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colourscape a series of both paint and stitch reinterpretating the landscape of the North Sefton coastline through a kalidoscope colour.


paint gallery one

In creating final painted pieces for “colourscape” I used a square format as my ‘go to’ compositional frame. For me a square format creates a better balance for elements to interplay with each other and although translating landscape, I wanted a more focused image rather than a panoramic vista. The coastal sea in Sefton is notorious at ebb tide for retreating up to two miles from the shore. I expressed this through narrow horizontal planes of sky and sea with greater emphasis on the canvas depicting the vast expanse of the shore and its acquired vegetation.

Preferring the versatility and vibrancy of acrylics rather than oils or watercolours, I always establish an underpainting in monochrome to guarantee that the increase in size from preliminary sketchbook ideas still displays the same narrative and balance.

paint gallery two

As I work solely in acrylic paint, often with a limited palette of cyan, magenta, yellow and white from which I will mix a variety of shades, although I do like to add some of the fluorescent colours that are now available to add a ‘zing’ to the tones. Acrylic has the fabulous ability to work ‘light over dark’ which also gives a ‘pop’ to the colour and the quick dry time allows for spontaneous brush marks to register immediately. I incorporate various acrylic mediums to the paint so that I can achieve translucent tints and build a depth of colour. As I apply the paint I will scratch back into the applied paint using the end of my paintbrush to reveal earlier underlying colours and give a sense of the textures of the landscape.

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