Amanda Hyatt is one of Australia’s leading watercolour painters. She has a degree in Inorganic and Analytical Chemistry, though incredibly she received no formal art training of substance. Nevertheless, she sold her first work, an oil painting of irises, at the age of 10 and never looked back.
A member of the Australian Watercolour Institute and other leading societies, this award-winning artist has staged more than 30 solo exhibitions and produced two DVDs. The latest, Tonal Watercolours, is available to buy or stream from APV Films.
LIGHT AND MAGIC
I tackle all subjects in the same way, whether it is still life, interior, landscape, waterscape, street scene or abstract. When choosing something to paint there is an instant coming together of visual effect, knowledge of how to tackle it and an instant attraction to the subject often for romantic or sentimental reasons. You see exactly what you want to get from the scene and, as I am a “big picture” artist, this is what imprints visually on my mind. Then you apply your knowledge of techniques on how to pull it off. I am always attracted to the light initially, and the darkness contrasted against it. This is called chiaroscuro and means the use of high contrasts in a painting to give it a real sense of three dimensions.
Watercolour is an enthralling medium and I paint the alla prima style, borrowing the term that is usually applied to oil painting – it means “painting in one sitting, quickly, with no correction”.
هذه القصة مأخوذة من طبعة August 2020 من Artists & Illustrators.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة August 2020 من Artists & Illustrators.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
