AMANDA BRETT WATERCOLOUR ARTIST
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​Paintbox Tips, secrets, thoughts, scribblings
and doodles on art, ​my life as an artist,
​travels and musings!! 

Abstract Watermedia Workshop - Watershed - June 2019

15/6/2019

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Abstract Watermedia Workshop Notes (June, Watershed Essex UK)

think and plan ahead

think about the shapes you love, if abstract is new to you, you might have to go on an adventure of discovery first. What is your subject? When you're oohing and aahing, you know you've hit a jackpot!! Articulating what you like is just the beginning, could be deep and meaningful, or, just as important, because you like it (say yes!!).

kitsch - twee - cliche - are our enemies!!

Stylish, sophisticated abstracts are difficult to design

make a list of the shapes you want to have fun with, then in a pinch, you've got some ready made inspiration.

Watercolours are richer for having an underpainting, wet-in-wet soft edged. light to mid-value - think of blocking in. A cruciform is an interesting abstract underpainting which lends itself to abstraction.

When designing and sketching, think of style and good taste, BUZZ word is sophistication. sketching helps you to understand the possibilities.

How can you repeat your shapes?


My style is crooked, nasty, loose, rough - what's yours?

Limited palette, let them blend to create more colours, however, think:
Dominant
Non-Dominant
Accent

maybe a split complementary palette, start with a favourite zinger and add two neutral complementaries

match to other watermedia tools

ALSO:
BIG, Medium, small = variety - EVERY inch should be different from every other inch.

Nothing equal, no circles, no squares, no straight lines, NOTHING DULL!

think about mark making tools to experiment with: sticks, corks, clingfilm, stencils etc.

Do not fixed perceived mistakes, let them happen, they add charm and character. Further, "fixing" them often leaves nasty traces.

Practice a shape, repeat 20 times, fill up a sheet of sketch paper then paint it 50 times - try to paint it with one brush stroke.

remember contour drawing, don't left the pencil, try it with your brush too!! be messy and enjoy the interesting marks and surprises!!

while still damp, use your squirter to create lost and found edges and let the drips run!!

use spatter to create texture and move colour around.


ciao i mie belle amiche!!
​Amanda


Come paint with me in Italy
Amanda Brett Watercolour Artist Checks and Lemons detail
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Secret #3 Chopin, clunkers and badly shaped pears

16/11/2018

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it saddens me that so many people are so creatively blocked.

this is really a telling-off post, so if you are a bit delicate better go and read something else.

Many people come to my workshops and classes and are totally soul destroyed that their painting hasn't worked out.

How do you think i feel when i paint a clunker and have nothing to sell?? how do I put food on the table then McDuff? mamma mia!! What happens when I paint something really fab and it still doesn't sell?? mamma-flipping mia!!

Students invest heavily in a one day workshop and expect to come out with a masterpiece, or they say "I'll see how the day goes and if I paint something really good then I will come to your classes". Erk - hello?

They make up all these weird rules, goals and stories that are really just blocking their creativity and maybe even their lives.

Come on people, time to straighten up - life's not meant to be easy, I'll bet you don't expect to play chopin if you haven't played the piano before. So why is this any different?

I discovered why this morning, and that's why I am sad. I am sad because then you don't have to put any effort in and if you don't put effort in you don't have to face the reality that maybe you are not as creative as you thought you wanted to be.

The truth is, creativity takes effort and hard work - paintings, sculptures, poems don't just miracle themselves. A true artist works at their skill, develops their ideas, studies and thinks, reworks when things go pear-shaped: creativity takes intellect, creativity takes guts. The not-so secret is creatives are disciplined and have thick skin and are regular failures.

I'm sad you are too scared to have a go.
I'm sad you are too scared to work at it in case you fail.

I challenge you to be kind to yourself and have a go and fail and pick yourself and have another go!!
​
:(

Amanda

Come paint with me in Italy
Watercolour for Beginners - Auckland New Zealand
Weekly Classes - Auckland New Zealand
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Paintbox Tip #10 - Colour mixing in watercolour

28/8/2018

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Amanda Brett Watercolour Artist dark blob
You probably know this - colour mixing in watercolour is vastly different from other mediums. There are several reasons for this, including the fluidity of the medium - water; the watercolour paper; sizing; the pigments; and, the white of the paper. 

To explore colour mixing with water further, water is used to lighten and deepen values and saturates. The more used, the lighter the value; The opposite is also true, the less water used, the stronger the colour, saturation and value. Although there are many ways to paint a watercolour, a process for the beginner watercolour painter to live by is to start your paintings with more water and less pigment, subsequent washes should have less water and more pigment until your final marks are virtually paint straight from the tube!

In addition to using water, the colour we have that's not a colour is the white of the paper. In transparent washes, light travels through the paint to the paper and bounces back and helps to optically lighten values, this is also the reason we use a white palette. 

Professional grade watercolour paper is not actually paper at all; Exhibition quality 'paper' is made from cotton rag, versus student papers which are made from wood pulp. Exhibition papers are archival meaning they are acid free and, providing they are kept thoughtfully (not under the bed), in a dry, cool environment, away from direct sunlight they will be perfect for a LONG time!! Framed paintings should be hung away from direct sunlight just like any other artwork.

I have to admit I am not an expert on watercolour paper sizing (i'm not much into the science - I just want to paint, so I'm not going to pretend), what I do know is that the sizing helps to keep the paint on the surface of the paper thereby helping to retain your painting's brilliance, lustre and transparency. A good quality paper will be sized to it's core not just on the surface. This means that, from a colour mixing perspective, different papers work differently and will allow the pigment and water to work differently. 
​​
Although black and white pigments are manufactured, typically, we do not use a black for dark value washes, nor a white to lighten. My reasons for not using black as a wash is because I find it exceedingly boring. For me watercolour is about poetry, there is no poetry in black!!  Watercolour painting is about creating beauty and light and life, as Delacroix said 'Colour is the fruit of life'. I encourage you to step outside and find a dark area and observe the light bouncing around and colours reflecting, treat watercolor as an adventure. I prefer to make my own darks, creating areas of light and dark, warm and cool, opaque and transparent - so much more interesting!! If you are desperate, paint a black painting and get it out of your system! Apart from that, most blacks are created using a kiln firing process and seem to be very sooty, my eyeliner is the only black near me!! I have to admit I LOVE white gouache, I slap it in to darks (with restraint, sometimes not!) just for the fun of it. I also love white marks in a watercolor painting, however, white watercolour and gouache is not so pretty when used as a wash (and unnecessary!) proceed with caution.

There is vast range of watercolour pigments available falling into 4 main categories: transparent, opaque, earth and staining. Many of the pigments are made from natural minerals and due to these natural qualities, react and bounce off each other, quite fun to watch and experiment with.

To give yourself the best shot at painting watercolour, be kind to yourself and buy a set of transparent primaries in a professional grade of paints, however I recommend you seek advice from a specialist watercolour artist before purchasing. 

For a beginner watercolour painter, I recommend just four pigments - get used to them and understand how they work together - do resist the urge to splurge - you will have more fun with a limited palette!! The pigments I suggest are artist quality tube paints, Permanent Alizarin crimson, phthalo blue (or french ultramarine), Indian yellow (or new gamboge) and burnt sienna. The most useful tool you can make for yourself is a colour wheel made from your own pigments. Just choose any yellow, blue and red then mix a purple, orange and green - complimentaries - yellow is opposite purple, green is opposite red and orange is opposite blue.

This is important because the colour wheel, for example, will show you the complementary colour to neutralise a bright/saturate pigment eg neutralise or dull a yellow by adding a touch of purple or it will help you decide which colours to charge into a luscious apple's shadow and which colour to choose to make one colour stand out from another. From these pigments you make a gorgeous silvery (or warm) greys, a luscious rich lively black and a myriad of other colours just with 4 pigments!! You can progress this by mixing a light value colour wheel and then a dark value wheel just by altering the amount of water on your brush.

Colour charging is exciting and frightening all at the same time - while the paper is damp, and without washing your brush, load up another colour and simply 'charge', ( ie slop, slap or drop) this new colour into or next to, the original colour. With watercolour, fewer brush strokes are definitely more, this also works for colour mixing on your paper. When charging in colour use ONE brush stroke - every additional brush stroke is another step toward opaque, 'dead' colour and lost luminosity.

Due to its transparency (even opaque pigments are transparent) glazing can be used to modify a value or temperature or simply mix colours. Glazing is washing over a previously painted area, use a soft bristled brush to ensure previous layers are not disturbed. For example, if there was an orange car in the distance but it's too bright and taking over, you could knock it back to the distance by glazing a wash of a blue (or purply-blue) over the orange, its not necessary to be neat just wash over everything that's intended to be in the distance, soften off an edge here or there and you're done! 
​
Colours can also be mixed onto dry paper with wet brush/paint (aka wet into dry). Place colours beside each other and catch the bead from the previous mark, the secret is not to touch the same mark again, just keep catching the bead of the previous mark until you get where you're going.

One of the main advantages of watercolour is wet-into-wet painting. For amazing blends of colour, soak a piece of watercolour paper in a 'bath', submerged for no more than 5 minutes, let the drips run off and place the wet paper onto marine ply or gatorboard. The paper will stay wet for sometime and you will be able to paint until it is dry.

Watercolour is the oldest known painting medium - the sistine chapel fresco is a type of watercolour! Think of painting watercolour with a feather - that's all it needs - a gentle touch!!

happy painting miei cari amici xx
Amanda


Come paint with me in Italy
Watercolour for Beginners - Auckland New Zealand
Weekly Classes - Auckland New Zealand
En Plein Air - One Day Workshop

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Auckland Viaduct Studio Greys - AWARDED 1st PRIZE

30/5/2018

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Amanda Brett Watercolour Artist, Auckland Viaduct studio greys AWARDED 1st prize by Watercolour New Zealand and Gordon Harris Art Supplies. AVAILABLE email me
Thrilled to say Auckland Viaduct studio greys has been awarded 1st prize by Watercolour New Zealand and Gordon Harris Art Supplies.

I had painted the same subject en plein air the previous day and was dissatisfied with the result, I was, however, inspired to create the scene with a new composition and a different mix of greys.

As I am a heavy handed painter and struggle with light values and greys, more practice required!!


I started with a loose thumbnail value sketch, then applied a loose simplified sketch to my watercolour paper.
​

Painting in an en plein air style ie, top down, I started with varying mixes of greys (phthalocyanine blue, alizarin crimson and burnt sienna); warmer hues gradating into cooler and sometimes painting with clean water, all this around planned whites.

​Once the shine had left the paper I splashed in some some light value spatter and continued to paint stronger washes of colour - that is, less water more paint with each successive shape created. Parts of the “office” and fishing boat were painted with colour straight from the tube. I painted in some dark people and also scrubbed out some lighter value shapes.


The paper was still quite damp which allowed me the freedom of soft edges and more spatter. I also started to add accents of raw sienna, cerulean blue and splashes of white gouache.

I get totally absorbed in negative painting - the worse you do it the better, some soft edges, plus some bleeding - squirting water and when close to dry, some final hard edges. I added some calligraphy marks to seal the deal.

For international and local workshops and classes www.amandabrett.net

ciao cari amici xx
Amanda

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The Secret of 5 Big Shapes - value sketching demonstration en plein air - Paintbox tip #6

2/5/2018

8 Comments

 
Ciao a tutti!!

​I'm back in Lucca, my home away from home, preparing for my watercolour painting holiday workshops. This morning I set out to surprise my dear Lucchese friends and while we chat over coffee I became overwhelmed with a huge wave of "I must paint right now!". Not quite organised for plein air painting, a quick value sketch on site will help me understand and remember shapes and values, what I see and prepare me to paint in my studio. 

My non-secret strategy works for any subject, any style and is relevant to design principles from any school of thought.

​I've mapped out some processes to help you get started on your own plein air sketches.

Once I select my subject, I use a soft pencil with a seriously sharp point (I sharpen my pencil several times during my sketching process), I sketch a light "frame" - the size of a credit card - remember this is a value sketch to understand the darks, lights and shapes, you can create a masterpiece sketch later, this small study is purely for the purpose of getting to paint quickly - my key thoughts are:
  1. quick
  2. nasty
  3. dirty
  4. loose
  5. and rough!!
  6. :)

Sketching AND painting!!

Next I lightly mark in a grid of thirds vertically and horizontally, each intersection is an optimal focal area.

I'm thinking 5 big shapes - no detail at this point - so, for my subject today, my 5 big shapes are:
  1. the sky
  2. the roof as one big shape
  3. front of the building
  4. foreground
  5. porta (doorway or entrance) della Piazza del'anfiteatro
  6. oooops, i forgot an umbrella or 2!!

I used my pencil to measure angles - always have a new pencil on hand, it's hard to measure angles with a stubby!!

Now that we have 5 (6) big shapes, first rule of thumb is to forgive yourself for blunders you are about to make, say it out loud "this is the way I want it!!" :) tomorrow you'll do another version and it will be different again because you'll be a different person tomorrow with a different view and a greater skill-set.

2nd rule is to think BIG, Medium, small - in other words VARIETY is the spice of life!

3rd rule is to make INTERESTING shapes - no squares nor circles, odd shapes are best and no shape the same size next to each other, this is more interesting for you as an artist and also for your viewers and collectors - always something new to look at and wonder "why did she do that?"

There's a lot to think about and we've barely got started!! mamma mia!!

While we're here lets block in a light value tone around white areas just to get our heads in the game.

Build up your sketch by giving each shape a darker tone from the shape next to it, it's a good idea to have shapes overlapping so use your eraser to steal back lights/shapes where you need to.

Consider leaving "WRONG" marks, don't erase them, they add character  -  PLUS, I don't know about you, if I erase a wrong mark I can almost guarantee I will make the same wrong mark again!! I think that's why I got to the point of not erasing and I have come to enjoy the marks that make a sketch full of character and life.

While I'm sketching I'm positioning darks against lights and lights against darks, especially in the focal area, then I can think about possible detail shapes ... 5 for a small sketch, 7 is stretching it for this size - thinking silhouette shapes only!! To satisfy my itchy fingers I often make a list of goodies to add to my painting later. In this case its pot plants, tables and chairs and people, copper downpipes, chimneys, electrical wiring, pigeons, bicycles, signage etc, etc.

I hope you enjoy sketching value studies, with practice you will get better and quicker. I'd love to hear how you get on!!

cari amici!! xx
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Amanda Brett watercolour artist, Piazza del'anfiteatro, Lucca Italy en plein air sketch 1
Amanda Brett watercolour artist, Piazza del'anfiteatro, Lucca Italy en plein air sketch 1
Amanda Brett watercolour artist, Piazza del'anfiteatro, Lucca Italy en plein air sketch 1
Amanda Brett watercolour artist, Piazza del'anfiteatro, Lucca Italy en plein air sketch 1ture

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Paintbox Tip #3 simple silhouette sketching!!

27/1/2018

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If you want a little heads up before you head to a new art class or maybe a little refresher if you've had a break from painting and drawing, have a look at my short video, Paintbox Tip #3 simple silhouette sketching!

grab a plain white cup and saucer and have a go at drawing the cup to start with, don't worry if you think it's not right, do it again and again!! most artists draw/paint same subject over and over and over!! We should too!!

draw cup and saucer from different angles and different heights but keep everything quite small - on your paper, cup should be no more than half the size of the actual!!

the really cool thing about pencil sketching for watercolour painters is the similarity of process - painting/sketching from light to dark and building up layers of value to describe form and light!!
      
ciao ciao cari amici!
x
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Finish every painting!! Paintbox Tip #8

23/1/2018

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When I go back to an unfinished painting I often have a wee panic.
​First of all, I don't want to work on this painting again - I'm over it and I've got a superb new idea and I just want to get going on that!
As a professional artist - my only source of income, this attitude is a BIG problem. Every creative moment, every piece of watercolour paper,  every brush load of paint is wasted if I don't finish. Time is money!!
To get myself back in the mode, I re-create my thumbnail sketches, review my reference images, notes and hopefully I'm on fire again!!
BUT, what if that fire doesn't return? When the buzz is gone, my smile fades and panic returns.
This is when I need to kick my artist's discipline into gear and make myself finish.
Here's my secret process for finishing every painting:
  1. I spend 5 minutes reviewing the artwork to-date and write a critique. what do i like? what do i not like? is my focal point/area speaking out loudly? if not what does it need for that happen?
  2. I also write a 'shopping list' of actions. I remind myself of my motivation and inspiration for this piece, my observations, inspiration, process ideas, thumbnails and design concepts.
  3. Then, I work through design principles to ensure I've covered enough bases to create an emotive, atmospheric painting.
    ie, 
    COLOUR does the colour create passage around the painting? can you label your dominant colour/value? the non-dominant colour/value and the accent colour/value? if not make it happen.
    VALUE I mentioned value above but to give you another example, are your darks dark enough? if not do you need to add a super dark? 
    EDGES is there a good variety of edges? hard, rough and soft? 
    SHAPES do your shapes need extra work? 
    SPACE is there are good balance of shapes and space? To repeat, a dominant shape, a non-dominant shape and an accent shape (aka big medium small)? 
    TEXTURE/DETAIL enough detail, too much detail? does it look finished?
  4. My FOCAL AREA might need some help to speak loudly? possibly less work in the background and more detail in the focal area.
​When all else fails, turn the timer on for 5 minutes!! giving yourself just 5 minutes will force adrenaline to flow and force you to make decisions without procrastination. It will force you to focus on the process and not worry about the next step, in other words, just do it!!
You've probably heard me say this before ... there is more learning value in finishing a painting than starting yet another painting you can't finish. A lot of it is in your initial preparation, the notes you make, the stories you tell yourself about your motivation and why you were originally inspired by the scene / concept.
It seems to me that, most often, a painting that is difficult to finish has been started prematurely. Remember, less planning = big problems; more planning means fewer and smaller problems to solve.

happy painting!!
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very happy with the result so far, i stopped to let my students get stuck in. a little critique:
  1. man on right is too big
  2. I've got a left painting and a right painting - yikes!!
  3. very happy with my two gossipy guys on the left.
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I made my man on the right smaller, added some more detail marks and a light value land mass across the river to join up the left and right sides. I also added more dots and dashes to indicate boat repair paraphernalia.​


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Watercolour Myths Paintbox Tip #4

4/9/2017

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The cool thing about Watercolour is that it is mostly not too difficult to fix.

I know, I know, everyone says how it is the most difficult medium but truthfully, the myth sayers are the ones who have given up.

The main issue most beginners in watercolour painting have is determining what the problem actually is!!

Sometimes there actually isn't a problem but we've got to that dreadful middle stage and don't know what to do next. If you definitely have an issue to solve, read on McDuff!!

If you decide the composition or design is a problem, redraw the corrected composition on spare paper and re-work the improved version into the painting. Yes - that's right paint over it, you might need more paint!

Could you draw/paint it better? Practice drawing the shape you require on spare paper, then practice painting the shape/colours etc on some spare watercolour paper. Wet the offending area, sponge out problem shape/area carefully and re-draw and paint.

A shape is not quite right - I've solved this problem in my paintings in 6 or 7 different ways. Here's a couple you can try (1) wedge a dark tone next to the problem area correcting the shape, (2) stencil lift to correct the shape or (3) soften an offending edge with a damp sponge.

What watercolour problems cannot be fixed? The most difficult actual watercolour problem I have found is too much opaque pigment mixed too much on the palette and then stirred up too much on the paper - too dead!

Sometimes a stencil-lifted highlight will work or you could try adding more detail to another part of the painting to draw attention away from the offending area or carefully glaze a transparent complementary colour over the problem area to knock it back.

Always try to push yourself to finish every painting whether you've decided it will be a 'good' painting or not. The truth is, you might not be able to fix a work you've deemed irretrievable but the effort of trying will teach you more about watercolour/painting/process than starting yet another painting that you'll struggle to complete. Further, if you've already deemed the painting a failure, you really can't make it any worse - keep at it!!

check out my Paintbox Tips for more watercolour help!!

happy painting!!
Amanda



Copyright 2009-2018 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, thanks for respecting my art and creativity.

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Plein Air Secrets - Paintbox tip #5

4/9/2017

 
Amanda Brett artistIt's amazing who I meet when I'm out painting!!
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 from life.
 
When painting in the field, from the time you select your subject to your end-game, the painter has 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. 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. 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:
  • Perspective drawing using a pencil to measure angles.
  • create 5 minute value thumbnail sketches.
  • Develop your composition skills.
  • Learn to understand the relationships within your painting.
  • Most importantly have fun and remind yourself that painting en plein air is a great sketching tool for studio work.
 
 x
Amanda​

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    Amanda Brett Watercolour Artist

    Paintbox Tips, secrets, thoughts, scribblings and doodles on art, my life as an artist, travels and musings!! www.amandabrett.net

    ​Copyright 2018 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, thanks for respecting my art and creativity.

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Amanda Brett - Watercolour Artist

Amanda Brett Watercolour Artist Painting Holiday Workshop Lucca Italy May 2019
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. 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.
Copyright © 2019 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.
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