Multi-purpose Bockingford with Paul Talbot-Greaves

 

Paul Talbot-Greaves is an acclaimed artist who has specialised in painting watercolours for many years and his inspiration is drawn from the strong tones and contrast found within the landscape. You may know of him as the presenter of four teaching films on watercolour painting, and his appearance on Channel 4’s ‘Watercolour Challenge’ and Sky TV.

He is a Companion of the International Guild of Artists, an Associate of the British Watercolour Society, and President of the Halifax Art Society. He is also a Professional Associate of the Society for All Artists (SAA) and an advisory panellist. He runs highly successful watercolour painting courses, workshops and demonstrations, and frequently writes for Artists and Illustrators magazine and Paint, the magazine of the SAA.

Here, he shares with us why he chooses Bockingford for his acrylic paintings and how it is a great multi-purpose paper - with exclusive step-by-step details of his process below:

'Autumn Fields' on Bockingford, by Paul Talbot-Greaves

"Being a water-based discipline, acrylic takes to paper naturally and I find I can use numerous techniques to bring over many different effects, from watercolour style approaches to heavier applications. My paper requirements are first off, a quality paper with an archival grade base and a heavy weight to support the paint application. Bockingford paper made by St Cuthberts Mill fits these requirements perfectly. Being a cellulose paper, paint tends to dry to the surface of Bockingford, which is exactly what I need for acrylic painting. I don’t want the paint to soak directly into the body of the paper too quickly, so it’s great to have this option aside from their Saunders Waterford cotton papers, which I use for my watercolour works. I like to exploit the 425gsm (200lb) CP (NOT) surface Bockingford as this accepts both the acrylic paint well and yields a perfect texture for dry brush techniques."

'In the Afternoon' on Bockingford, by Paul Talbot-Greaves

"I start with an initial application of colour, which has a dual purpose. Firstly, it sets the light. There is no other way to achieve reflective light than to apply a thin colour to a white surface, and Bockingford is superior at this, as light is reflected from the white of the paper back through the colour, giving it a glow. The second purpose is to prime the paper with acrylic, giving it a slightly waterproof coating. This helps when building further layers on top as the paper takes on a minimal absorbency and this is how I enjoy the acrylic application – not too wet and with fast drying. Fast drying of acrylic is often seen as a negative attribute but I like to embrace it as a positive. Layers can be built quickly and when paint is used in conjunction with matt medium, there is a huge amount of subtlety that can be generated."

'Warm Light of Winter' on Bockingford by Paul Talbot-Greaves

"After the initial layer, I usually create the drawing using a small round brush dipped in acrylic paint. This ensures the structure of the painting remains throughout the entire process. I then begin the painting with big brushes, and I block in the value structures working from dark to light. I add a tiny amount of water to the paint to reach the consistency of soft butter. Overall, the paint dries to an even flatness on Bockingford paper and by using the paint thickly, I can easily achieve dry brush textures from the surface of the paper. This whole method and paper choice works well for any subject matter, especially landscape where I can enjoy a loose approach to painting. When complete, my paintings are mounted behind glass, which deepens the look of the colours. Alternatively, the paper is tough enough to bond to a board and completed with a couple of coats of varnish."

Step-by-step details

Stage 1

I covered a piece of Bockingford 425gsm (200lb) NOT surface paper (22in x 15in) with alizarin crimson, yellow ochre and a generous amount of matt medium.

Stage 2
Using the same colours, I marked in the drawing using a small round brush. At this stage, the paint dried quickly on the paper allowing me to progress without delay.

Stage 3

Using a mix of French ultramarine, alizarin crimson and cadmium yellow pale I blocked in the darkest darks with a 1-inch flat brush.

Stage 4

Continuing with different brush sizes, I worked the dark, mid and light values until the painting was roughed in all over.

Stage 5

When all the colours were established, I built up further layers, adding matt medium to the colours. By this stage the paper is pretty much sealed, and the paint tends to dry a little slower.

'A Nidderdale Ramble', acrylic on Bockingford, 425gsm (200lb) CP (NOT) surface paper

Stage 6

Finally, I added the figures, some small details in the walls and the textured splatter. The paper remained flat throughout the entire process, so framing the finished piece is neat and easy.

For more information about Paul Talbot-Greaves' artwork, books, and courses please visit:

Website www.talbot-greaves.com/
Facebook www.facebook.com/PaulTalbotGreaves/
Instagram www.instagram.com/talbotgreaves_artist/

Twitter twitter.com/TalbotGreaves

To find out more about Bockingford visit our website.