Hello there *|FNAME|*

I can't tell you how many times my students say these words - it occurs to me that none of them are useful, enlightening or positive. All they achieve is making people feel miserable about what they're trying to accomplish! Let's strike these words from our vocabulary TODAY!!


Mud
In watercolour there is an overuse of the word mud. It is now used to describe anything the painter doesn’t like in their painting - without evaluation or critique – it’s just mud!
Actual mud is very difficult to create, however people who have painted in other mediums seem to be particularly adept at the chief skill required – overmixing.
Mud is the usual description when the lights (whites) are lost and the painting seems overrun with neutrals and mid values. The true issue is the painting is not finished and seems awash with nothing in particular. its a difficult stage to push through.
Watercolour needs a light touch in every possible way, much like making scones or a difficult putt – less is more!
In the early phase of your learning, make things easier for yourself and only use a good quality brand of transparent colours – you’ll only need 3 primaries to start with. Mix your colours on the paper with one or two brushstrokes (I’m not kidding!) and then keep your hands off – walk away and make a cuppa!!
The problem with the word mud is it’s negative connotations – mud from the river is dirty thick and horrible. In watercolour painting, what mud really is, is neutral. It makes your brights and focal point stand-out. To make neutrals while retaining harmony in your painting, all you need to neutralise a colour is to add the tiniest touch of it’s complementary.


Fix
Another overused word. I have to admit, I say this myself from time-to-time, there is a difference however - I know why I'm saying it - I'm saying it with purpose and knowledge. Beginners are saying it because that's what they've heard other people say and they lack confidence in their work.
Again, the actual problem is your painting is not finished. It’s out of balance and your creative brain knows it but you are not in practised at evaluating or articulating it.
The word “fix” implies our painting is wrong or bad. For the beginner the difficulty is how to resolve our work so we can finish. It’s not easy, no art is. Further, nothing worthwhile is easy, that’s why we do it!
It’s a journey, learning to see, learning to draw and learning to paint. Learning what we like and don’t like. Learning to talk to ourselves in more productive and kinder ways.
 

Perfect
I feel like a broken record about this, it comes up so often. Sometimes I get so angry and frustrated that so many creative people have been thwarted by this nonsense.
Firstly, we’re making something by hand – it’s going to have some exciting variations!
“Perfection” is a way for our creativity to be curbed by ourselves or by others. We’re really repeating what some dummy said to us when we were kids.
I was lucky as a young maker. My role model mother was a constant maker but with a few children she had little time for neatening edges and playing with niceties. She made us gorgeous little dresses with coats and bonnets to match. A super clever woman but DON’T CHECK the inside!! Actually, you've reminded me that my sister's dance costume fell apart on stage once, I don't think she was phased at all - the show must go on - what a great girl - just like her Mum!! I remember everyone running around looking for safety pins!!
Here’s a question: What is Perfection? Describe it. I defy you!!
Let’s also remember, one man’s meat is another man’s poison.
In my experience “Perfect” is used as a manipulation tool. They can’t describe how they want “it” and leave you to make up your own exciting creation and then they are very quick to tell you it’s not Perfect, it’s wrong and how badly you’ve done! But they still don’t tell you what they want!! Do not get sucked into this vortex of someone else’s nonsense, don’t be a victim and don’t pass it on!!
 

Mistake
Who cares?
As above, the reality is, your painting is not finished and needs something to balance it.
Work out what it needs to be resolved. Does it need to be lighter, darker, less bright, more bright?
There are no mistakes in watercolour, however, you might get a few surprises along the way. And this, my friend, is the gift that does our heads in!! When we receive a surprise from the watercolour Gods, we need to stop and think. How can we use this gift? The answer might take a little while to present itself, we just need to pretend we are patient and wait for it to appear.
Initially, I recommend ignoring it. I often find by the time I finish my painting, I’ve forgotten about it. However, if it’s still bothering you, it must need to be resolved.
 

Watercolour is Backwards
Whenever I hear this it makes me crack up – it’s just so stupid! It’s never said by a true watercolour artist.
Watercolour is a forward medium.
We start with white paper, then add a light value, then we add a medium value, then a mid dark value and finally a dark value. – we come forward from light to dark! Much the same as pencil sketching.
Only opaque medium artists focus on obliterating the white canvas with a dark value and then paint increasingly lighter values - now that’s backwards!

‘Nuff said!!


Fade
modern watercolours don't fade they dry lighter much like acrylics dry darker.
the watercolour painter must compensate for this and use more pigment - if it looks right when its wet, its probably wrong.
using the word fade perpetuates old stories and nonsense. As in any situation anywhere, using the right words sets the story straight and reduces  misunderstandings.


​ciao cari pittori!!

With a new term of watercolour classes starting soon, here are a few simple tips to help you start your watercolour journey!!

​Always ...

1. Have plenty of drawing paper handy for practicing.
2. Take notes in class, always carry a notebook or sketchbook.
3. Squeeze out new tube paint at least weekly so that you don’t have to scrub at dry paint (aka bird-poo) and damage your brushes.
4. A white porcelain dinner plate is the best palette ever, use cling film to cover when you have finished.
5. OR use a palette with a lid to avoid dust and stray animal hairs in your pigment (my Bertie loves sitting in blue!!).
6. Prepare your brushes with a quick swill in water so they’re ready to load with paint.
7. Use a kitchen sponge or old tea towel to moderate the water content in your brush.
8. Keep a hand towel close-by to control stray drips of water from your hands.
9. Paint standing up for as long as possible.
10. Sit for more control when adding calligraphy and detailed strokes.
11. For tubes proving difficult to open, run the cap under hot water and then use pliers gently.
12. Practice drawing; if your shapes aren’t quite right your picture won’t look right.
13. Keep spare sheets of watercolour paper handy to practice washes, colour dropping, shapes and investigate new pigment before you venture onto your painting.
14. Make colour charts with your pigments – colour wheels, value scales, practice mixing greys and greens, opaque, staining and transparent pigments and brands.
15. Wash out and dry your brushes gently, lay them flat to dry.

 
 ciao bei pittori!!

Hello there *|FNAME|*

Students often struggle to understand what their painting is about.

This understanding is key because it's all wrapped up in your story and what you want to say. It follows that students often feel they have little of import to say therefore their painting is irrelevant. 

Your story is important because it will help you design a work that you are passionate about and will help you to focus on the important elements that attracted you in the first place. Thereby helping you avoid over-stating support and background elements.

What am I most interested in?
 
your painting (story, poem, sculpture, composition, drawing etc) must have a purpose and, yes, the purpose can be learning or just because you want to but more than this – why paint it? What is it about? What drew you (pardon the pun) to want to paint it? Without your want, your passion to paint it, there’s no story, there’s no purpose.

Might as well put your best foot forward and crack it!

We’ve talked about this before, sometimes it comes down to making yourself want to paint “it”. Do your research, study your subject, create design thumbnails etc (this research and study also has another purpose for discussion later). Design your painting, what can you use to create a painting with strong design?

So what made you want to paint this?
​
Was it a fleeting light?

Shapes interlocking and overlapping that piqued your interest?

Unusual colours juxtaposed?

A strong light/dark contrast?

People involved in some interesting activity?

An idea – what if I put this with that?

Whatever it was that intrigued you is your story. It’s really only necessary to explain it to yourself, to keep you on track, write it down. So then your painting becomes a concept about how to tell this story and the visual language you’ll need to tell it.

For example, let’s talk about a stiped canopy.

I might want a strong light and use the stripes and shadows to help me describe the shape of the canopy. There’s probably a door or a window under the canopy, this could be used for a strong value contrast – lightest light against the darkest dark. There might be a group of people nearby, can you link them to the canopy/doorway? Is it a shop, they’re going to walk through the door? People walking out with shopping bags filled with goodies. My focus must stay on the canopy and elements that help me describe the scene and the story of the canopy, maybe it's blowing around in the wind. I suggest giving your project a name to keep you on track. Exaggerate anything that leads to the focal area, minimise supporting gorgeousness.

What's your why?

ciao bei pittori xx