Messy: How to Be Creative and Resilient in a Tidy-Minded World aka restriction is freedom when painting sheep or

I've just started reading the book "Messy: How to Be Creative and Resilient in a Tidy-Minded World" - anyone who has shared an office with me will testify that my desk usually acts as a visual advertisement for the title of this book! :-) - only got through the intro and chapter 1of the book so far but I am really enjoying it. Much of the beginning centres on a concert pianist who produces an incredible performance despite having a defective piano. The point of the story being that sometimes difficult circumstances can help us to think outside the box and create things that we otherwise wouldn't have. 
I actually use this technique when I paint from time to time. In the example below, I restricted myself to using just one brush and ended up creating a sheep painting that has a look that's truly unique compared to others in my portfolio. Check out "The Golden Fleece" in more detail here.

Cow Painting - Chit Chat

"You know what Martha? I heard that Beatrice in the next field is very impulsive, she's like a bull at a gate with everything she does!" This is 'Chit Chat' A couple of cows having a chat in a field in Branscombe in Devon United Kingdom. See the painting / buy a print etc here.

Cow Painting - Guardians of the Valley

'Guardians of the Valley' Two cows, horns still intact, lying in the misty twilight of a Devon sky while surrounded by green and yellow fields overlooking a valley lined with hedgerows. See the painting in more detail here.

Cow Painting - The Courage of Youth

"The Courage of Youth" - This young cow was found in a field north of Exeter in Devon. In this acrylic painting I've deliberately used non-realistic colors but at the same time endeavored to keep the hues harmonious so that they are striking but not jarring. The "blue lighting" has become something of a signature in my work and can be seen in several ofmy animal and figure paintings. You can see the painting in more detail here

Cow painting video part 10

In episode 10 of the cows in Devon landscape painting, the cow lying down in the sun gets a similar treatment to the two cows in shadow. Continuing with the idea of complementary colour pairs i.e. dark blue and orangey brown used previously, the left hand cow now gets some pale blue and a brighter orange brown layer added. The brighter coloured acrylics both add to the sense of sunshine and help to make this cow the focus of the painting.

Cow painting video part 9

In episode 9 of the cows in landscape painting, I begin by further working on the shadows of the two right hand cows using pure blue. Then I add an orangey brown to each cow and, having sprayed the painting with water, make use of the blending properties of the Atelier interactive acrylics to create some interesting effects. Next, I work on the face of the middle cow using some lighter blues and titanium white.

Cow painting video part 8

In episode 8 of the cow painting, I refine the line work on the middle and right-hand cows. My style of painting is iterative in nature, I typically work by putting down some quick lines, then block in, then add tone and colour. This is then followed by adjustments to any and / or all of the above. This little video is a good example of me going back over work already done in order to refine the image. In particular, I adjust the shapes of the cow heads and the lines of their backs with ultramarine blue. These adjustments have the added benefit of hiding the lower part of the tree which is a little too light at the moment.

Cow Painting Video part 7

In episode 7 of the cow painting, I add some shadows to the cow on the left and redefine the line of its back as my initial mark had become lost under the layer of green paint. Because this animal is lying down in the sun, my plan is to have a higher level of contrast and range of colours on this cow compared to the others. Then, I place some cast shadows under the middle cow and darken certain areas next to the cattle.

Cow painting video part 6

In episode 6 of the cows in Devon landscape painting, I begin by using a mix of magenta and white on the brush to introduce some blossoms on the tree. To do this, I change the angle and orientation of the brush each time I paint a blossom to create the illusion of light striking the flowers in a different way. Then I use blue to enhance the shadows on the central and right-hand cow.

Cow painting video part 5

In episode 5 of the cows in landscape painting video, I begin by using a large frayed brush to depict a tree in the foreground on the right of the painting. Next, I use a reddish brown to create some shadows on the cow on the right, then do the same thing for the middle cow. This step starts to bring the cows to life as the begin to look like 3D objects with light beaming down on them. Finally, the cow lying down on the grass also gets some shadow work done.

Cow painting video part 4

In episode 4 of the cow painting video, I continue to work on the impressionist landscape in the background of the picture. First, I use a flat brush to introduce a field on the left of the painting, then, using a mix of colours on the brush, I roll the brush across the paper to create the impression of a line of trees.

Cow painting video part 3

In episode 3 of the cow painting series, I use a mix of blue and white in varying proportions to block in the sky and then use multiple colours on one brush to produce a variety of marks in order to create the impression of some distant trees and a hill.

Cow painting video part 2

In episode 2 of the cow painting videos, I put down a colour beginning. This is a fun technique that allows you to quickly cover the paper in a range of colours in a haphazard manner. This provides an array of random colours and textures, some of which may show through in the final painting. In general, I use colours that will suit the final stages e.g. blue for distant landscape, blues, yellows and greens for the grass. However, sometimes I will use an apparently inappropriate colour for a subject. Here, this is done with the sky, where I put yellow ochre down, to be over-painted later in blue. The idea is to allow some of the ochre to peak through here and there, or show through a semi-transparent over-layer to provide a sense of warmth to the sky.

Cow painting video part 1

Cow painting episode 1: If you're interested in how to paint a cow then this series of videos will be worth a look. In this first episode, I use blue acrylic paint to put down some quick lines describing three cows in the Devon countryside. These cows were encountered on a walk along the canal in Exeter, occupying a field next to the Turf Locks pub. Two of the cows are standing in the shelter of a tree while the third lies on the ground basking in the sun. Please remember to subscribe to the channel.

Sheep painting video part 17

Finished painting! In episode 17 of the sheep and lamb painting, the detail on the lamb is finalized including orangey brown areas where the light is catching the wool and the inclusion of some blue / green reflected hues on the side of the head. Following this, further highlights are added to the grass and the tone of the area next to the lamb's nose and mouth is adjusted. Then, I sign the finished painting, photograph it, check that it has uploaded okay to my website and demonstrate how you can zoom in on a part of the painting to check out the brushwork. See the finished image and look at hi-resolutions sections of the image here. You can also purchase prints via the same link.

Sheep painting video part 16

In episode 16 of the sheep painting video, having previously worked on the adult sheep, adding more detail to the face, I now give the lamb's head a similar treatment. The eye is defined, the colour of the skin and wool changed and more detail added to both the head and body. This painting is nearing completion, see it all finished in the next episode! :-)

Sheep painting video part 15

For some reason I was unable to log into the blog for the last few days, but here is part 15 of the sheep painting video series.
In episode 15 of the sheep painting video, I describe the eye of the adult sheep in detail, then use some interactive acrylic to apply a wet-in-wet technique to the face combining blue and white to define the features. This paint is then used to enhance the highlights on the wool. Finally, some warmer colours are added to the ear.

Sheep painting video part 14

In episode 14 of the sheep painting video I add a variety of textures, marks and colours to the foreground grass. This is done using a few different techniques including applying different colours to different parts of a large frayed brush, applying paint to the edge of a palette knife and simply painting directly. These lighter hues contrast against the darker ones applied to same region earlier.

Sheep painting video part 13

In episode 13 of the sheep painting video, I add a softer purple shadow region to the foreground lamb and then re-paint the highlights along the edge of the lamb's back. Following this, a range of colourful shadow areas are added to the grass under and around the left-hand sheep. Into the closing stages of this painting now but there are still a few more episodes to go. Please remember to subscribe to my youtube channel.

Sheep painting video part 12

In episode 12 of the sheep painting video, more detail is added to the lamb this time using warmer colours including orangey browns and ochres. These warmer hues, as well as being appropriate colours for the lamb, also help to create the illusion that the lamb is closer to us than the two adult sheep that are predominantly described with cooler shades.

Sheep painting video part 11

In episode 11 of the sheep and lamb painting demo I add some highlights to the foreground sheep. A good tip when painting highlights is to include a range of colours. Here, for example, I use pure titanium white, a mix of white and blue and some golden orange where appropriate. The marks are made in a shape and direction to reflect the texture of the wool of the sheep.

Sheep painting video part 10

In episode 10 of the lamb painting demonstration the foreground sheep gets its belly expanded with some deep shadows. Then, an over-layer of purple shadow is added to the sheep. Working in layers in this way allows some of the multi-coloured first application of paint to show through the more uniform layers that follow creating interesting subtle effects. At the end of the video, the sheep finally gets a second ear! :-)

Sheep painting video part 9

In episode 9 of the sheep and lamb painting demo, I redefine the background trees and add some light, mid and dark tones to the background sheep. The detail on both trees and the background animal are kept to a minimum to help create the illusion that these three are further away from the viewer than the foreground sheep and lamb (both of which will be painted in more detail eventually).

Sheep painting video part 8

Episode 8 of the sheep and lamb painting. My painting is very much an iterative process. I make some marks, lines and or shapes, as a first approximation to the image I want, then I adjust these to improve the image, adjust again, and so on until I'm happy. This little video is a good example of this. Having spotted some areas that need adjustment, I re-draw the lines describing the foreground sheep and lamb.

Sheep painting video part 7

In episode 7 of the sheep painting video we follow on the introduction of the darker shades by picking out the areas on the foreground sheep and lamb that are really catching the light. Rather than use pure titanium white everywhere there is a highlight, it's a good idea to introduce a hint of other colours, in this case blue, to the brightest regions.

Sheep painting video part 6

Epsiode 6 of the sheep and lamb acrylic painting and here I add some purple blue shadow areas to the two animals in the foreground. This colour is chosen to give a sense of harmony and flow with the similar colours used in the sky.

Sheep painting video part 5

In episode 5 of the sheep and lamb painting demo I take inspiration from the view out of the window to depict a colourful sky full of purple and deep blue clouds. The useful trick of including a dab of white on the edge of your brush to get interesting effects is also demonstrated here.

Sheep painting video part 4

In this episode of the sheep painting I block in the grass using not just green but a range of colours. The paint is applied with a very frayed decorators brush that I find is a very useful tool both to cover large areas quickly and achieve various effects.

Sheep painting video part 3

In part 3 of the sheep and lamb painting demonstration I block in the sky with a mix of cerulean blue, titanium white and a touch of burnt umber. Next, I use some pure yellow ochre to block in the animals, applying this in a thin coat to allow the burnt umber line and shading work, that I did in previous episodes, to show through

Sheep painting video part 2

In part 2 of this sheep painting video, I continue to use the Liquitex acrylic paint marker (burnt umber) to introduce some hills and trees to the background Devon landscape. Then, I begin to add a sense of light and dark to the painting by defining the shadow regions on the sheep and lamb.

Sheep painting video part 1

Sheep painting part 1: Starting with an acrylic paint marker, I begin this painting by establishing the outline of two sheep and a lamb. Just keeping things loose and simple at this stage.

Liquitex Professional Paint Marker Review

I've recently started using Liquitex Professional Paint markers in my work. These marker pens, that are filled with acrylic paint rather than ink, are surprisingly expressive as they provide a wide variety of mark and line. They are also really useful for painting on location. I've used them to create drawings and also begin paintings. In the video below I go through the type of marks you can make, chat about some of my recent work using these pens and then do a quick cow sketch to show them in action.

Exeter Art Society - Artist Demonstration

Had a great time painting a Belted Galloway Cow at Exeter Art Society the other night, thanks to everyone who came along!

Here's the finished painting (above) that I did for the demo, this Belted Galloway cow was created using Atelier Acrylics over the top of dried conventional acrylics, one of my favourite techniques.

Everyone at Exeter Art Society made me feel very welcome and there was lots of insightful (and humourous :-) ) discussion during the demo. The photos here (above) are: top left: setting up for the evening, as I painted, my progress was projected onto the screen; mid left: people starting to arrive, there were about 37 people in attendance; bottom left: an audience member grabs a pic of the finished painting; right: micro exhibition and laptop slideshow for the half-time break.

Recently discovered this mixed media paper (above) and it's great to paint on especially after sealing the surface with a coat of acrylic.

To start, I did some very quick and very loose line drawings (above) where I don't worry at all about the results, it's a good way to warm up before moving on to the main picture.

These patches of colour (above) were used to demonstrate the unique properties of the Atelier Acrylics. The paint on the left is conventional acrylic, the patch on the right is Atelier interactive. Initially, they both looked identical and, once dry, I asked each person in the audience to feel that both patches of paint were dry. Once everyone was satisfied, I sprayed both with water and demonstrated that the patch of conventional acrylic was completely waterproof by rubbing a brush over the top. However, when a brush was used on the Interactive paint it was reactivated and was easy to move around on the paper (this makes for much easier blending than conventional acrylics allow).

Above: A close-up of the cow head, I used the Atelier Acrylics to define the details and created some blended effects / soft edges on different parts of the animal.

Really enjoyed the evening, thanks to everyone who helped me pack everything away. Check out Exeter Art Society's website here.

Private View: Landscape Artist of the Year 2016 at the Mayne Gallery in Kingsbridge, Devon

As mentioned in recent posts, I was lucky enough to be named a finalist in the Devon Life Magazine Landscape Artist of the Year 2016. The work of the six finalists is now showing in an exhibition at the Mayne Gallery in Kingsbridge and here are some photos from the private view that took place the other night.

Landscape paintings on show at Mayne Gallery in Kingsbridge in Devon

I have some paintings going on show for the first 3 weeks of April at the Mayne Gallery in Kingsbridge, South Hams, Devon. The exhibition is to celebrate the work of the six finalists in the Devon Life Landscape Painter of the year competition and also features work by James Tatum, Cherry Lyons, Peter Blakesley, Laura Boyd and Johanna Mcweeney

Finalist in Devon Life Magazine's Landscape Painter of the Year Competition

Very pleased to hear that I have been selected as one of six finalists in Devon Life Magazine's Landscape Painter of the Year Competition. My painting 'Feel The Heat', an acrylic landscape painting of a Devon landscape was the image selected. You can check out the article in the February issue of the magazine.

How to find the time to paint on even the busiest days - part 8 (final episode)

Final part: In episode 8 of Focus for Five, I continue to block in the clothes, including a stripey shirt and then begin to fill in some of the negative space. The idea behind this painting of a group of people is to paint or draw for just 5 minutes a day, hence "Focus for Five", which allows one to be creative even on a really busy day when life would otherwise get in the way.

How to find time to paint on even the busiest days part 7

In episode 7 of Focus for Five, I add some highlights to the faces of the people and begin to block in the clothes. The idea behind this painting of a group of people is to paint or draw for just 5 minutes a day, hence "Focus for Five", which allows one to be creative even on a really busy day when life would otherwise get in the way.

How find the time to paint on even the busiest days part 6

In episode 6 of Focus for Five, I demonstrate how to mix a flesh tone so that I can begin to define the faces, hands and arms of the pedestrians. The idea behind this painting of a group of people is to paint or draw for just 5 minutes a day, hence "Focus for Five", which allows one to be creative even on a really busy day when life would otherwise get in the way.

How to find time to paint on even the busiest days part 5

I continue using acrylic to block in some more of the buildings in episode 5 of Focus for Five. By blocking over the first layer of paint, you can selectively allow parts of the textured, multi-coloured under-layer to show through e.g. on the people. I find this is a really efficient way to create interesting effects. The idea behind this painting of a group of people is to paint or draw for just 5 minutes a day, hence "Focus for Five", which allows one to be creative even on a really busy day when life would otherwise get in the way.

How to find the time to paint every day part 4

In episode 4 of Focus for Five it's back to the acrylic to add some blue sky and work on the buildings. The idea behind this painting of a group of people is to paint or draw for just 5 minutes a day, hence "Focus for Five", which allows one to be creative even on a really busy day when life would otherwise get in the way.

How to find the time to paint every day - part 3

In episode 3 of Focus for Five, I complete the line work for the picture using watercolour marker. The idea behind this painting (of a group of people) is to paint or draw for just 5 minutes a day, hence "Focus for Five", which allows one to be creative even on a really busy day when life would otherwise get in the way. Check out the video below:

How to find the time to paint every day part 2

In episode 2 of Focus for Five, I continue to explore the technique of painting or drawing for just 5 minutes each day. The idea is to find time for art (or to be creative in some other way) on even the busiest of days. In this episode I use watercolour marker on top of a dried layer of acrylic paint (see episode 1) to begin to draw some people in the picture.

How to find the time to paint every day part 1

With the best will in the world, it can sometimes be difficult to find the time to paint and draw. Sometimes, life just takes over and suddenly weeks have gone by and easing over to the easel just hasn't happened. Over the years, I've found that by allocating a short period of time each day, I've been able to keep things moving along even when life gets hectic. I thought this technique might be helpful to others so here's episode 1 of 'Focus for Five'.