Thursday, 30 June 2016


A visual experiment using fountain pen inks, water, and household bleach by Nick Stewart. 

These fantastic ink tests were carried out on Bockingford paper. Thanks to Nick for letting us share them with you!

Monday, 20 June 2016

Artist Lyndsey Smith
'Glyndebourne Picnic' 2016

We just had to share this fantastic illustration by artist Lyndsey Smith. Seeing the development of this illustration on Bockingford paper has been fascinating. As always, Lyndsey has included lots of little characters to spot! 

"I have always loved to draw and as my family have grown up I have been able to devote time to art. I exhibit my work at The Chalk Gallery Artist run gallery in Lewes, East Sussex and in several local exhibitions annually. I am kept busy with commissions and last year I was commissioned by Westminster Abbey to produce a Christmas card and Advent Calendar. 
Painting selected for the Royal Institute 200th exhibition at the Mall Galleries 2012.Runner up in The Bath Prize. Voted favourite painting at The Weald of Sussex Art Club exhibition 2015. Elected full member of the Society of Graphic Fine Art in 2016. Archaeology and local history are my other interests, I love to look above the shopfronts, see the old buildings and imagine what may have gone before." 
Lyndsey Smith 

To see Lyndsey's current work, head over to and Chalk Gallery Lewes 
Lyndsey has also just finished illustrating 72 pages of dogs having adventures for a Childrens book for

Monday, 6 June 2016

Interview with artist
Paul Weaver

Paul Weaver is a full-time artist, tutor and demonstrator. His primary inspirations are light and atmospheric effects. Townscapes, markets and the bustle of the city are favourite subjects, as well as landscape, marine and coastal scenes. He currently specialises in watercolour, but also enjoys working in oil, acrylic and line and wash.

Paul has exhibited successfully for many years and won awards at Patchings Arts Festival, the SAA Artist of the year and has been a regular category winner in the popular 'Bath Prize' competitions. He is a demonstrator for St Cuthbert's Mill and is a regular contributor for 'The Artist' magazine. He is an elected member of the Pure Watercolour Society.

'Lunch Break - Weston Super Mare'

Interview with Paul Weaver 2016
Tell me about when you decided to go “pro”. When did you decide to dedicate yourself to your art. Give us an example of what that meant to you. (What pushed your artwork from amateur level to professional?)
I have always drawn for as long as I can remember. I decided after Secondary school that I wanted to make art my career, so from the outset I intended to be a professional creative, although painting and teaching came much later. I studied graphics and illustration in Bristol and then worked in that industry for 25 years, both full time and also freelance. I chose this route over ‘fine art’ as it was seen to be more vocational and the need to earn a living was important!
I designed packaging, literature, logos, posters, websites and produced illustrations for numerous projects as well as childrens books, often to tight deadlines.  Gradually my desire to get back to painting took over, exhibiting and teaching on top of the day job. Now I paint, demonstrate and run workshops and painting holidays full time. My dream job finally realised!

'Bathampton Demo piece 2'

Please state which St Cuthberts Mill papers you use and why?
I love Saunders Waterford and Bockingford and favour the rough surfaced sheets. Bockingford is the paper I prefer for demonstrations. Washes dry quickly on the surface and don’t soak into the paper as it is a wood pulp sheet. This is important for working quickly and lifting out. The paper is very affordable, robust and forgiving, perfect for students and professionals alike.
Saunders Waterford behaves in a very different way, as a cotton rag sheet it allowing washes to stay wetter for longer, manipulating soft edges and also encourages colour mixing on the paper. I prefer to use this paper when I am not so rushed, for larger studio pieces. This is not to say that one can’t work quickly with it, I really enjoy using the gummed blocks for plein air work, especially the new High White version.

How does the use of these papers enhance your work?  
Bockingford is safe and reliable, the perfect sheet for demos where I need ot be totally in control when working fast. Its white rough surface can create very luminous results with lots of sparkle.
Saunders is my choice for controlled atmospheric paintings, where I need to keep washes wetter for longer, and I prefer the High White sheet as it gives great luminosity in washes. I like to exploit texture and dragged brush work in my watercolours, so the rough surface of both of these sheets is also important. In fact, I would like the Saunders to be even rougher if possible!

'Downend Workshop'

Is there an artist you admire, did they inspire you to be an artist yourself?
My painting heros are the watercolour impressionists, John Singer Sargent, Edward Wesson, Jack Merriott, John Blockley, James Fletcher-Watson, Ken Howard, David Curtis and Trevor Chamberlain among many others. Coming from a background in design, I am inspired by artists that have a strong ability in drawing and can capture light and the beauty seen in simple things.
I’ve always wanted to paint so I wasn’t necessarily inspired to go that way by any one person, but these artists have certainly helped me see and understand the world in terms of paint as a visual language. I’ve been painting seriously for about 25 years now and never stop learning!

Do you remember the first painting you did that you were really proud of?
Very sorry, no! I don’t tend to dwell on pictures for long, the next one will hopefully be better

'Wind and Rain, Portleven'

What memorable responses have you had to your work?
My memorable responses are helping students achieve confidence and results with their own painting. When they suddenly see tonal contrast, learn to control a wash or understand perspective, that’s the best response I can hope for!
What are you working on right now?
My entries for ‘The Artist’ category for Patchings 2016 and on going work for the Alexander Gallery in Bath where I exhibit.

'Bright Winter Sun, Windrush'

What’s the one painting you’ve painted that you will always keep?
A watercolour of the Rialto Markets in Venice, it was my first visit to the city and so holds a lot of memories! 
What advice would you give to yourself, the artist you were 10 years ago?
Paint and draw outdoors and from observation as much as possible.

'Light and shade, Bristol Museum'

We'd like to thank  Paul Weaver for doing this interview with us. For more of Paul's amazing work :

For more info about Saunders Waterford paper:

For more info about Bockingford paper: