Written by What we paint is so much influenced by where we happen to be and the environment we grow up in. My name is David Poxon, and my home in rural Shropshire, England, near the historic Severn valley, was the birthplace of Britain’s Industrial Revolution in the 18th Century. It provides so much artistic stimulation that the problem is having the time to get it all down.
Remnants of the historic past, discarded work places, a rich socio Rural / Industrial mix where nature is busy reclaiming that which man has abandoned or cast aside. Add to this the wonderful landscape peopled with hard working farming communities and their machines, this is the place I am proud to call home and one that inspires me every day to play a part in its journey.
As a 5 year old boy I often “helped” my Grandmother in her sweet shop. My reward on my birthday was a tin of watercolour paints, one that I still have. I had no idea how to use them or what to do. Rolls of old wallpaper cut into squares became my practice ground as I became lost in a world of vibrant colours and endless imagined possibilities. Seeing the effect this small tin of colours had on me, as an extra treat I was taken on a day trip to London to “see the art”.
We went to the Tate Gallery and there I was confronted for the first time with the great master works of Turner. I knew then that my life was forever changed and would be shaped by a love of art. Paintings made in my artists personal zone where time has no meaning, where love of the world we pass through is somehow encapsulated in the brief remnants we leave behind.
My medium of preference is watercolour, and I am a purist in the sense that mainly transparent pigment is used, and white paint avoided. I aim to record what is seen and felt in a subject as accurately and realistically as possible, believing that any finished painting should attempt to transcend a mere visual experience and reach out to the viewer in a stimulating, emotional, and engaging way.
Totally fascinated with the technical challenges that pure watercolour painting presents my working method requires patience and preparation. Thinking about the subject whilst exploring its ‘construction’ through drawing, and refining and rehearsing passages that stretch my abilities as a painter, provides my constant motivation. This reverential approach is very much born out of the respect I feel for the subjects that call me.
Subject hunting trips are usually frantic and fast paced expeditions. Armed with a small pad, drawing kit, camera, and tape measure to record size and scale. When the light is right for me, that which gives strong cast shadows and emphasises tonal definition, I am ready to go exploring at a moments notice. Being aware of potential subjects is very much a state of mind, inspiration can strike in the unlikeliest places and it’s important to have the artist’s radar on maximum alert.
I never rearrange a possible subject as this can give an almost artificial atmosphere to the work, rather I change my position within the subject area until a sense of the painterly possibilities emerges. I move rapidly from one scenario to another. Stopping to make quick drawing notes, taking photos for fine detail, and measuring where necessary. Occasionally a more formal on the spot drawing is called for. Frottage is a useful technique to have in your armoury to instantly create an impression of texture, shape, and tonal extremes. An instant record of any object you find can be captured in a few moments with the aid of copy paper and a soft pencil.
It is only later when back in my studio that the days collection can be fully examined. As my painting method means that days or weeks are spent on a work it’s necessary to gauge whether my enthusiasm for what at first seemed like a good capture will sustain. Some projects are far more complicated than others, and this is where accurate drawing and preparation are vital. There can be no obvious drawing errors when attempting to record the parts of engines or tractors as it’s inevitable that an expert will be in the gallery and spot any embarrassing mistakes. Taking time to get the drawing right will avoid a world of pain later!
These machines and scenarios have characters of their own, and I treat them as portraits in respect their features. Next step is to produce an accurate line drawing, I always work on stretched heavy watercolour paper held down on to marine plywood boards. Having a stock of these of various sizes always available means that my options are never restricted.
My final line drawing for transfer to the w/c paper will be kept to an absolute minimum in terms of detail. The aim is to provide a simple skeleton shape. I regard this very much as scaffolding in the sense that when the painting is begun my process will rebuild the subject on the paper. Next step is protecting areas to be kept white.
I use anything that comes to hand to do this, scraps of paper, objects, and masking fluid. It’s better to protect more whites than you may need , after all there are very few actual real whites in nature, and I can blend them away later in the painting if they are unnecessary. At this stage the ‘work’ does not look anything like it might end up, holding onto that final vision in the mind is vital!
First washes tend to be splashy affairs with mixes about the consistency of milk. I try to get 7 or 8 layers of wash down wet on dry to get paint body onto the paper. These are exploratory in the sense that a finished work may have more than 20 transparent wash layers. The drawing may become lost amid the seeming chaos of these first applications, re finding the scaffolding drawing sometimes requires the tenacity of an archaeologist.
Knowing where you want the painting to go only comes through experience with this type of method. My board is kept flat to maximise any granulation effects, rocking it occasionally encourages runs and blending. Texture is important to me, so I will take any benefits the pigments throw my way. Balancing the mediums natural tendencies while finding colour ways and exploiting light effects, counter changed with complimentary darker passages, is an exciting juggling skill.
My paints of choice are Winsor & Newton professional watercolours. For paper I have used Bockingford 425 gm (200lb) NOT surface for quite a few years. I always stretch the paper onto ply boards, and have found this brand and weight to be the most resilient in terms of taking a large number of washes (up to 24) and still enabling a range of techniques to manipulate the paint and wash it out to retrieve (almost) white paper.
For very large works, 4ft and up, I use Arches 300lb Not surface. Again, I still stretch the paper on to very large plywood boards. Watercolour brushes are mainly flat synthetics, and also synthetic riggers size 1 and 2. I use a cross section of brands, Escoda, Daler-Rowney, and SAA. The synthetics give me more control and exactness.
Watercolour has a reputation for being the most difficult medium to master. Often seemingly to have a will of its own. With experience you can limit the chances of the paint running away from your subject and wield a certain amount of control. By stepping down through the tonal register with multi layers of wash, working light to dark, and slowly steering the painting towards the vision that first inspired you. This patient approach can be very rewarding. After all, life teaches us that you only get out of something what you put in.
In 2020, my main project focus is on organising the International Watercolour Masters Exhibition which will star 39 elite painters and will be staged at Lilleshall Hall, Shropshire, England between May 5th and 15th. The International Watercolour Masters Exhibition 2020 is a large scale event which will have a festival feel. In addition to the spectacular artworks on display, every show day there will be at least 3 live Masters TV Demonstrations from the main stage in the exhibition hall. Numerous workshops will run alongside the show simultaneously. Artists will be present from over 30 countries including household names such as Alvaro Castagnet, Fabio Cembranelli, Thomas Schaller, Keiko Tanabe, Patricia Guzman, and many more including myself. Tickets for the event are already on sale from SAA.
In addition to this big show, my new book Watercolour Heart & Soul, which is a 190 page volume with over 120 full colour plates, is also available. For a limited time while stocks last I will be selling signed copies, shipped worldwide, direct from my website. You can order direct and it will be great to hear from you.
And finally remember that watercolour painting is not a race, it is a search for yourself! Thanks for stopping by.
David Poxon
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awesome detail in the texture…. beautiful.
thanx Walt !
I like the lighting effect. Thank you.
Amazed by your work!
thanx Zertab !
How detail! Amazing….i love this painting
Thanx Hninn !
Sounds like David Poxon is a writer as well as a painter! So glad he shared his story here on Doodlewash.
thanx Jean ! what a lovely comment !
Beautiful art! Thank you for sharing.
thanx Laura ! thanks for looking !
Amazing process, beautiful paintings and a delightful story of how you got started in art. Thank you for sharing!!
thanx Mary !
Beautiful work, it leaves me in awe.
cheers JA !
Great pic I can’t wait until I can paint water like it looks in this picturel
thanx Jennifer ! keep going !
Turner’s Sketchbooks are a source of inspiration i borrow a book from him in the library,You accurate and colourful watercolour paintings are so beautiful and you sure mastering the brush and technique so well!
thanx Fatima !
Wonderful rendering of light and texture. Wow!
David, your work is amazing. I marvel at the range of textures and energy and motion you capture in every painting!
thank you Sandra ! what a beautiful comment !
Your work is amazing. I love how you paint the little things many do not really notice. Beautiful!!! thanks for sharing your journey!!! 🙂
thanks Lisa ! please visit my web at http://www.davidpoxon.co.uk
Your work is fantastic! Thanks for sharing your process and your art!
thanx Priscilla !
I love the colors and the details! Simply gorgeous!
thanx Jean !
Thanks for sharing your story and your beautiful artwork!
thankyou Karen for your very nice comment !
Wonderful use of color and contrast!
thanx Sharon ! there is more at http://www.davidpoxon.co.uk
I love, love, LOVE your art. So interesting to see and hear your painting process.
thanx Lin what a wonderful comment ! you can find more of me at http://www.davidpoxon.co.uk (lol) cheers mwah x
Stunning work.
thanx Itching (!)
I don’t believe I’ve ever read such a thoroughly detailed description of a painter’s techniques and inspirations. You’ve intrigued me by your visual eye and the extraordinary application of watercolor paints, producing luminous artwork. That you find so much beauty in scenes most of us would find ugly says much about the kind of person you are. Thank you for your story, David, and all the images of your art. I’ll be coming back to see these again. Wis I could be in England in May.
thanks Sharon for your comment ! You of course can view a lot more in my book watercolour Heart & Soul, this article was a short extract. ( order from my web and get a signed copy http://www.davidpoxon.co.uk) (shameless propogander lol) and it would be great to see you at the International Watercolour Masters expo in May 2020.
I have loved your art and admired your patience from the first time I have seen it. Thank you very much for the story, I enjoyed reading it. You make it seem so easy. 🙂
Janneke what a beautiful comment thanx so much !
Thanks for such a wonderful insight into your inspiration, approach and techniques and good luck with the IWM exhibition which I’m sure is going to be a tremendous success!
Thanks John !
Sadly I can’t make it to the IWM expo but I have managed to get a place on an Alvaro Castagnet Masterclass while he’s here in the UK – and this probably wouldn’t have come about without the Expo so thank you very much!
Great Work David! The textures and lighting are very much interesting….do you have any full detail work videos of your paintings on youtube?.. All the best David.😊
Cheers Jerson. You can track me down on you tube live demo from SAA TV studios UK. Go to You Tube and search for SAA David Poxon. Happy viewing ! Or .. there is my book available direct for a signed copy go to http://www.davidpoxon.co.uk
This art is so real and stupendous. Keep doing it David.
Cheers Rambler … yes I will ! thanx mwah x
Welcome 🙂
Wow, those paintings just look amazing!!! Do you just use watercolour, or do you use it with something like acrylics to give it that thick, realistic quality?
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