Are You Scared of Making Mistakes?

Are you scared of making mistakes?

Don’t be. You make the difference. Be the artist you always wanted to be.Your dexterity depends on your attitude and freedom of expression. Emotional impact is more important than perfection!

You and mistahes

A5 watercolour: When I mask in the flowers with liquid masking, it gives me freedom to slosh paint on, all over the painting! Such fun. It doesn’t matter if I make a mistake with the masking. After removing the masking, I just use my imagination and control edges with gradation.

Most people dread making mistakes:

People get so nervous about making mistakes that they rather not venture forth into new avenues of experience or start anything new, just in case they make a mistake and make a fool of themselves. Here are typical art examples:

  • “I haven’t time to paint or take art lessons. Art is only for those who are born with talent.”
  • “I don’t paint with watercolours” Why? “People say watercolours are difficult to do.”
  • “I don’t paint people in my pictures.” Why? “Well ….I …can’t draw hands or feet.”

Notice there is always an added excuse! It’s only human that we pull out because we are scared of the unknown. We generally are not adventurous enough”

Why do you think this is?

It is drummed into our brains from childhood, all through our school days. We are programmed to get our sums right, write neatly, colour-in within the lines, etc. We are not taught how to use our imagination or trained how to brainstorm, so as to find other ways of doing things or overcome problems.

Perfection under subtle control:

Because we were indoctrinated into staying within the lines of colouring books as children, we expect perfection. That we think we can only be good artists if our paintings are perfect like the old masters, full of detail.

The fact is: the old masters actually controlled their detail by using gradation of tone and colour along and beside their contour edges. Because most people don’t know this, there continues to be the perception that precise detail is important.

But in fact the quality of your contour edges is more important.

You can paint over lines, the contour outlines of objects. It is how you do it that counts.

  • Messy contour edges: If your outlines are loosely reiterated unevenly, the eye accepts the variegated combination of lines as animation.
  • Blurring of contour lines: The soft blurring gives the object atmospheric dimension. And of cause action and movement is blurred.
  • The free-flowing dexterity of scribbling and blurring edges creates emotional impact. Also shows the artist isn’t scared to express him or herself freely. It is as though they have put the `breathe of life’ into their paintings.
  • Why is this acceptable? People are more concerned with the outer contour edges of objects than they are of the centre part of the objects. The outer edge of the shape identifies the object’s character. So detail in the centre part isn’t that important as we think.
  • Also mood is more important than perfection. Why, because people buy with their emotions.

QUALITY OF `SPEECH’ IS MORE IMPORTANT THAN THE FACTS YOU ARE STATING

Watercolour illustration: Straying within the lines, or painting over lines to create atmospheric conditions.

Pencil outline and watercolour illustration: Staying within the pencil lines, or painting over the pencil lines to create atmospheric conditions.

The dexterity quality of your strokes depends on your mood. You make the difference. Believe in your vision, paint it as you see it should be.

Pour your heart into your painting. Put power and passion into your strokes. People will feel your passion within your art. Feel the mood you are creating. And with that enthusiasm, you will forget about making mistakes. You will see mistakes are really un-important in the bigger picture. Remember even the best artists make mistakes, all the time, you just don’t see them!

SO DON’T BE SCARED OF MAKING MISTAKES

Ask yourself when you make a mistake, “Have I learnt from this experience? What shall I do in future to handle this situation better? Is it really a mistake, can I benefit from the situation and transform it to my advantage instead?”  Often it only takes a small thing to turn the situation around.

Surprisingly, it can be the challenging painting that sells quickest!!! So don’t give up on yourself. So what if you make a few mistakes, it’s a learning curve! Successful artists are generally those who persist against all odds. Mistakes, been the least of their worries.

Be willing to take up challenges:

Those who are successful in this life are those who tend to assess the pros and cons before taking up challenges.  For example as an artist: “How shall I compose the composition format? What style and colours should I use and what type of mood should I create, etc.”

Once `on the trail’ of actually doing something, you discover how mistakes teach you `how not to do it again’ and possibly how to `do it better next time’. It is only though challenging ourselves and trying out something that we learn new skills.

The wisdom of practical knowledge:

If you have experienced something before, you have something to judge what to do or not to do. So if you fall into a rut or a problematic situation arises, you are able to use your imagination (relying on past experiences) to improve or overcome situations. Practical knowledge is the key to success …we only become good artist by observing the world around us and drawing and painting often.

What have you experienced?

For all the other artists out there, please comment and tell us how you have handled mistakes? And what you have gained from reading this blog?

More watercolour secrets are revealed:

  • Check out Watercolour Secrets category ….listed in sidebars of menu pages.
  • Also download watercolour books for free.

All About Lost & Found Edges

Did you know?

That not many new students know the contrast of tone controls the perspective and dimension of objects in their paintings, or how the quality of edges can turn a mediocre painting into a masterpiece just by:

  1. Creating a 3D effect: In order to see form within paintings, from that of its surroundings, one has to be able to judge the difference and contrast of dark and light tones.
  2. Using lost and found edges: Controlling the quality of contour edges adds drama to your paintings and helps to settle objects comfortably within their surroundings.

 It’s a fact that without these two factors, a painting will mean nothing if people can’t distinguish what is actually in your paintings. All is not lost if you read on….

All you need to do is use strong contrast.

The strong darkness of the dry trees gives the watercolour depth.

What are ‘Lost and found’ edges?

Lost and found edges describe the quality or state of perimeters, ie outer contour edges of shapes, brushstrokes and planes.

Found-edges are sharp-edges or hard-edges. They happen when the paper is dry.

  • Neat detail has sharp-edges and outlines. Detailed things are seen as static.
  • Neat well-defined contour edges and brushstrokes are easily read.
  • If sharp-edges are overdone, your painting looks lifeless, contrived and stiff.
  • Sharp-edges convey an object has sharp edges, eg: knife blade, jagged rocks, etc.
  • Sharp-edged planes: Example mountain ranges. If the contour edge is sharp all along the mountain range, it isn’t natural. Perspectively, things in the distance are out of focus. You only find sharp edges where there is a distinct severe cliff face. Rolling hills have soft-edged contours.
  • If all the things in the painting are sharp-edged the painting looks stiff and contrived.

Lost-edges are soft blurred edges, that is blended contours and graduated auras between form and its immediate background. This happens when the paper is wet or damp.

Things that live grow and move:

Examples: grass, trees and washing on the line blow in the wind. The wings of flying birds are not easily seen because they are blurred. Therefore:

  • Soft-edges suggest movement, action and motion.
  • All moving things are blurred. Moving feet and bicycle wheels are blurred. You don’t even see the feet of people walking in the distance. This confirms that fewer brushstrokes say more.
  • Blurred contours also suggest that something is round, sphere shaped, like balls, eggs and rolling hills.
  • You create mood when you blur things.
  • Blurred areas imply smoke, mist and mystery.
  • Blurring suggest atmospheric dimension (aerial perspective).
  • Importantly, soft-edges stimulate our senses and create emotion.
All edges

The difference between lost and found edges.

All things have shadows.

The egg has a round contour, therefore its shadow edges are blurred.

How do you make lost and found edges?

  • You get lost-edges when your watercolour paper is wet or semi-wet.
  • You get clear found-edges when your watercolour paper is dry.

Where do you use lost and found edges?

  • Lost edges are generally used around the outer edges of your painting. Why, because this creates a tunnel effect, drawing the eye inwards, into the painting and towards the main point of interest.
  • Found-edges and strong contrast of tone are generally found at the main point of interest in the painting. Sharp contrast of tone attracts the eye, bringing the main subject into focus and giving it importance.

Why use contrast of tone?

If everything is neatly detailed at the same tone level throughout the painting, people can’t cipher what’s happening in your painting. There needs to be a big difference of tone at the main point of interest to distinguish its importance from that of the rest of the painting.

Variation of edges is important:

  • Sharp-edges make things look static, lifeless.
  • Sharp-edged objects stand out away from their surroundings. If you soften their outer contour edges they melt into place, settle nicely into their environment.
  • Blurred edges make it easier for the eye to travel over and through your painting. The perusing of the eye is not jarred from one form to another or from one plane to another.
  • Variation of edges is more appealing.
  • Blurred areas give the painting atmosphere and endless fascination.
  • Flower petals are delicate, so give them soft blurred edges. Unless of cause you want to draw attention to the main point of interest.
  • Textured things have ‘broken’ edges, intermittent contours.
  • Gradation of colour and tone along contour edges also softens an edge.
All along the edge.

Softening the edges of flower petals with gradation.

Here I did one flower at a time, from left to right.

  1. First the flower colour,
  2. Then wetted the contour edge of the flower with fresh clean water.
  3. Then I added an intermediate transitional colour to the wet contour edge.
  4. Then the green background was added to the right.
  5. I dropped in a little colour into the green background to suggest out of focus buds.
  6. Lastly I added the stamen and pistils to the flowers’ centers.

That is not all:

If you want to experience more, download the free books on watercolours on the page: Free Art Books.