blueBanksia art directory lists art short courses and events

Why on earth would you do anything so uncomfortable, exposed and difficult?

You are right out there 'feeling' the atmosphere. You cannot paint fussy if the wind is blowing 90 km per hour, you cannot paint fast if the air is full of moisture in a fog… you cannot be tentative if you are in a busy street… in other words you have to match the conditions of the day and develop some ‘new’ ways of working which can only be a bonus when back in the studio.

To be in one place for several hours or a day means you see the place in all kinds of light situations. What looks uninteresting in one light can be absolutely magical at a different time of the day. Being in a place for some time you will see people come and go through that place and you will get ideas for a focal point for your painting, or a story for your picture.

Seeing the world in the flesh as opposed to a photograph show you all kinds of compositional possibilities and frees you from the placement so static in a photo. You learn that by just moving 3 feet one way - a tree can literally disappear from a scene or be closer to the house, so you can become more flexible with your compositions and still be “true’ to the place.

Being out in the fresh air you notice how quickly the clouds move and how fast their shapes change, quite different from the cloud in your photo that always has that ‘little edge to it’. You learn that it is the essence that is important not the miniscule detail.

Many of the classes I teach are outdoor sessions, because this is where you learn the most. Working in watercolour means you are very transportable… absolute basics are a watercolour pencil and a water brush that has the handle full of water which you can use to wet down the colour, this is the basic in portable… or you can take a full easel and gear and a thousand steps in between.

Working in watercolour on location means that you need to learn to work when the air is hot and dry or when it is misty and nothing is drying and so very different techniques are acquired unconsciously. In the studio it is easy to fall into very strict ways of working.

Any studies done on location hold the essence of the day and just looking at them you are back with the wind in your face, the sun soaking your skin or the brilliance of the light… often when you come home and develop a photograph you have taken of a spot you cannot even remember why you took it. One never has that problem with a study done on location.

Important thing is to keep your gear to a minimum, colours brushes all just what you need, no extras.

Dress for the day, including hats, cover-ups and layers so that you can add or take off as the temperature changes.

In September 2010 I am taking a painting tour to Portugal for 14 days where we will work on location in a variety of places.

Staying for 5 nights in one place we will see the early morning light and the late afternoon and capture the essence of some areas. Working this way allows you to soak up what you are seeing and bring home with you some unique views of the world. A part of this process will involve a variety of different techniques to get the best from the scene. So not only will you come home with wonderful memories but a whole range of techniques to use at a later date, as well.

What better way can you travel and experience an area. Do yourself a favour and try the en plein air experience - once you sort out the practicalities of working outdoors you will find the experience addictive.