Going with the flow
Why watercolour?
I started out as more of a pen & ink draughtsman, interested in architectural subjects. I gradually began adding watercolour washes to bring some subtle colour in… then the colour started to take over!
What do you love about it?
I love its wilful character, the way the water pushes back against what I’m trying to tell it to do. Watercolour is such an unpredictable medium, it never quite does what you ask it to! Over the course of 25 years’ painting, I’ve realised it’s best to give it ‘suggestions’, and then step back and see where it takes them! I also love the way it changes as it dries, so that every stage of the painting seems new when I return for the next layer. I leave paintings drying overnight, and it feels like someone else has been painting when I see them the next morning – they are unrecognisable sometimes (for better or worse!). Compromise is a big part of painting with watercolour – there is give and take between you, the paint and the water.
What do you find challenging about it?
Watercolour is definitely an unforgiving medium. Every brushmark can be seen, which leaves no room for error. Working in a loose style is actually one of the ways I deal with this – messiness is intentional, not accidental, so I don’t have to worry about meticulous detail or minor errors. This quality of the medium also helps me to identify where my students are going wrong, because I can see how the painting has been created.
What subjects do you keep returning to?
I’m mainly a landscape painter, and paint all kinds of subjects due to my art teaching – at the moment I’m teaching abstract art, and I can see the influence of that appearing in my paintings.
How has living and painting in North Wales influenced your work?
The landscape of North Wales has everything for a landscape painter – mountains, coast, castles, villages, woodland, moorland. I’m also fascinated by the folklore and history of this area, and will go out of my way to find an interesting ruin!
Explain your approach to teaching
“Learn Watercolour with Andrew“
Who do you typically teach? Are they complete beginners, people returning to painting after a break, experienced artists, or a mixture?
I teach students of all abilities, from absolute beginners who haven’t picked up a brush since they were at school, to experienced painters looking for advice with particular techniques. Most are retired, but I do have a few students who fit in classes between working days.
What do people usually struggle with when they first start watercolour painting?
The amount of water is always a tricky one. Too much and the washes fade away, or the puddle drains off the paper… too little and the washes are opaque, or the paint won’t blend or drift. Getting the consistency of the wash right is a real struggle, I still get things wrong after 25 years’ painting – but there are ways around this problem.
What are the most common mistakes you see people making with watercolour?
Too much over-working is the most common mistake – less is definitely more! The translucency of the paint benefits from being left alone, so that the light bounces off a more pristine paper surface. You’re trying to get the colours to ‘glow’, and repeated brushing will dull this shine. It’s also a very different way of working from using oils or acrylics – if you’re used to working in these mediums, you’ll start shovelling paint onto the paper, and spreading it out with a brush that’s too dry. Applying a thin wash, with the paint floating over the surface, is a very different way of working. It’s hard to get the balance right between watery, pale washes and overloading too much thick paint. There is a place for heavy washes, but these usually come right at the end when deeper colours or shadows are required.
What do you think beginners need to learn first to build a good foundation?
Playing around with the paint and the water on the paper is a vital part of the process. Trying to create a perfect painting every time is frustrating and limiting. You find out what the medium can do by just messing about with it, and it’s a useful way to learn what the materials are capable of just by themselves.
Why do you think people sometimes find watercolour intimidating or difficult?
It’s so unforgiving – every brushmark matters! You have to accept that not all paintings will succeed, which can be frustrating, unless you’re prepared to use mixed media to repair problem areas.
How do you help someone become more confident and less worried about making mistakes?
Working slowly towards a finished painting is not always helpful – the final result is over-cautious, and one wrong move can spell disaster! I ask students to spend time messing about with the paint, and to try new things, not fixate on the finished image. As a self-taught artist, I have developed my skills by experimenting whenever I have a new idea, or read/watch a new technique, method or colour-mix. I would also encourage students to persevere with mixed media if a painting looks beyond repair, so that they get to see a finished product, albeit not pure watercolour. They are then less likely to keep over-correcting mistakes, or even throw their paintings away too soon; they have more confidence to splash the paint around in a looser style in the knowledge that mistakes can be hidden. Their pure watercolours will then benefit from this more relaxed, loose approach.
What watercolour techniques do you particularly enjoy teaching?
I love the first stage of wet-in-wet, which is the most free and fun – the more you splash the paint and water around, the more interesting the results! Trying to make sense of the splashes once they’ve dried can sometimes be a challenge, but there’s usually something good there to work with.
What subjects do you cover in your classes and tuition — landscapes, skies, water, buildings, people, colour mixing, drawing, etc.?
All of the above, and more! The only subject I don’t teach is portrait painting, which requires millimetre-accuracy. My loose style doesn’t lend itself to this meticulous detail.
How would you describe your teaching style? Is it structured, relaxed, demonstration-led, hands-on, individual?
I like to start with structure, so that each individual have a clearly defined path to follow. That’s especially important with the basics, when the methods and process are very important to get right. With more experienced students, I would encourage a more individual approach, so that they can find their own direction with the ideas and techniques I have taught. Demonstrating is key to all of my teaching, so I would always start by showing a student the practical steps to take.
Do you encourage students to copy your way of painting, or is the aim to help them develop their own style?
At first, it’s easier if students follow my lead, especially if they are beginners. I definitely encourage advanced students to go their own way, because they will have more fun following their own interests and working in a way that suits them. There’s a point where the teaching is less about technical processes, and more about guiding them towards their own style.
How do you approach teaching someone who says, "I can't draw" or "I'm not artistic"?
Drawing and painting is definitely a skill that can be taught. Someone may have more natural ability, but without practise, they won’t improve. There are methods to help develop observation, hand-eye co-ordination, composition, etc, all of which will improve with practise. Having the time to practise is another matter – a lot of my students say that they benefit from the discipline of attending a weekly class, as it forces them to paint without distractions.
What changes do you tend to notice in students as they become more experienced?
I see a quick advancement in the first few weeks of a student’s work. They become faster in achieving the right colour mixes and consistencies of paint, and their drawing and painting becomes more deft. In time they become more confident to tackle complicated work, and start choosing work that suits them. There’s usually a plateau, which I think we all go through at various stages, when it often feels as if we are going backwards! I’d say these periods are more about consolidating skills and knowledge, or getting past the same repeated mistake – we can’t progress until each stage of development is fully practised, and our mistakes are realised or pointed out to us. From experience I know that this can sometimes take months or even years, then something finally clicks and we move on.
What do you enjoy most about teaching other people to paint?
I enjoy the social side of meeting with groups, and especially talking with people about art. I also love to see paintings exhibited by artists who have previously attended my classes – that’s a great sense of achievement!
What can someone expect when they attend one of your watercolour classes or workshops for the first time?
A warm, friendly welcome, and a supportive environment; clear explanations with step-by-step demonstrations and individual tuition; patience and encouragement, even in the face of (watercolour) disaster… and ways to deal with that disaster!
How does your online watercolour tuition differ from attending a class or workshop in person?
The online tuition is able to fit around the times that are convenient to students. It’s much more flexible, so it’s possible to work around busy/quiet periods, at a pace to suit the individual. I also have more of a tailored approach online, so we will discuss the individual’s painting experiences and problems in more depths, and their aims for achieving their own unique painting goals.
What would you say to someone who would love to learn watercolour but is nervous about joining a class?
Go for it! Everyone in the class was a beginner once, so there’s no judgement of anyone’s work – in fact the other students will give as much encouragement and advice as I do. A lot of friendships have formed in my classes, so you never know if your new painting partner is waiting for you to sit next to them, right now!
Beyond becoming technically better at painting, what do you hope people get from learning watercolour with you?
The friendship of the groups; a more relaxed approach to painting; an understanding of art ideas & theories, technical knowledge and manual processes; the achievement of learning and practising a new skill; something they will be proud to display on the wall!
