Have you ever struggled to get into just the right spot when you're painting in a group?

Everyone's elbowing each other trying to get the best possie!! 

You can either get into the jostle (yuck!) or get there early. Both, to me, are pointless because you never know what the model is going to do and I hate being stuck in a crowd.

My solution is, no matter what's in front of you, the artist has to learn how to make a silk purse out of the sow's ear: use your creative brain to come up with a fine composition/design/idea and make it work (This is why I'm really good at painting feet)!! Test yourself, push your skills and make yourself come up with the goods. If permitted, dive in close at some point and get some photos so you have reference material for when you get back to your studio.

My best strategy for painting en plein air is to grab a cushion, find some shade, get comfy and then look around to find my subject. A viewfinder is a handy gadget to avoid overwhelm and pin down a great composition. When I'm done with that view, i turn 5°, make sure I'm still in the shade, get comfy and paint - step and repeat!! Very sensible when you think of how much painting time can be wasted wandering around looking for the perfect subject - it's right there in front of you!

have fun!!
Amanda
www.amandabrett.net



edited from my original post 081214

Many of my students and fellow painters ask me "how did I get from this to that?"

When I’m out painting en plein air (or in my studio), once I have my idea and have taken a “mental snapshot”, I rarely refer back to the scene. I focus more on what my painting needs rather than creating a replica of a scene.

The same for studio painting, especially from photographs (and when on location); the scene and your photo are merely your inspiration - your idea must come first.

​The same for studio painting, especially from photographs (and when on location); the scene and your photo are merely your inspiration - your idea must come first. 

Faithfully producing a scene, en plein air or from photos suggests the painter has to find the perfect scene. Yes there are plenty of perfect scenes but can you find them when you want them? probably not - jolly annoying.

The serious painter has to make do with what is in front of them - we have to make a silk purse from a sow's ear. 

The point of this blog post is to remind ourselves to be not so precious about painting every little detail, every little nuance - paint your idea, turn away from your subject - stop looking and just paint - enjoy the process of painting the flower or the picket fence - focus on your painting!! if you have a photograph, turn it over, paint your painting and use your artist's license!!

My painting Bait & Ice (Thames NZ) has won many awards and is not very much like the scene itself. Comments from collector's all say "this is just how I remember it!"

ciao cari pittori!!

ny artists, beginners through to professionals are concerned with developing their style, their voice.

One of my personal key concerns is to develop a unique voice - there's a tremendous amount of copying happening, not only that, when groups of people paint together regularly they all seem to paint in the same way. I don't want to paint like the hoards - I want to paint like me, i treasure the unique and the work that it requires.

Many years ago, through my local art group I was fortunate to meet a highly skilled and creative artist whose style I quickly fell in love with. I attended his private tuition classes for many years and, although I don't paint exactly in this style, it is an obvious influence. My goal was to paint like me but also include an element of simplicity that is the hallmark of California watercolour.

I have had to become very selective about what I see and what I study. I have a level of eidetic memory which can sometimes get in my way - I have to be careful what I look at, I have to keep my end game in my sights at all times. To that end, I don't visit galleries nor do I look at very much art online, I have a few selected books in my artist library. I have no clue who other artists are, I don't care, I'm only interested in creating unique work of my own. Further, the more time I spend away from my easel doing other stuff is too much time away from my easel.

​But what if you don't know what you want to achieve? How do you find what you like? How do you find something that makes your heart leap?

Firstly, I recommend you only study "good" art. Go to Galleries, museums, study the masters, get recommendations from your tutor.

Study everything you possibly can, every genre, every style, every artistic movement. At some point, within your practice and your research, you will find something that really speaks to you. Learn to critique, what do you like, not like. Once you find it, put everything else aside and focus all your efforts onto your discovery.

A well known watercolour painter friend suggests that learning to paint is a 25 year apprenticeship, you might feel  you are behind the 8-ball . However you might also find that, if you are an older artist, you have clearer ideas about colours and styles, and know the subjects you love already, its really about how to communicate those ideas in a way that pleases you - practice, practice, practice!! repeat, repeat, repeat!!

what's your thinking on this?
what have you discovered about yourself?
 
 ciao 

Edited from Original post 251114 
  
I painted with a tutor for many years as a serious-hobby watercolourist while I continued to work in my corporate career.

The great thing was, I would turn up to art class and she would have the subject all prepared for us: real-life objects, photographs, magazines, warm-up materials and ideas. We would have a big discussion about the subject and view it from several perspectives - she did a tonne of research and put many hours of thought into every session - how grateful I am!!

Although this was a fantastic resource at the time, this reliance became a burden I was not aware of. I found I could make time to paint but when I actually got to my studio time, I HAD NOTHING TO PAINT! I was so reliant on someone else providing my subject that I didn’t know what to do to sort myself out. I hadn’t given time to subject selection so I would be completely stumped!! Now I know why artists spend time drawing and painting their own hands and feet – because they’re there and they’re handy!!

This ‘problem‘ hit me again later when I studied with another tutor who had a completely different style. I was on my own having to bring my own subject matter. I had no-one to rely on but me … this was how ‘writer’s block‘ came about, I had nothing to paint but I did have my painting gear right in front of me, lol!!


The more I look for subjects the sooner they appear. The more I paint the more ideas I get.

have fun!!
cheers
Amanda


www.amandabrett.net
​

A huge question don't you think?     
                                                 
But so important, it helps us to redefine our goals, values and priorities, what we want and how to articulate it.

For me (and I'm sure you too) the past 2 years have brought quiet and solitude (a bit too much - I want everything in exactly the right measure - it's all about me!). I've had unprecedented amount of painting and creating time (not used wisely) plus a weird type of stress and overwhelm. Several years ago, in my wisdom, I decided that a new path forward for my teaching was online, the good thing about lockdowns etc, I've learned that my passion is about helping my students become the creatives they want to be not creating clones of me. I see that as no value to you at all, further it means a constant dependence on me and no way forward for you (this is a similar reason why so many art school students struggle to forge their artist's careers).

So what do I want?

I want more creating and painting time. Fortunately for me, a restructure of our main business unit in NZ means I have less work to do - yay!! More time to play and see what emerges - a year of using up lots of paper!! It also means I can be in my studio at 7am (jammies and all) to start my daily creative process.

The good thing about writing this down (longhand is always best) is the re-embedding in my brain and my heart. I've really struggled with motivation these past 2 years, everything has felt 1 step forward and 2 back, my next big birthday is looming - time to pull myself together!

I want to go out and sketch more, I want to see more of my hometown and NZ (and the world!) - new aspects of familiar things; a good thing about lockdowns? they've taught us to slow down again!

So what do I want from my teaching? Actually, the question is what do I want to give to my teaching this year? How can I make it better?

My job this year is to help you learn to see - to broaden your painting and creating horizons and see the possibilities, right down to the nitty gritty of understanding your subject; to see there are many ways to paint watercolour and every one of them is the right way. I want you to see that every subject you draw or paint, prepares you for your next drawing and painting. Every drawing and painting is a cornerstone for your learning.

what do you want from your art this year?

what aspects of your art do you want to work on?

What do you want to learn?
 
Dica mi – tell me!!
Amanda
​
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Edited from original post 140119

​​I've been listening to lots of podcasts from artists who love painting en plein air like I do - the interesting thing is, I come from the school of painting what should be there but most of the artists I've been listening to seem very focussed on determining the exact shade of colour (temp and hue) and the exact value of each shape and finding the right scene/subject. I find that to be totally tiresome and tedious, at best, a form of procrastination.

When I discover a scene/subject to paint, I can guarantee you I will feel the need, rightly or wrongly, to shift some things around (lamp posts are never in the right place), and change colours and values to suit my idea. I have 2 thoughts about this, firstly, I am NEVER going to find the perfect scene so I might as well get down and dirty right now. Secondly, I am an artist, it's my job to make whatever it is beautiful and meaningful and tell my story through paint.

Imagine how many hours I would lose just by simply wandering around looking for the right scene/subject? Most often I have 2-3 hours to paint on location, I better make it snappy. Don't get me wrong I deliberately go to places that I know will please me (crusty, rusty and horrible are the key words here) and I do like it when someone chooses for me and gives me a challenge - its all too easy to fall into the trap of painting the same things over and over.

Back to WHAT SHOULD BE THERE. So what should be there? well that's up to you to develop your skills of observation and your sense of good taste and design and what you love. While in Raglan NZ recently, I went to paint the orange dinghy - how disappointing ... i could barely tell it was orange ... back in the day, it positively glowed and reflected into the bay, not only that, the fab building behind it doesn't exist!! My biggest problem is I believe my own press ... I really remember the house being an architectural wonder but I think i painted it that way many years ago and the painting is stuck in my memory!! So I decided to paint the old Dairy Factory behind the nasty building, it's obscured from every vantage point so I'm going to have to make it up, there will be ladders and brooms and mops and buckets, maybe a bloke walking by with a fishing rod. What i really need to consider is how important is the Dairy Factory and if i decide it's very important then i will have to decide what elements I will need to help me communicate "Dairy Factory" without getting naff or kitsch!! 

The secret message today is, use the scene/subject/photo as your inspiration, not something to be copied faithfully, just because it's there doesn't make it right for a work of art, if they brought back bell bottoms would you wear them? Give your artistic license a whirl!!

ciao i miei belli amici!!
​Amanda

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