When I first saw Mara Singh’s series of abstract landscapes, I felt like I was stepping into the hush between memory and weather. There’s a particular hush in her work — layered, tactile surfaces that seem both held and dissolving, like a remembered shoreline after the tide has emptied. I invited Mara to the studio to talk through the ways she translates memory into paint, and what came out...
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I often return to glazing with acrylics when I want colour depth that feels almost like light passing through layers — that luminous, jewel-like effect you associate with oil glazes, but achieved with acrylics’ faster drying time and versatility. Over the years I’ve developed a step-by-step approach that balances control and serendipity. Here I’ll walk you through my process on a prepared...
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I love the tactile, layered quality of textured paintings. Capturing that texture for social media can feel frustrating—flat phone photos that don't show depth, harsh shadows that swallow subtle glazes, or blown-out highlights that erase impasto. Over the years I've developed several straightforward approaches that work without a light tent, using things most of us already have: window light,...
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Working in a compact studio doesn’t have to feel like a compromise. Over the years I’ve learned that small corners, properly thought through, become powerful workflow zones for mixed-media practice. They don’t need to be glamorous or expensive — they need to be intentional. Below I share the ways I break down tiny spaces, prioritise tasks, and kit them out so a 2m x 2m corner can support...
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I like to think of a colour recipe library as a toolbox that travels with me from one project to the next. Over the years I’ve developed a system that helps me recreate consistent palettes—whether I’m working on a series of small gouache studies, a mixed-media commission, or translating a palette into digital illustrations. The trick isn’t just in mixing the right hues; it’s in...
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I switched to Schmincke Horadam Gouache for my studio sketching routine about nine months ago, and the change surprised me in small, practical ways — and in some bigger, more creative ones too. I’d been using a mix of Winsor & Newton Designers’ Gouache and student tubes when I wanted quick colour studies, and acrylic when I needed fast, matte blocks of colour. The move to Schmincke felt...
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I love building layered collage backgrounds because they offer a rich, accidental language that can ground a painting, illustration or mixed-media piece. Working with found papers and acrylic medium creates depth, texture and surprises — and you don’t need a fancy studio to get started. Below I share my practical approach, favourite materials, workflow and troubleshooting tips so you can...
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