AMANDA BRETT WATERCOLOUR ARTIST
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PaintBox Tip #28 Drawing secrets

27/10/2022

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Some thoughts on drawing!
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Drawing skills are essential. Your painting will improve out of sight just by spending 10-20 minutes observational drawing every day.

Shapes must be good - note I didn't say "perfect". "Good" can also mean interesting, unique or beautiful.

Design your artwork with design principles in mind.

Accomplished drawers/designers/artists can and do paint without drawing on their paper BUT 99.9% will have mapped out their design idea as a sketch first and will have spent much time studying and researching and planning – they’ve possibly painted a similar subject 500 times before – they know it well but have found a new intriguing “thing”.

Some watercolour tutors disagree with this, it shows in their work.

Drawing can become a 5-minute exercise in order to create a good painting (oil, acrylic, watercolour, sculpture, pastel), it doesn't matter the medium, art is art.

"Wrong" marks are full of character and shouldn't be erased (unless they're really annoying and stuck in your head then have at it!).

It takes skill and practice - draw every day, start simple, start small.

An eraser is not an essential tool but your sharpening device is.

There are many different purposes for drawing, some for me are:
  • thumbnail design sketch
  • thumbnail value sketch
  • observational study
  • full, formal, value drawing/design
  • a map onto my watercolour paper

The word "perfect" must be stricken from your vocabulary - it is meaningless because it can't be articulated, is subjective and stops us from doing what we really want to do!

Please comment and ask me questions and let me know how you're getting on!!

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PaintBox Tip #30 Secret 7 Watercolour MO's

15/10/2022

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Process strategies every watercolour painter needs to know!!
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Start with less pigment 
Good quality pigment that has been in your palette for a few days will work fine for MONTHS!!). Just give it a wee spritz with water when you’re ready and it will be good to go!! Then give the pigment a wee tap with a damp brush, mix with some water.
End with more pigment
During the latter stages of your painting, add fresh, creamy paint to your palette and increase the amount of pigment you use, particularly in your focal area. A painting made with the same paint to water ratio throughout can look lifeless and dull – variety is the spice of life!!
Start thin                   
start with thin washes – lots of water, a tiny touch of pigment. Then add a little more pigment, then a little more pigment until …  think of each “layer” as tea, coffee, milk, cream and butter.
End thick                                 
towards the end of your painting, continue to increase the amount of pigment until its almost straight from the tube.
Start big                                  
your initial blocking-in will be big (background) shapes. For example, sky, mountain range, land, treeline, foreground, shadows = no detail
End small                                 
Add detail marks in the final stages of your painting eg, one or three sheep, fence post, letterbox, gumboot, Farmer Brown etc.
Start soft edged           
the most wonderful thing about blocking-in is creating a soft edged underpainting – allowing the colours to blend and bleed is the natural wonder of watercolour – given to us on a plate!! Continue to create soft edges as you progress through your painting.
End hard edged                       
As your painting dries more, hard edges will appear and draw the viewers eye to your focal area.
Start with big brushes               
Start a painting by blocking in with a big brush, bigger than you think you can handle or is right for your paper size
End with small brushes             
your final marks will be calligraphic detail marks with smaller brushes
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Start with light values                
Similar to pencil sketching, your lightest to mid value colours can be washed in around your areas of planned whites – it’s better if the whites are too big, they can be solved later. Then you can build darker values on top of that until you have painted all the values you planned in your value sketches.
End with dark values                 
our final values will be the darkest you planned in your concept and value sketches.
Start with more water                
this is when you need your big full bodies soft brush – to load up lots of water or colour tinted water and to create your blocking-in washes.
End with less water                   
progress your painting with less and less water all the while increasing the amount of pigment. Your finishing marks may be almost paint straight from the tube.
BONUS SECRET!!
Start holding brush at tip           
for less control and brush strokes from the shoulder while you block-in and create your foundational BIG shapes
End holding the ferrule  
like you’re writing a cheque, my Glaswegian tutor used to say. This is where you’ll need more control, as you are “writing” your calligraphic finishing marks  
Have fun!!
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PaintBox Tip #107 dirty little art secret

17/7/2022

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I thought I would tell you one of my dirty little art secrets …

I use scrap paper to sketch on.

All these beautiful sketch books I’ve acquired over the years and I still prefer a scrap of paper!!

When I first started coming to Italy I decided I needed a more methodical approach, 4 months of painting immersion and thinking time! Somehow I've ended up with a couple of softcover sketch and notebooks, maybe that's what I could get at the time - never again!! Most often I like to sketch/write with my book on my knee, if I'm standing, a hardcover book is essential. let's hope the lesson is learned!!

You just reminded me, Dad used to staple books for me and apparently, one day as he was finishing a new one for me, guests arrived and I announced to them "my Daddy's a bookmaker!" Mum just about had a kanipshin!!

I've changed my MO to compensate for my knee (which is a lot better btw!) and the heat. But I have to say that because of this blasted ginocchio problem my fitness is right out the window. I've done a few paintings on location but now I'm painting in my studio. My usual practice al momento is to have my colazione out and sketch while I’m partaking – not necessarily what’s in front of me but whatever’s on my mind or an idea I’m fooling about with. 

I brought my usual A5 moleskin sketchbook to Italy and as usual I also brought a wad of Zeta paper folded up and jammed in my work bag. I’m amazed that this year, I’ve done more sketching (in and out) than ever before. I’m so pleased because it’s been a hard trip with bugs, knees and heat and all!!

The funny thing about the scrap of paper is that, when I had my business, I would walk into my client’s office with my PDA (I was on top of the technology game back then) but I would fish around in my bag for a scrap of paper to write my notes on. It got to a point where I would walk in and my client would automatically rummage in their waste bin and hand me a scrunched-up envelope! I tried so hard to up my game with the flashy PDA but back then they were very limited and nothing more than a piece of paper in disguise! Note to self, don’t upgrade until everyone else has tested them first and the upgrade model has been released!

It’s a bit of a shame to use scrap or loose paper. It’s harder to record and archive the action, that said, I can lay my hands on any sketch or working quite quickly, I know it will be in the nasty pile. However, a sketchbook is an easier, more methodical approach to record keeping ie dates and evidence that “this is my original work". If you don't want to show people the rough stuff, have 2 sketchbooks, 1 for the workings and nasty stuff and another for more developed work to show people.

I promise to be more organised with less rubbish bin fossicking!! Magari!!
 
ciao bei pittori!!

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    PaintBox Tips, secrets, random thoughts,
    scribblings & doodlings on art, my life as an artist who teaches, writes, travels, muses and paints!

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    Poetry in watercolour is made in the freedom of the here and now. Amanda Brett
    Inspiration exists, but it has to find you working - Pablo Picasso
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    There are no mistakes in watercolour, just some extra surprises!!
    Amanda Brett

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    What my readers and viewers have to say
    Your emails are so informative! I must confess I've watched a couple of your demos from beginning to end, and it makes me want to watercolor!!! I've only ever painted with oil or acrylics and haven't know how to begin with WC. Your content is excellent! 
    Susan VN
    Hi Amanda
    Thank you for your tips. They inspired me to practise and I realised I haven’t been loading the brush properly. I learnt about adding more paint, and not water, to washes. In today’s tips I like the idea of painting with purpose. Your tips are very helpful. I very much appreciate receiving them. Elizabeth
    Hi Amanda I enjoyed your post and generous tips. Looked up Dan Burt I begin to see that you can colour any subject to give it pizazz so long as the tone and form is correct Certainly adding value now to my attempts Thanks heaps Annie
    Yes very wise words. Agree with not fussing and agree with comments about good quality paint. Well written and inspirational as always. Cheers Janet xxxx

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    Copyright © 2022 All images and text on Amanda's blog and website are the the legal property of Amanda Brett and may not be reproduced without express permission from Amanda Brett or her authorised agent. Thank you for respecting her art and the livelihood of all artists.

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Copyright © 2022 All images and text on Amanda's blog and website are the legal property of Amanda Brett and may not be reproduced without express permission from Amanda Brett or her authorised agent. Thank you for respecting her art and the livelihood of all artists.
Quality Guarantee: All my watercolours are painted with only modern professional grade watercolour paints on Museum exhibition grade watercolour papers, they are extremely lightfast and will become a family heirloom and passed down to subsequent generations. ALL art of ANY medium should be hung away from direct sunlight. If​properly cared for, watercolour paintings will last as long, if not longer, than oil paintings. I only paint on 100% cotton rag paper, mostly Arches and Fabriano, and frame to conservation standard with acid free materials.
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  • Watercolour News
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