How has your artistic style evolved since you first began painting? Are there particular themes or subjects that you find yourself consistently drawn to?
When I first began painting, I was focused more on technique - trying to “get it right.” But over time, I realised that what truly moved me wasn’t technical perfection, but emotional resonance.
That shift in mindset allowed my style to evolve into what it is today: impressionistic, intuitive, and deeply personal. I’ve learned to let go of rigid expectations and instead focus on capturing the feeling of a moment rather than its exact details.
I’m consistently drawn to scenes that feel familiar and grounded - streetscapes, seascapes, and landscapes. These subjects offer a sense of calm and nostalgia, and they allow me to explore light, atmosphere, and memory. Living in South Australia has been a huge influence. The changing skies, the coastal light, the textures of the land - all of it inspires me. I often paint en plein air to immerse myself in the environment and respond to it in real time.
My goal is not to replicate what I see, but to evoke something intangible - an emotion, a memory, a sense of place. I want viewers to feel something when they look at my work, even if they can’t quite explain what it is. That emotional connection is what I strive for in every painting.
As I’ve grown, I’ve also found joy in sharing my journey with others - through workshops, demos, and conversations with fellow artists. These experiences have helped me refine my voice while staying open to new ideas. My style continues to evolve, but at its core, it remains rooted in honesty, emotion, and the quiet beauty of everyday moments.
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| 'As we approach Adelaide from Above' by Jayson Castor on Saunders Waterford |
Your paintings often evoke a strong sense of atmosphere and light. Could you walk us through your process for creating such captivating moods in your work?
Creating atmosphere and light in my work is all about observation, intuition, and allowing the medium to speak for itself. I primarily paint en plein air, which means I’m responding directly to the environment - the shifting light, the breeze, the sounds around me. That immediacy helps me capture a mood that feels authentic and alive.
I usually begin with a light pencil sketch to establish composition, but I keep it loose. From there, I move quickly into the wet-on-wet stage, where I lay down washes while the paper is still damp. This technique allows colours to blend organically, creating soft transitions and a sense of depth. I pay close attention to tonal values - light and shadow are key to building atmosphere. I often limit my palette to maintain harmony and let the water do much of the work.
I don’t aim for photographic accuracy. Instead, I focus on how a place feels. Is it quiet and contemplative? Bright and breezy? Moody and overcast? I let those impressions guide my brush. Sometimes, I’ll leave areas unfinished or suggestive, inviting the viewer to fill in the blanks with their own imagination.
The unpredictability of watercolour is something I embrace. It mirrors the fleeting nature of light and mood. I’ve learned to work with the medium rather than against it, allowing blooms, backruns, and soft edges to become part of the story. These “imperfections” often lead to the most expressive parts of a painting.
Ultimately, my goal is to create a space where the viewer can pause, breathe, and feel something - whether it’s nostalgia, peace, or curiosity. That emotional connection is what makes a painting resonate, and it’s what I strive for every time I pick up the brush.
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| 'Afternoon tea in Norwood' by Jayson Castor on Saunders Waterford |
Are there any specific techniques or
tricks you've developed over the years that you find essential to your
watercolour process?
Absolutely.
Over the years, I’ve developed a few key techniques that have become essential
to my process - many of which revolve around embracing the unique qualities of
watercolour rather than trying to control them too tightly.
The
wet-on-wet technique is at the heart of my work. It allows me to create soft,
atmospheric effects that are difficult to achieve with other methods. Timing is
everything - knowing when the paper is just the right level of dampness to allow
colours to flow without becoming muddy. I often work in layers, starting with
light washes and gradually building up depth and contrast while preserving the
luminosity of the paper.
Another
important aspect is painting in one sitting. This keeps the energy fresh and
the mood consistent. I find that overworking a piece can strip it of its
spontaneity, so I try to trust my instincts and let the painting evolve
naturally. I also use a limited palette, which helps maintain colour harmony
and simplifies decision-making during the painting process.
One
trick I’ve learned is to leave intentional “breathing spaces” in the
composition—areas of untouched paper that add light and contrast. These spaces
can be just as powerful as the painted areas, guiding the viewer’s eye and
enhancing the overall mood.
Beyond
technique, I’ve found that painting regularly with other artists has been
incredibly valuable. We share ideas, critique each other’s work, and learn
through observation. These sessions are not just about improving skills - they’re
about staying inspired and connected to a creative community.
Ultimately, my
approach is about balance - between control and freedom, planning and
improvisation. Watercolour rewards those who are willing to let go a little,
and that’s a lesson I carry into every painting.
What qualities of Saunders Waterford ® paper make it your go-to choice for your watercolour paintings?
Saunders Waterford paper has become an essential part of my creative process, and I genuinely believe it brings out the best in my work. As a watercolourist who relies heavily on the wet-on wet technique, I need a surface that can handle generous washes, layering, and reworking without breaking down—and Saunders Waterford delivers on all fronts.
One of the first things I noticed about this paper is its beautiful texture. The surface has just the right amount of tooth to hold pigment while still allowing for smooth, expressive brushwork.
Whether I’m working on fine details or letting colours flow freely, the paper responds consistently and predictably. It absorbs water evenly, which is crucial for creating those soft transitions and atmospheric effects that define my style.
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Work in progress
by Jayson Castor |
Durability is another key factor. I often work outdoors, where conditions can be unpredictable. Saunders Waterford holds up incredibly well, even when I’m layering multiple washes or lifting pigment. It doesn’t buckle or pill, and it maintains its integrity throughout the painting process.
That reliability gives me the confidence to experiment and push the medium without worrying about the surface failing.
What also sets this paper apart is its archival quality. Made from 100% cotton and mould-made, it’s acid-free and designed to last. That’s important not only for preserving my work but also for collectors who invest in original pieces.
As a brand ambassador for St Cuthberts Mill, I’m proud to use and promote Saunders Waterford paper. It’s a product I genuinely believe in - one that supports the expressive, intuitive nature of watercolour and allows me to focus on what matters most: creating art that feels alive, honest, and emotionally resonant.
To see more of Jayson’s work, visit:
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