Three Men: Taroudant

I travelled to Morocco back in 2008, visiting the Sous Valley (with goats busy climbing up Argan trees) and the lovely city of Taroudant during my stay. It was wonderful: wriggling streets with twists and turns; bustling souks with their audible and visual noise and banter; and skilled craftspeople creating anything from leather goods and stone carvings to Argan oil, all wrapped in a wonderful sense of earnest. As I was leaving, I took a picture of three men going about their business. I love the combination of heritage, tradition and the new.

Three Men: Taroundant, oil on panel, 5.7 inches x 5.7 inches

This painting is available.

Three for a Girl

Inspiration can be drawn from many places, including the very items you have round your home. This is the first time I've ever attempted to paint glass. It helps that it's an object I adore and it's a solid piece of design in its own right. 

Three for a Girl, oil on panel, 5.7 x 5.7 inches

This painting is available.

She Swallowed the Spider to Catch the Fly

With precision planning and meticulous scrutiny, she carefully crafted her outfit...

She Swallowed the Spider to Catch the Fly, oil on panel, 5.7 x 5.7 inches 

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Great British Traditions: The Pub #1

On a Saturday lunchtime, a gentleman perches at the bar supping a pint at The Talbot in the market town of Ledbury in Herefordshire. Around the corner, just out of view, are friends he chats and laughs with. It's early December and outside the air is crisp, but inside the pub it's warm and cosy, providing respite from the chill and the hurried bustle of Christmas shoppers. 

 Lunchtime Pint at The Talbot, Ledbury, oil on panel, 5.7"x5.7"

This painting is available.

Alex: From Photograph to Painting

My brother-in-law and my sister took some great pictures during their holiday in St. Ives this year. Two small, wriggly children, their soon-to-be-exhausted parents and an expanse of sand provided plenty of fantastic reference material to choose from.

My nephew, Alex, is three. His first venture into construction and empire-building with a bright yellow bucket did not go unnoticed as I pawed through the shots. 

My technique breaks lots of rules. But it does allow me to operate within my own comfort zone and I like it that way. I print two versions: one full-colour and one black and white. The latter helps me judge tonal values and I also grid it out to help me draw it onto the wood panel which I also grid to scale (the reference image is slightly larger than the panel). The grid method is as old as they come, but is brilliant to help keep everything where it needs to be when you're drawing it out. Here's the drawing down on the panel (with the majority of grid lines removed from the panel) along with the two reference images: 

A close-up of the drawing with visible grid and diagonal guides: 

When painting, I kept the background really simple because I wanted the focus to remain on Alex and to keep a strong sense of light and shadow. I also removed the spade and the bucket handle, as when I originally drew them in they pulled the composition down a little too much. So, ladies and gentlemen, meet my nephew:

'Alex', 2011. Oil on board. 5.7x5.7 inches.

See also 'Sand Between Our Toes' for another painting from 'The Beach' series.