A Star is Born

Oil and Acrylic on Canvas. 60cm (w) x 73cm (h)

I have been working on a series of bigger oils over the past few months whereby most of the painting has been done with palette knives. It allows me to be expressive and deposit large areas of fresh, vibrant paint. Surprisingly, it has not hindered my progress, as I have been able to work from day to day without worrying about wet layers. Movement certainly interests me as well as capturing a mood or atmosphere. Texture is also achieved using this method of painting.

Bonjour Indeed!

Watercolour and Acrylic Inks. 32.5 (w) x 27.5 (h)

I could do painting after painting of these characters. Their expressions are almost human. Again, this is a study using watercolour washes and loose acrylic lines drawn with a dipping pen.

Chateau in Salviac

Watercolour & Acrylic Ink. 24cm (w) x 32 (h)

We decided to investigate what the brocante at Salviac (the Lot) had to offer and discovered this jewel in the centre of the village. The gates were open indicating that there were items on display inside the property. It had such a lovely feel and the garden was intimate and mysterious. I am so enjoying using acrylic inks at the moment so the result was very colourful indeed.

Lipstick Ladies 2

Watercolour and Acrylic Inks on Fabriano Extra White

This is a new way of painting which I am finding very exciting. It is spontaneous and colourful in every sense of the word. I am trying to move away from being absolutely precise with my subjects, capturing their personalities through line and colour instead. My sable liner has never worked so hard! What I have found quite interesting is that my students have found this method so challenging and rewarding. It moves you out of your comfort zone straight away, just through colour choice and the fact that you cannot remove any lines. One has to just 'go for it'.

Havana Girls

Havana Girls.  Size: 89cm x 115cm.  Acrylic and Oil on Canvas

We saw these 3 friends walking together, chatting and smiling under their bright umbrella whilst in Cuba. I absolutely loved the image. It reminded me of my sisters and I. I would loved to have known what they were talking about and where they were going. I loved the bright colours - there is a mix of flat and textured areas to emphasize and knock back certain parts of the painting. A sheer joy to paint on such a big canvas.

Happy Valentines Day

Happy Valentines Day - Venice. Size: 38cm x 44 cm. Watercolour 

We have had so many grey days in France this winter, that I desperately needed to paint an atmospheric scene in bright cheerful colours. I loved this view, especially the domes. My aim was to record enough information to tell the story and stop before overworking it. I love the power of suggestion and we artists appreciate how difficult it is to stop painting before it is too late. I made sure that I used a big brush 95% of the time, applying big washes and lots of water. I also incorporated some acrylic inks to strengthen the chroma and to add a little zing. Very rewarding indeed.

Atmospheric Havana

Watercolour on Fabriano Artistico - 14 inches x 21 inches

I felt excitement coursing through my veins as soon as I stepped foot into Havana. I have no doubt that the cubans must be concerned about the the state of their buildings and dwellings, as so many are falling to pieces both inside and out. Selfishly, as an artist, the colours, peeling plaster, decorative designs and elegant proportions are a dream .... not to mention the old, American cars.

Building up the painting is a most enjoyable, yet challenging process. I tend to build up a healthy mix of mid tone colours covering the cool and warm groups. It is important to drop in a darker shadow or two so that you can get a sense of depth and perspective.  I try not to worry about achieving perfect edges and lines. You are creating an impression of something. Buildings can be particularly tricky as we try our best to keep doors, windows and walls tidy. The first few layers of a watercolour tend to be more transparent and lighter anyway, so dare yourself to go over that edge.  The darker layers or shapes, which are selectively added towards the end of the process, can define areas that appear too ‘wishy washy’.

Some tips: If you do have a complex scene to paint, try to keep the line work light and loose to allow for tweaking and movement. For me, the car was the most challenging part of the illustration. Identify as many simple shapes as possible that make up the whole. Really look at those shapes (and this applies to the whole drawing): is it long and elegant, squat, square, flat, and does the shape on the left line up with the shape above or below??? Is the distance between object ‘x’ really that far or close to object ‘y’? Use your ruler to check the angles of the windows, rooftops and balconies. Take your time. Before painting soften some of your lines.

Load a big brush with a watery wash of quinacridone gold or new gamboge and paint a loose layer over most of your picture. Even at this stage try to describe the space and the objects. It is very good practice. Don’t be neat and tidy - paint over those edges. (C) Once this has dried apply a second layer of permanent rose and a little windsor violet ... then proceed to build up the darker tones, both warm and cool. 

I have not specified which colours were painted in what order as it is instinctive. Trust your own colour choices and combinations. I sometimes use a colour to link areas together e.g. a raw sienna can be added to a pinker area of wall and also to beige area next to it to create a little harmony.I have used cobalt green, french ultramarine, permanent rose, raw umber, gamboge, cadmium red and so on. Instead of going for one shadow colour for the windows, try to mix two darker colours together i.e. french ultramarine and raw umber. Drop in some cadmium red for interest and for fun. Try to see each shape as an individual painting. Try to enjoy it and not see it as a trial.