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'm still in my self-imposed "lockdown" with my continuing knee problem, It's a lot better but not better enough .. thwarted by my feeble attempts to "keep calm and carry on".
​
Something that’s really bugging me is my studio clear-out/tidy up/re-shuffle/reorganise started before Christmas. It was a good idea at the time but now I have 2 piles on the floor that are attempting to morph into 3 and I can’t get down there to do much about it. It’s making me crazy! PLUS while I’m nursing my poor wee ginocchio Dennis has now gone back to work, Amy’s back to work and there’s no-one here to entertain me!! YIKES!!

So now I find myself in this temporary situation of cabin fever - I'm desperate to get out and paint/sketch, so I've made myself a new plan for my coming escapades. in a feeble attempt to get back to normal, i went for a walk with Amy and the dog. I trailed far behind them, it was so nice to be out and hearing the birds and children playing, families and their picnics but, I have to say, I paid for it the next day ... mamma mia!!

It reminded me how dependent I am on my walking, it's my chief thinking time, my meditation and quiet time that allows my thoughts and ideas to run and play out. Another purpose for me is exploration, this is when I see things that inspire me, a fleeting light, shapes interlocking and overlapping, colours or some other interesting and diverting sights.

To get out of the house, I've been for a few outings in the car (bicycle is a no-go atm) to scope out some sketching locations but of course, even here in Auckland it's almost impossible to park close enough. So I've decided to go to cafes again, they have to be in the right place, scenic and comfy. 

There are so many ways to enjoy sketching out, for me, its a totally absorbing experience. Although I love my little value thumbnail sketches, I learn a lot about a scene using this process, I feel the need to change things up a little, expand my sketching and bring more of it into my life. So!! I bought a new sketchbook and made a sketch kit that's always with me. 
My new sketchbook has a soft cover, so a little lighter than a hard cover but I found an old light but rigid clipboard. My backpack is pretty old, so old it doesn't have a smart phone size pocket - urk! It has a great "book" pocket but without an easy small pocket, pretty much everything falls to the bottom. In my bag I also have a wee first-aid kit, a small professional pan-set, tramper's collapsible water cup, pencil case and a few other weird sketch tools to fun things up a bit!
In my pencil case, I have my standard soft pencils, a sharpener and eraser, tombow value brushpens, general’s sketching pencil, small view finder, calligraphy sketch pen, pastel and watercolour pencil, travel brush, small flat brush, water spritzer.

To protect pencil tips and brush points, I always place them in the case in the same direction and then “up” in my bag.
In Sketch class last week, Mary said “I can’t see enough detail, I’m too far away”. I agree, I need to see exactly what goes on, this helps me to build my story. Go for a walk to understand the lay of the land, what makes this place tick? How do those elements look close up? Always have your camera charged and set to hi-resolution and use a view finder to isolate your scene and cut out the overwhelming and extraneous, then you can just focus on what you want today.

have fun!!
ciao
Amanda

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:

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 with values assigned - 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

​"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!