes or confusing cliff structures, as there are simple alternatives to each of these, as will become apparent. You are encouraged to begin with the easy approach and then gradually build up your expertise until you are working on more complicated scenes once you feel able to tackle these.

      Breaking Wave

      25.5 x 18cm (10 x 7in)

      Whether you paint in a realistic fashion, or prefer the kind where it is not really necessary to attach that mast to the boat, you will find a wealth of techniques and ideas in the following pages. My own work in watercolour tends towards the more traditional methods of working, but with the development of so many additives and exciting new approaches to using the medium, I have brought in some additional techniques such as collage, monoprinting, textural effects and additives that will push the boundaries of your watercolour painting. Throughout the book you will come across a wide selection of skies and moods which you can transfer to your own compositions. In later sections you will find out how you can improve your compositions, get the best out of your photographs, and introduce figures and seabirds into your work.

      Tip

      Your skills will improve as you practise. Keep at least some of your old work as this will give you a yardstick by which to measure how much you have developed as an artist.

      Don’t despair if things go wrong – with perseverance you will find your work progressing even without you realizing. You paint because it gives you pleasure, and the aim of the book is to encourage you to enjoy the experience of capturing the fascinating world of sea and shoreline.

      Haroldston Chins

      45.5 × 30.5cm (18 × 12in)

      The cliffs are at their most interesting where they are crumbling away, and thus providing a focal point in this watercolour

      Materials

      Low Tide, Solva

      28 × 20.5cm (11 × 8in) 425gsm (2001b) tinted Not paper

      A watercolour carried out on tinted paper. This is an excellent way to create unity and atmosphere in a painting.

      Evening Light, Naxos

      15 × 10cm (6 × 4in) 640gsm (300lb) Rough paper

      This watercolour sketch done on Rough paper shows how you can achieve sparkling light on the water with a brush loaded with pigment but very little water, and dragged across the surface.

      Watercolour paper

      Watercolour paper is best bought in imperial-sized sheets, which can be cut to whatever size and configuration you wish, although various pads and blocks that are glued all round the four edges to avoid having to stretch the paper are excellent, especially when working away from home. Usually it comes in weights of 190gsm, 300gsm, 425gsm or 640gsm (respectively 90lb, 140lb, 200lb or 300lb), with some manufacturers having a more extended range. 640gsm (300lb) paper is as thick as cardboard, while 300gsm (140lb) paper usually needs stretching before painting, so many people find the 425gsm (200lb) paper offers the best of both worlds: it does not need stretching unless you are painting larger works, and it is less expensive than the 640gsm (300lb) weight.

      Most papers come in three types of surface: Rough, Hot pressed and Not (or Cold Pressed). Hot-pressed paper is smooth and brilliant for fine detail, but you may find it best to leave this surface until you are more experienced as it dries rather more quickly. A Rough surface is extremely effective for creating textures, ragged edges, or with the dry-brush technique to lay a broken wash, although it is not best for fine detail. The most popular paper is the Not surface which falls between the other two types in degree of smoothness.

      Buy a few sheets from different manufacturers to test which suits you best. Most of the paintings in this book are done on Saunders Waterford which has an interesting surface texture and responds well to washes.

      Paints

      Watercolour paints are available in tubes, pans and half-pans. I normally use half-pans for out of doors sketching as they are more convenient. For the larger studio paintings tube colours tend to be better as one can quickly mix large washes. Choice of colours is up to the individual, my own being fairly traditional. I always work with artists quality paints as they are more powerful and finely ground, but the students variety are cheaper and perfectly adequate while you learn how to paint in the medium.

      If you are new to painting, start with just a few colours and get to know them well before adding further ones. My basic colours are: French ultramarine, burnt umber, cadmium yellow light, cadmium red, cobalt blue, phthalo blue, permanent alizarin crimson (or quinacridone red), new gamboge, light red, yellow ochre, plus white gouache for minor highlights.

      Add the following colours when you feel confident, but preferably not all at once: burnt sienna, raw umber, aureolin, viridian, indigo, cerulean blue, Naples yellow, cadmium orange, raw sienna, vermilion.

      More recently I have been using the Daniel Smith Extra Fine range of watercolours because I love their wide range of granulating colours, as well as some of the new spectacular pigments. Colours in this range that I particularly like and recommend for coastal landscape painting are: transparent red oxide, sodalite genuine, Aussie red gold, moonglow, green apatite genuine, bloodstone genuine and lunar blue.

      All the paints shown above have excellent permanence. Study the manufacturers’ labels and leaflets to avoid any fugitive colours. These will also tell you if the colour is transparent, opaque or falls between the two.

      If you are not using Daniel Smith colours, you can approximate the colours as follows:

      • Nickel titanate yellow Naples yellow.

      • Sodalite genuine a mixture of burnt umber and French ultramarine (note that sodalite genuine induces much stronger granulation).

      • Green apatite genuine French ultramarine mixed with cadmium yellow pale for light greens; and raw sienna or yellow ochre for duller greens.

      • Transparent red oxide light red.

      • Moonglow a mixture of French ultramarine and cadmium red.

      • Aussie red gold cadmium orange, but it is more opaque and not quite so vibrant.

      • Bloodstone genuine a warm black is the closest equivalent, though you are unlikely to find a combination that granulates like Bloodstone genuine.

      • Lunar blue This is really quite unique, with strong granulations that can vary unpredictably, and often in a delightful way. There is no simple replacement.

      Brushes

      Although the finest brushes for watercolour are undoubtedly sable, there are many excellent ranges of synthetic brushes on the market. Kolinsky sable brushes have a fine tip, a large belly to hold copious amounts of paint, and the ability to spring back into shape and not lie limp after one brush stroke. A good compromise, if you find sables too expensive, is to buy a brush of mixed sable and synthetic hairs. Large squirrel-hair mops make lovely wash brushes, although they are prone to losing the odd hair now and then.

      The minimum brushes would be a large squirrel mop for washes, a no. 7 or 8 round, a no. 4 round, a no. 1 rigger and a 12mm (½in) flat brush. Add a no. 10 or no. 12 round and a no. 6 round when you feel the need and you are well set up.

      More specialized brushes for

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