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The painting process is spontaneous and can be very vigorous as I try to communicate the power of the landscape into my work. Free standing easels are not up to the job, so I have constructed 2 purpose built easels, each mounted on the wall at either end of my studio and capable of holding canvases up to 6 foot in length and 5 foot in height.

I predominantly work with Royal Talens Amsterdam Expert Acrylics, as I love the texture and workability of these paints. I do also use Winsor & Newton Artists’, Golden and Jackson's acrylics for specific colours.

I tend to apply a base painting to the canvas first, sometimes I may let this dry for a few days but not by design, more so because I need time to reflect on the image before pressing ahead, but more often I am working wet on wet in one painting session - which can last all day. Whilst acrylics dry relatively fast, I find I have plenty of time to work into the layers, adding more colour in bold strokes, blending layers and pulling back colours from lower layers using a rag, pallet knife or even a razor blade. Once the paint is fairly dry I apply more layers, again drawing back layers as required. Even after a few days it is still possible to remove top layers of paint using a rag or blade.

My favoured ‘tools’ are perhaps not typical and include: 2” and 3” hog hair decorator brushes (these are the work horses and can stand the rigorous application and scrubbing in of paint into the canvas); Dulux decorators ‘cutting in’ hog hair brushes (they look like Japanese writing brushes and are lovely to work with); strips of card and plastic I use like a squeegee to spread paint over the canvas; and rags and sponges for moving paint around and taking off layers (I also use razor blades to scrape back to previous layers and even back to the canvas to add highlights to a painting). More commonly found equipment includes a range of pallet knives and standard artist hog hair brushes.