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 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.
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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!!
Edited from Original post 251114
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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What my readers and viewers have to say
Your emails are so informative! I must confess I've watched a couple of your demos from beginning to end, and it makes me want to watercolor!!! I've only ever painted with oil or acrylics and haven't know how to begin with WC. Your content is excellent!
Susan VN Hi Amanda
Thank you for your tips. They inspired me to practise and I realised I haven’t been loading the brush properly. I learnt about adding more paint, and not water, to washes. In today’s tips I like the idea of painting with purpose. Your tips are very helpful. I very much appreciate receiving them. Elizabeth Hi Amanda I enjoyed your post and generous tips. Looked up Dan Burt I begin to see that you can colour any subject to give it pizazz so long as the tone and form is correct Certainly adding value now to my attempts Thanks heaps Annie
Yes very wise words. Agree with not fussing and agree with comments about good quality paint. Well written and inspirational as always. Cheers Janet xxxx Archives
July 2023
Copyright © 2022 All images and text on Amanda's blog and website are the 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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