ArtistsNetwork.com 33edge of the painting—and even better if it’s also one-third
from the top or bottom. Like all rules, this one can be
broken, but, in general, adherence to this principle improves
composition, allows the viewer’s eye to travel into the pic-
ture and assists with the illusion of three-dimensional space
on a two-dimensional surface. Don’t be distracted halfway
through the painting with another point of interest; stick
with the original plan.
Painting Process
Once I’m ready to paint, I like to get color onto the paper as
quickly as possible. I go without any preliminary drawings,
and use a big brush to create broad washes, with a view to
setting the scene and getting the feel of the place in color.
When I do the occasional demonstration, there’s nearly
always a sharp intake of breath as I dive into action, along
with some concern about the amount of water that’s slosh-
ing about (sometimes requiring evasive action by the closest
members of the audience). Th is isn’t bravado. I’ve found that
a bold start, rather than a lot of careful drawing, encourages
a looser watercolor. It isn’t unknown for me to put a paint-
ing under the tap to soften colors and the surface. I’ll usually
employ a big squirrel hair mop or petit-gris brush for this
I’ve been teaching
at Dedham Hall in
Essex for years. It’s
surrounded by
coastal subjects,
but, when teaching,
I focus on the stu-
dents’ work rather
than my own. The
End of the Line (at
left; watercolor on
paper, 19x19) is a
happy memory of
an occasion when
I was able to spend
an hour or so work-
ing after the students
had headed back to
base. I’d spotted
the potential of this
little group of old
boats and wrecks
at Felixstowe Ferry
earlier that after-
noon, and I pro-
duced a 12x8-inch
pen-and-watercolor
sketch (above),
fi nishing the larger
watercolor later in
the studio.