(Born 1983) Based in Surrey, England
Every artwork made from observation or imagination.
NEAC (Upcoming June 2018)
Royal Society of Portrait Painters 2018
Royal Society of British Artists 2017 (Gordon Hulson Memorial prize winner)
Pastel Society 2016
Royal Society of Portrait Painters 2015
Royal Society of British Artists 2015
Royal Society of Portrait Painters 2014
Chertsey Artists 2013
Royal Institute of Oil Painters 2012
Royal Society of Portrait Painters 2012
Raw Umber (Old Holland)
Ultramarine Blue (Old Holland)
Cadmium Red Light (Blockx)
Gold Ochre (Old Holland)
Cadmium Yellow Light (Blockx)
Cremnitz or Flake white
I try to use the least number of colours that I can for the desired range of hue, chroma and value throughout the painting.
Hue is what colour something is, eg. blue.
Chroma is how colourful a colour is, eg. fluorescent orange would be high chroma.
Value is how bright or dark a colour is, eg. pure black is the lowest possible value.
Some subject matter may require a colour like Magenta or Viridian, to extend the range of chroma available on my palette beyond what I would normally need.
In terms of painting, I consider greys to simply mean very low chroma (muted) spectrum colours. I like to mix these from combinations of colours.
Synthetic Ivory; flats, brights, filberts and riggers (Rosemary)
Sable brushes for small panel paintings; pointed and filberts (Rosemary)
Hog flats and filberts (Cornelissen)
Jacksons Art palette/painting knives
– Fine / Medium French or Italian linen
– Plywood / Ampersand panels / Claybord
Current oil painting medium:
– Sansodor (Winsor & Newton odourless turpentine) for initial wash drawing or first paint layer (if any).
– Sun-thickened cold pressed linseed sometimes added to additional layers.
– Caran d’ache 2mm clutch pencils and leads
Favourite paper is Hot Press Arches watercolour paper.
Staedtler barrel sharpener for a razor sharp point.