 ode to country & western!! edited from my original post 070115 It’s really hard to create a painting about a subject I have no interest in, having said that, I can make myself want to paint a particular subject simply by working through a research process and getting to know and appreciate the subject. Imagine what it would be like for me to be told Country & Western theme ... ?**$#@!!**^?? Guess what? You can get fired up about any subject too!! While I was still working in the corporate world but dabbling in watercolour painting, I was thrilled that my tutor would supply the subject matter. It meant one less thing for me to worry about, all I had to do was turn up every week and she'd have an amazing array of cool stuff she had pulled together for us. Barbara was a tremendous creative facilitator. Another upside to this was that I learned to accept what was in front me, whether I liked it or not, this was no time to be fussing and complaining, I had 3 hours of painting time in front me, better get to it quick! In writing this post I realise too, part of my inspiration for a subject came from our group discussion about the subject and everyone's ideas. Some of my best painting experiences have been painting in a group. The more research I do about a particular subject the more passionate and determined I become to paint it. I fall in love with the subject ... it could be something as simple (?) as a brick wall or the way the light falls on a glass and the shapes and colours it creates. The intricacies of a subject become fascinating, although I don’t paint a lot of detail (this must have been written a while back!), I go through a process of studying the detail and deciding what I will leave out, what to include and which details describe my message best for that piece of art. Typically my research might include a small sketch or two on site as well as a bigger more formed sketch I call a plein air painting. When I’m in my studio, if I’m painting from my imagination, I create lots of doodles and lots of composition thumbnails. I’m reluctant to paint scenes from a photo preferring to paint en plein air, not always possible and although I’m wary, I’m very happy with a lot of them. For me, there is a driving force to create and always has been. Among other creative endeavours, I’ve always drawn and painted. It seems stronger now than ever and I think this may be, in part, because I work as a professional artist creating and painting most days - total immersion is good! My brain is more switched on to looking for subject matter and planning my next work – everywhere I see a painting waiting to be painted. The more I look for subjects the sooner they appear - the more I paint the more ideas I get. Happy painting!! ciao amici!! 
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 New Students are often are fearful of putting the brush to paper. Some people are able to articulate this fear and its foundations, mostly not. Many students tell me of the harsh and cruel comments they received about their art when they were young. From teachers, parents and friends – some well-meaning, some not, some from overt jealousy. It’s not easy to stop this “stuff”, other people’s “stuff”. It gets in our head and, let’s face it, sometimes we can’t stop it in it’s tracks even as adults. Children don’t always have the same awareness (sometimes they’re better at it than grown-ups!) that perhaps the comments come from an adult’s sad place. Their bad day still affects us, it still hurts, we don’t understand – that’s ok! What I want you to know is, you don’t have to be affected by other people’s fears or opinions. Mostly they’re irrelevant. Your own opinion and pleasure is what matters. As you grow, you will develop your art - learn, love and live your art. The best way to banish fear is to just do it – just paint, no expectations, just enjoy the process and have fun! 
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 Live classes start Feb 8 2022, Auckland New Zealand JOIN UP HERE 
Edited from original post April 2018 in Lucca Italy
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-so-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:
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 with values assigned - no detail at this point - so, for my subject today, my 5 big shapes are:
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
"I keep wanting to get photos of those sheds, but always seems to be wrong time of day, wrong tide or wrong weather for stopping. Or... we use the road on the other side of the estuary!"
This is what happens if you paint photo realism or you are too dependent on photos - you're probably sunk because you are waiting for ideas to happen. Ideas don't just happen - artists, scientists, engineers, poets, musicians MAKE IDEAS HAPPEN. We don't have time to wait. The ugly truth? No matter how long you wait, you will never get your perceived "perfect photo" the weather will be crap, the light will be wrong - whatever! This is really just another form of procrastination. There's 2 solutions:
when you get your horrible photos home, pick out the ones with the stuff you need and start doodling and sketching on a big sheet of paper. make lists. Sketching is an idea generator. ciao cari pittori xx
I discovered this scene on a road-trip to Wellington. For a few minutes it had great light, then it was gone. but not only that I couldn't zoom my camera in enough, I'd been driving all day and hadn't found my accommodation yet. no where to sit and soak up the ambiance so a little walk around the bay and a few quick snaps. Photos were terrible but quite a bit of information once I zoomed in.
I've seen many paintings of this scene and thought - wow, how boring - everything straight and lined up - how dull. What can i do to make this more exciting and engaging? I spent quite a lot of time doodling and playing and getting my head in the game! |
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