My workshops on how to generate design ideas came about because a student said they were not ever able to get a “good” photograph of the scene.

I worked very hard on the design of “pauatahanui” and the ensuing series because it’s a popular scene to paint.

So how could I make mine different?

I got all excited and had to see these boat sheds for myself (aka ROAD TRIP!!).

It took 6 months to create a design concept I was happy with.

So the subject of this workshop became how to design a painting and not be reliant on good photos because good photos are rare and don't miraculously turn up when required! Somewhat akin to how to paint from a bad photo.

Another thought, it doesn't take courage to paint what you see - it does take courage to paint what you think and feel.

I often turn away from my reference, it was pointed out to me some years ago that I rarely “look” at my subject. Through my study and observation I begin a path of understanding. I take reference photos, I create thumbnail studies which lead me to my design idea - I want my work to be unique, I want the essence of the subject, I want it to be from me.

So, how to be less reliant on photos?

it's all about getting an idea.

one thing I must say to you is that, generating ideas is not easy, like everything it takes consistent and frequent effort.

My typical practice  revolves around drawing/designing (en plein air or in my studio) a thumbnail and doodling some of the shapes I think I will want. What do I like or not like? Leave out, add in, bring something relevant in from another scene. This is where I get to know my subject and the relationships of the other elements to each other. I have sketched/painted many boat yard scenes so I feel confident about bringing ideas in from previous study.

And that's what this is about - study and observation. Even though I have no intention of creating a photographic realism painting, I need to understand shapes, light and dark, perspective, values etc to create a work based on simplified shapes.
what could i do that was different/better? Firstly, I have the power of watercolour's fluidity; secondly, a unique composition. So the idea became the jumble and chaos of boatsheds and the ensuing detritus.
 
 ciao
Amanda

I know many creatives and many of them never finish a work. The same work is done and re-done and done again because it’s never right. There’s always something out of place, a comma, an invisible brush mark, a chord that seems not right – not perfect = imperfect! We do it again and hope it will be better next time.

And so now, this work gets put aside in the hope (read dread) the next one will be better.

What people don’t realise is, there’s no such thing as mistakes. What happens is, we get a different result from what we expect, we don’t know what to do with it.

This is often the result with watercolour, we have a vision and an eye on our goal – but something happens or we return from a cup of tea to find our painting looks different from just 10 minutes ago.

We’ve become so results driven we’re forgotten to enjoy the process, play to our medium’s strengths and just have fun playing with the paint. Don’t get me wrong, I’m not saying don’t attempt specific subjects, what I’m saying is have fun along the way. Explore your paint and ask yourself “What would happen if …?” or tell yourself “I’m just going to have a play with this and see what happens!” - my favourite way to start new work! It banishes fears and performance anxiety and sets up an easier happy attitude!!

happy painting dear friends!!
​Amanda

​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.
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The best way to banish fear is to just do it – just paint, no expectations, just enjoy the process and have fun!

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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
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​"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:

1. stop and paint or sketch anyway
2. take the crappy photos when you are there - from 50 angles, zoom in, zoom out - what we really need is resources and reference shapes. 

Set your camera to hi-res.
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!