AMANDA BRETT WATERCOLOUR ARTIST
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PaintBox Tips​

PaintBox Tip #102 Don’t give up on a sketch that’s gone wrong!

4/6/2022

2 Comments

 
Sketching is how I get my buzz to paint a scene, especially if I’m not enthralled with a scene or feeling a bit out of sorts (jetlagged, just plain tired or moody - mamma mia!)

We all do it … sometimes our sketches are not right, sometimes we have to do the wrong version to get to the right version. The wrong version helps us to see.

This is especially true if you’re working on a new subject. A new subject may require some intense study and you may have to sketch it several times to really start to understand it. A sunny day is a brilliant opportunity because you’ll see more detail, more shadows that highlight the lights and help you understand the shapes. In architecture (and every subject) it’s a good idea to focus on a small area (see John Ruskin’s sketches of Lucca, little studies of the shapes of the rooflines, monuments, decorations) and gradually increase the subject area. This can lead an artist to an intense passion for a subject lasting many years, the challenge can be totally absorbing. Everytime we sketch (paint, write music/lyrics, sculpt, poeticise, pontificate etc) we see new elements and make surprising discoveries.

Measuring the relationships is how we learn – how high is this compared to that? How wide? Is it a square or a rectangle? How acute is the angle? how dark does it have to be to make another shape understandable? How light? and all the steps between

Try not to give up on a sketch, start with light marks and 5 big shapes. Once everything’s in position add values, light to start with then build up to a very dark dark.

This one is still not a very good sketch but I’ve learned how the shapes work together (or not!) and their relationship to each other. Maybe I’ll come back and have another go, maybe I’ll just get stuck in and paint it now!


non ferma cari amici!!
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PS I often say to students an eraser is an unnecessary tool but i really needed it with this sketch!!
I love light poetic pencil marks - especially wrong ones - they add character and pad out a little - in other words don't be neat and tidy, leave what you have deemed as wrong and let them show.


2 Comments

PaintBox Tip #38 Do you always plan out everything?

16/4/2022

0 Comments

 
PictureCustard Square Bookshop, Christchurch, New Zealand
Jude asked:  

Do you always plan out everything ie... colours for everything and where bikes, cones etc might go?

Yes I do plan everything out BUT as I'm a little haphazard (read Arty-Farty - aka rip sh*t and bust!) I'm also happy to let go and see where the "unplan" takes me. So sometimes my painting is not like my sketch (sometimes my sketches are not like the scene!!).

You know that I pretty much always map out my design in a thumbnail sketch first. This sketch is about studying the pattern of the light and the dark and working out a composition. It's not about detail. I'm working out how I can use them to move the viewers eye around the painting. this sketch also helps me to learn about the scene/subject, it helps me to discover areas that could become a problem, or elements that I can take advantage of eg interlocking and overlapping shapes.

I make a "shopping list" of elements in the scene that I may or may not want to add into my painting and choose the ones that I like or help me to tell my story.

Once I've drawn my map onto my watercolour paper, I sometimes find there are areas that could be utilised or need a little filling up, these ideas come from my shopping list.

with regard to palette selection, I'm often smitten with a particular palette for a year or two and then replace a pigment or two. I usually use the same foundation palette for my realism work, based on transparent primary pigments, just the three plus burnt sienna, the same three I recommend to beginners. These colours will mix into every colour you could possibly need - just as well if you're in lockdown and no art supply store!!

Divertiti tutti!!

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0 Comments

PaintBox Tip #83 Design Generator

3/4/2022

0 Comments

 
PictureHarum Scarum, WNZ demo painting July 2021. 5th painting in my Pauatahanui series
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

0 Comments

PaintBox Tip #​65 how to get fired up when you're not fired up

12/3/2022

8 Comments

 
Pictureode 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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Early Morning, via Vittorio Veneto is a case in point.

3 reasons not to paint this scene
  1. there's a lot of pink - yikes
  2. I couldn't draw it
  3. it had never occurred to me to paint this scene

My painting buddy said let's paint pink!! I was so frightened!! 

I didn't want to paint there - frightening!! but what made it worse? I couldn't draw the jolly thing!! I was so frustrated, I could not get my head around it at all!! So I drew straight onto my watercolour paper.

To compensate for my inaccurate drawing of the scene, I jimmied it around a little to suit. 5 years later I'm still so happy with the result, it's still one of my favourite paintings. I had to work really hard, there were so many barriers, sometimes a challenge is the way to move us out of a funk!

For me easy and comfortable are not always the best.
8 Comments

Paintbox Tips #66 when all you've got's a sow's ear

30/1/2022

6 Comments

 
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
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​Copyright 
© 2022
 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.
6 Comments

PaintBox Tip #18 Paint Your Painting

26/1/2022

0 Comments

 
PictureBait & Ice Thames NZ
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!!

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    There is no ONE WAY to paint a watercolour - Amanda Brett

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Amanda Brett - Watercolour Artist

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Copyright © 2022 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.
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. ALL art of ANY medium should be hung away from direct sunlight. 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.
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  • Home
    • News
    • About Me
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    • What I See
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