St Cuthberts Mill : Artist Interview: Miguel Angel Lacal García

For Spanish multidisciplinary artist Miguel Angel Lacal García, watercolour began as a search for something increasingly absent from his professional life: the freedom of working with a traditional, analogue medium.

A St Cuthberts Mill Ambassador, Miguel, has over 24 years working in the art world, both as an illustrator and as part of the Art in Animated Films team. Within the world of watercolour, he has participated in many exhibitions both in Spain and abroad and has won numerous painting contests. He quickly learned the importance of painting on a high-quality paper and uses Saunders Waterford®.

In this interview, Miguel talks about his journey from digital illustration and animation to watercolour, the freedom he finds in painting outdoors, the development of his distinctive technique, and why finding the right paper became such an important part of his creative process.

'By the Cathedral' by Miguel Angel Lacal García on Saunders Waterford

Can you tell us about your art journey and how your experiences have shaped the way you approach your work today, particularly your watercolour painting?

My background is in illustration, animated film, and comics. Over time, these fields relied more and more on digital tools. The urge to find an analogue medium that could satisfy my artistic curiosity is what led me to discover watercolour painting.

'Llano Verde' by Miguel Angel Lacal García on Saunders Waterford

You enjoy painting plein air - what is it about working directly outside that inspires you, and how does it influence the way you observe and capture a scene?

When I first started painting in watercolour, I began with small sketches out on the street. Since my digital work was strictly studio-based, my body was practically begging me to step outside and paint directly what my eyes were seeing - getting as far away from digital media and screens as possible. Once you experience that kind of freedom, it’s truly liberating, and that’s where I genuinely enjoy painting the most.

'Ubrique' by Miguel Angel Lacal García on Saunders Waterford

You’ve spoken about discovering Saunders Waterford® after realising that your earlier papers were limiting your watercolour technique. How did changing to Saunders Waterford® influence the way you paint, and did it encourage you to work on a larger scale?

As I began training as a watercolourist, I tried all kinds of paper grades and brands. Then I discovered that the master Joseph Zbukvic was using this specific brand, which encouraged me to try it myself. Suddenly, I felt: this is my paper. The brushstrokes blended much better, and the colours vibrated in a way they simply didn’t on other papers.

‘Lechuza Nocturna’ by Miguel Angel Lacal García on Saunders Waterford

Your technique often involves a wet-on-wet first wash followed by a second wash and then dry brushwork for the final details. What qualities of Saunders Waterford® are most important to you during this process, particularly when you are trying to capture light, movement and atmosphere?

In that first wash, I introduce the colours that belong to the illuminated areas of the piece. This paper blends those tones exceptionally well, and if you work with ease and speed, the colours vibrate spectacularly.

In the second layer, once the first is dry, I apply the shadow tones; as they overlay the initial colours, they give the shadows a remarkably rich variety of tones. Finally, I add the darkest details. This approach keeps the painting feeling very fresh and dynamic.