My original paintings are well constructed using traditional methods, and I place a very high emphasis on creating a quality artwork.
Artists' canvases are made from linen (flax), cotton, a linen-cotton mixture and hessian. The best quality fine linens are very expensive. They are closely woven with threads at right angles and free of knots. Linen crash, which is more commonly used, is less expensive and has many knots. I prefer to paint on a very high quality Italian cotton canvas. I like a fine weave, as rough canvas just seems to swallow up the paint.
Although canvases can be purchased ready-primed and stretched, I prefer to buy rolls of unprimed canvas which I stretch over New Zealand hand-crafted, kiln-dried cedar timber stretcher bars. Stretcher bars come in a range of lengths which can be fitted together to make rectangles of varying sizes. I cut the canvas slightly larger than an assembled stretcher, and with canvas pliers hold and tighten the canvas while stapling it to the stretcher bar. Small wooden wedges are then used to further tension the canvas. It's very important that the timber on the stretcher bars is treated to ensures suitability for export to overseas destinations, therefore eliminating bio-security concerns.
Now the stretched canvas is ready to be primed. I prime each canvas carefully with 3-4 coats of acrylic gesso, each being allowed to dry before the next is applied. Gesso acts as a bond, adhering the paint to the canvas. I lightly sand between coats so the resulting canvas surface has the texture of an egg-shell.
I've selected Professional Artist Quality Liquitex paints because less expensive alternatives lack reliability and permanence. Although Liquitex have an impressive selection of colours, I keep my palette simple. I work mostly with primary colours and mix other colours from these.
I use a selection of brushes from thick, stiff hog's hair to fine, soft sable, in varying sizes. A palette knife is essential for mixing paints and scrapping palettes clean.
I have used wooden palettes in the past but now prefer the white plastic stay-wet palette as dried paint can be removed from them so much easier than wood. I have a large studio easel that is traditional in design and built from oak. It has a crank to raise and lower the canvas.
I love to paint the natural world, the pristine landscape free from man-made modifications. I love stormy nights by the sea and owning the first set of footprints on the beach the following morning. I love the mountains, lakes and tarns, and vast tussock downs of Nelson Lakes and Kahurangi National Park. Such a contrast to the brilliant emerald water and golden granite sands of Abel Tasman National Park. There is such a range of scenic contrast in Golden Bay, therefore no shortage of inspiration for a realist painter. My sketchpad and camera are always close at hand whenever we tramp and kayak. The painting begins with a field trip. Because of time contraints, changing light and sandflies, I tend to complete a painting in the studio, using sketches and photographs as reference. I am not at all prolific and can take several weeks to finish a work.
Many of my paintings are presented in our gallery, framed. A frame serves several purposes: to enhance and enclose a work, and to protect it and sometimes to prevent it from warping. Some of the more classical landscapes present better in a traditional frame. With the trend towards minimalist style of design and decor, some buyers prefer a more modern minimal frame or no frame at all. I use only heavy-duty stretchers on these to protect the painting from warping. Original works are only available from my private gallery; EarthSea Gallery, Golden Bay, New Zealand, or through this website.