Westerham Church Interior

While I am focusing on interiors, I have decided to put this illustration into my blog. It is called a 'wipe-out'. Wonderful to execute, as you smear charcoal all over the page and then proceed to wipe away the highlighted shapes with erasers and blu tack. The image starts to take shape when one applies the key shadows. I did this as part of Westerham 'Art in the Aisles' in March.

St Peter's Church in Limpsfield

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One of my workshops took place at the St Peters Church in Limpsfield Village. It was a super day and the weather was glorious. The group dynamic was very successful and I had artists painting inside and outside the church. The watercolour painting above is a demonstration I did for my students and it involved large, loose brushstrokes and big washes. By focusing on tonal shapes and edges I tried to capture the atmosphere of this wonderful, historic building without getting too 'bogged down'. I really enjoy painting this way. I use the same approach when I paint in markets and other busy scenes.

Hurst Green Primary School - 50th Anniversary

I have justed handed in the watercolour painting of Hurst Green Primary School for their 50th Anniversary. It was a challenging subject and it took a number of studies to get the best view of the school. I really enjoyed working with the staff and the vibe was colourful and energetic. I also took part in the school's art appreciation day on Monday and had to stand in front of the 6-7 year olds and give them a painting lesson. (Certainly more nerve wracking than teaching my classes). It has obviously been a while since I was that age and I had visions of confusing these dear children with loads of drivel. But fun was had by all and I ended up painting a shark and seahorse on my canvas. The children then helped me 'finish' the painting by selecting their favourite colours from my palette and decorating the canvas with fish, starfish, bubbles and seaweed.

Tash - A Pastel Commission

Tash is the youngest daughter of very good friends of mine. She is a bundle of energy and found it difficult to sit for me for too long. I don't blame her as it must be awful to have someone staring and studying you for what seems like forever. I found myself using the tradition portrait colours as well as the odd 'young' primary range.

My New Project - Oil in Progress

For those of you who are waiting with baited breath to see what I am doing in my studio, these are the very first set of markings towards a representational still life in oils.

You might wonder why it looks a little plain, but I have a perfectly good explanation for that ... I set up my still life in March which consisted of the above arrangement and two red onions. I had every intention of painting whilst running my teaching business, and failed miserably. Subsequently, the two red onions became a little top heavy - green shoots outweighing their bases, and they literally fell off the stand.

I decided to concentrate on the blue 'shape' and will reinsert the onions when I am closer to applying brush to canvas.

Eymet Market - Watercolours

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I was incredibly fortunate to be invited to go to France with two very special friends during my Easter break. We were very close to the village of Eymet.

I spent the morning standing in the center of the square painting the busy scene around me. Moments like these are when I feel utterly content. I am faced with an exciting array of colours, shapes, shadows and textures. The sun is on my back and adrenalin is coursing through my veins. Yes, how dramatic you might think ... try wielding a huge, loaded paintbrush in front of a very big, white sheet of paper!

A satisfying morning for sure!

Ollie - The latest Pastel Commission

This commission was so enjoyable. I met Ollie, who is such a character, with his fly-away fringe and wide grin, at the beginning of this year. Springer Spaniels tend to have beautiful colouring, so they are a joy to illustrate in pastels.

I used a mixture of Derwent and Pitt Pastel Pencils to achieve a high level of detail and finish. I used canson pastel paper, which is unusual for me as I usually go for an Ingres tint. I tend to leave the edges of my paintings slightly unfinished, and this is becoming a trademark with most of my pieces.