Sonriseartists Co / Techniques
I often get asked during workshops: “Should I heat-set this layer or just let it air-dry?” It’s one of those deceptively simple questions that depends on the materials, the urgency of finishing, and how durable you want the work to be. Over years of studio experiments — and the odd panic...
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I recently switched the bulk of my underpainting work to Schmincke Horadam Gouache and ran a controlled studio test to see how it performs when layered for mixed-media pieces. I wanted to know whether that particular brand truly made a practical difference — not just in colour or finish, but in...
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I take my mixed-media practice to festivals and outdoor events a lot — small commissions, quick commissions, live painting, or just sketching between talks. Over the years I’ve refined a kit that is compact, resilient and, crucially, forgiving of rain, mud, coffee spills and the odd bumpy ride...
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Water damage to a gouache painting can feel like a small disaster — colours that bled, paper cockled, edges that softened into a muddy haze. I’ve had my fair share of chilly mornings in the studio when a cup tipped, or a storage envelope let in damp during transport. Over time I’ve developed...
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I’ve been asked more times than I can count: “Can I swap synthetic brushes for natural-hair when working in gouache?” It’s a great question, especially as gouache sits somewhere between transparent watercolor and opaque acrylic in its behaviour. I decided to run a practical test in my...
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I’ve spent years refining a compact mixed-media kit that fits comfortably under a café table, in a train seat pocket, or on my lap without turning a brief sketching session into a logistical puzzle. The trick isn’t just squeezing supplies into a small bag — it’s designing a system that...
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There’s nothing quite like the sinking feeling when you lift a flap of collage and find brittle, cracked layers beneath — torn paper revealing white gashes, flaking paint, or adhesive failures that threaten the whole piece. I’ve walked into my studio to find a finished panel with a cracked...
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When I prepare images of my paintings and mixed-media pieces for giclée printing, I try to think like both the maker and the reproducer. I want the texture, colour relationships and subtle marks to survive the translation from studio surface to archival print. Over the years I’ve developed a...
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I often think of “mistakes” in the studio as conversations my work invites me to have, rather than problems to be solved. Intentionally introducing slips, glitches and unexpected marks can open narrative possibilities in figurative work—hinting at memory, vulnerability, or the unspoken. Below...
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I’m often asked how to pull together a solo show when time is short and the budget is even shorter. Over the years I’ve learned that a focused concept, a tight timeline and a few practical shortcuts will get you from first idea to hanging flush on the wall — without losing the integrity of...
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