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One of my students who attended art school many years ago was taught that working in a series is a "cheat" for artists. I disagree. A series, or a body of work, is important to artists - we create a body of research and reference, it does NOT make sense to use this for only one piece of work. Think of all the time and effort gathering all this information - could I add the hourly rate for all this time to the price of one painting? questionable. a scientist specialises in a particular field of research, a lawyers and doctors practice in their specialist field. They are continually referring back to their previous research and work and developing it - making it more and more relevant. And this is exactly the same process for artists. It is a pragmatic decision to work in series, your brain starts working in a certain way, and, even though you may have painted several, you’ll start to discover new ways to develop your subject, new ideas, different light, different angles, palette/season, mood etc. For example, I started my Glamping series some years ago, most years I revisit and create 5-6 new paintings that can be quite different from previous years. They obviously have the same source but each year they’re a little more developed, style wise and concept. Sometimes it’s a safe haven or confidence booster when you’ve had some success to work on a familiar series. I admire artists who paint only one subject – my friend Mo paints amazing clouds and cloudy skies, Shirley paints beach scenes and another (his name escapes me) paints WWII aircraft. To have a passion for a subject as deep as this is truly incredible. I, however, need more variety, I work on 2-3 series, adding a new subject/concept from time to time, some of which become series and some not. Some subjects may not work for you immediately they may need more development and/or skill, don't give up, good things take time. Whether you succeed or not at every new subject is irrelevant. What is more important is the effort to try and improve; the study of each subject helps you to get better in preparation for the next. what's your thoughts? 
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There’s nothing easy about painting watercolour en plein air but, for me, it is an exhilarating and fun experience.
My early attempts, however, were difficult and my paintings absolutely atrocious! It seemed to take me forever to get to grips with this new style of painting in the great outdoors. Without realising, I was faithfully following the 80/20 rule, 80% observation 20% drawing /painting. Later it dawned on me: this rule does not apply to painting watercolour en plein air - I was trying to follow a guideline for the constant situation of studio/observational drawing. When painting in the field, from the time you select your subject to your end-game, you have about 1-1.5 hours, 2 hours at most, to capture the subject before light and atmospheric conditions change too much. No mean feat but, if you practice, you will improve every time. Another element to consider is the subject. My first attempts at painting en plein air were with groups of artists who love painting landscapes. For me, it was a big problem. Although I love good quality landscape paintings, I’m not interested in painting them myself. I’m a city girl afterall, I’m attuned to light and shadows bouncing around architecture and the people who inhabit amazing spaces. Just think of Lisa Douglas (Eva Gabor) and you'll have hit your nail on the head! I often tell my students to slow their painting process down but in the case of painting watercolour en plein air, I’m going to contradict myself and tell you to speed up! Speed up so you catch the light and changing conditions, Remember, watercolour is a fast medium. Give yourself 5 minutes, and only 5 minutes, to take photos and sketch 1 or 2 value thumbnails and most importantly, take a mental snapshot. Make your memory work for you and, even if you think your result is "wrong", your work will be formed of the essence of your subject. Perfetto!! What a great excuse to go out and paint it again!! Your next work at the same scene will include different features and details and the next different again. My personal strategy is to map the subject onto my watercolour paper with a 5 minute sketch and then not refer to the actual scene again, even if I have to turn away from it. I am painting my interpretation of the scene not a photograph. Changing light and shadows become mighty confusing and create confusing paintings. Learn the tools you need to assist you:
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AuthorPaintBox Tips, secrets, random thoughts, 
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 
There are no mistakes in watercolour, just some extra surprises!! Categories
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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 Archives
February 2025
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