Oh what a delicate and fragile flower confidence is

I was so excited recently as I had a rare opportunity to get out and paint plein air. Not only that but I had in mind a view that I’ve long admired. Furthermore I felt I was riding the crest of a watercolour wave that could see me overcome any challenge (except perhaps that of… Read More

So much to say…

…and so little time to say it in! This is one of those weeks when I’ve managed to squeeze in some time for painting but left so little time for writing about it, so apologies in advance for the brevity of this post. (Although I’m sure that this will come as an absolute blessing to… Read More

Oh the joy…

After reaching some kind of satisfactory conclusion to my mum’s birthday present dilemma, I felt a tremendous sense of unburdened freedom as I sought out my next subject. So it was without any surprise that I found myself pouring over my favourite Edward Seago book for inspiration. It was however a complete surprise (and, in… Read More

Where to begin with so many firsts?

With so many ‘firsts’ to relate – I’m not entirely sure where to begin. I feel I should probably begin with an apology (certainly not my first and definitely not my last!). In last week’s post, I said my next entry would focus on taking an oil painting, doing a preparatory tonal sketch then putting… Read More

Edward Seago: 31st March 1910 – 19th January 1974

On the anniversary of the great Edward Seago’s passing, this day in 1974, I thought I’d just post my own humble tribute to the artist that continues to have such an influence on my own artistic sensibilities and aspirations. More than anyone else, he’s the artist that I return to again and again in the… Read More

Seago is where the heart is…

As much as I’ve enjoyed my recent adventures with Rowland Hilder – which, I hasten to add, is very much indeed – it never ceases to surprise and delight me when I return to the work of Edward Seago. Emboldened by some of the success I’ve enjoyed with my recent Hilderesque efforts, I thought I’d… Read More

Norfolk Marsh in Winter

I mentioned recently that I’d been paying homage to Edward Seago in an effort to rekindle my familiarity and confidence with simply applying brush to paper. Here’s the another painting from that series, which again was painted on half imperial sized Bockingford rough paper. The painting is an edited version of my effort as I… Read More

Ken Bromley’s perfect paper stretcher

As my painting to date has been purely for my own indulgence and entertainment, and that I’d mainly classify everything I do as sketches rather than anything ‘finished’, I’ve never really felt the need to concern myself with stretching my paper. I tend to work on 1/4 imperial or smaller sized sheets of Bockingford 140lbs… Read More