How to Choose the Right Artwork for Your Home

Introduction

Welcome to my blog! I believe that art has the power to transform and enhance the ambience of any living space. In this post, '’ll guide you through the process of choosing the perfect artwork for your home. Discover how to find pieces that resonate with your personal style and create a harmonious environment that truly reflects who you are. If you have any questions or need personalized advice, don't hesitate to reach out to me. I’m here to help!

Understanding Personal Style

Your personal style is unique, and art should reflect that. Take some time to explore different art styles, from abstract and contemporary to impressionistic or minimalistic. Visit local galleries, browse online art platforms, and immerse yourself in various artistic expressions. Pay attention to what captures your attention and stirs emotions within you. Do you find yourself drawn to bold and vibrant colours, or do you prefer softer, more muted tones? Are you captivated by intricate details or more intrigued by simplicity? Understanding your personal style will help you curate a collection that speaks to your heart.

City Limits by Roy P. Awbery

Consider the Space

When choosing artwork for your home, it's essential to consider the space in which it will be displayed. Analyze the available wall space and take note of the dimensions. In larger rooms, bold and statement pieces can make a powerful impact, while smaller spaces may benefit from smaller or medium-sized artworks. Experiment with different orientations, such as horizontal, vertical, or square, to find the best fit for each room. For example, a tall and narrow wall may benefit from a vertical piece that emphasizes the height, while a wide and spacious wall could accommodate a larger horizontal artwork that creates a focal point. Consider the overall layout of the room and how the artwork will interact with other elements. By carefully considering the space, you can choose artwork that not only fits well but also enhances the overall aesthetic and atmosphere of the room.

Harmonizing Colors and Themes

Add abstract art by Roy P. Awbery to your home decor.

Colours have the power to create a harmonious and visually pleasing environment. When selecting artwork, consider the existing color scheme of your space, including the walls, furniture, and decor. Choose artwork that complements or introduces new colors to enhance the overall ambiance. For instance, if your space features warm earth tones, consider artwork with complementary colors like blues or greens to create an intriguing contrast. Additionally, align the themes and subject matter of the artwork with the overall theme or vibe of the room. If you have a coastal-themed living room, artwork depicting seascapes or beach scenes can bring a sense of serenity and connection to the space. Pose questions to yourself: How can the colors and themes of the artwork enhance the atmosphere you want to create? What emotions or feelings do you want the artwork to evoke? By carefully considering the colors and themes, you can curate a collection that not only looks visually stunning but also resonates with the overall ambiance and personality of your home.

Finding the Right Balance

Integrating artwork into your space requires finding the right balance. Consider the interplay between artwork, furniture, and other decor elements. Create a focal point by placing a captivating piece in a prominent position, such as above a fireplace or at the centre of a gallery wall. Allow the artwork to guide the arrangement of other decorative items, ensuring a harmonious and visually pleasing composition. Experiment with different arrangements and groupings to find the perfect balance that highlights both the individual artwork and the overall aesthetic of the room. Take a moment to step back and assess the visual balance—does the artwork draw your eye in without overwhelming the other elements in the space? Remember that balance doesn't necessarily mean symmetry; it can be achieved through the careful placement of different elements to create visual harmony. Challenge yourself to think creatively: How can you arrange the artwork to create an interesting flow? What other elements in the room can complement and enhance the presence of the artwork? By finding the right balance, you can create a space that feels cohesive, visually engaging, and inviting.

Exploring Artistic Mediums

Artistic mediums offer unique qualities and visual effects that can significantly impact the atmosphere of a room. Paintings, prints, sculptures, and photography each bring a distinct character to a space. Explore different mediums and experiment with textures, materials, and finishes to add depth and variety to your collection. Consider the impact of a large-scale abstract painting, the intricate details of a handcrafted sculpture, or the captivating storytelling of a photographic print. Each medium carries its own expressive power and can evoke different emotions and moods. Pose questions to yourself: How do you want the artwork to interact with the surrounding space? Do you want a three-dimensional piece that adds depth and dimension, or a two-dimensional artwork that adds a splash of color and texture? By exploring different artistic mediums, you can find the perfect combination that resonates with your personal style and elevates the visual appeal of your home.

Seeking Authenticity and Meaning

When choosing artwork for your home, seek pieces that hold authenticity and meaning. Investing in authentic artwork or limited-edition prints adds value and significance to your collection. These pieces not only reflect your unique style but also support artists and their creative journeys. Take the time to connect with artwork that resonates with you on a deeper level, evoking emotions and telling stories that align with your personal narrative. Challenge yourself to think beyond mere aesthetics and consider the deeper meaning behind each piece. Does the artwork evoke memories or experiences? Does it convey a specific message or evoke certain emotions? By seeking authenticity and meaning, your collection becomes more than just decorative pieces—it becomes a reflection of your values, passions, and personal journey.

Conclusion

Choosing the perfect artwork for your home is an exciting and fulfilling endeavour. By understanding your personal style, considering the space, harmonizing colours and themes, finding the right balance, exploring artistic mediums, and seeking authenticity and meaning, you'll curate a collection that reflects your individuality and enhances the atmosphere of your living spaces. Let your home become a gallery of your own, filled with art that brings joy, inspiration, and meaning to your everyday life. If you have any questions or need personalized advice in choosing the perfect artwork for your home, feel free to reach out to us. We're here to help you create a space that truly represents who you are and resonates with your artistic vision. Happy art hunting!

Unlocking Art's Potential: Storytelling & Visualizing for Effective Sales

Hi everyone! I hope you’re all well and, if you’re in the UK, enjoying the nice weather we are currently having. It can’t last - can it? You may have noticed that I haven’t been writing these newsletters every week. That’s because of the amount of change I have been experiencing, which has used much of my time.

The most significant change is that I have a new job after working in nuclear forensics for 8 years. I am doing something completely different and that uses my networking skills to good effect. I love meeting new people and building mutually beneficial relationships and this job allows me (indeed, requires me) to do just that. However, with any new venture, there is a lot to learn and I have therefore been swamped researching what I need to do my job well. I have also been working from home a lot less, which is actually a good thing. I forgot how nice meeting people in person rather than across a video link can be.

Last month I showed a selection of my artwork at the Burghfield May Fayre and in the last newsletter, I talked a little about the challenge of choosing the right paintings to showcase my work. I managed to sell one of my larger paintings that I wasn’t sure would ever sell (I painted it in my first year) and I also received several new commission requests that will keep me busy for the rest of this year.

I haven’t been completely idle in my studio despite being busy. I have found some time to create a new series of oil paintings that incorporate a touch of bling with the addition of gold and silver particles. These paintings have received some good reviews and I think I may create a few more in the series but make them much larger so that they become statement pieces. If you haven’t seen them yet, here are a few of the most recent creations. Let me know what you think.

City Limits

Orchid Reflections

I have also been learning about how to better show my artwork on my website and in my online marketing (which I am still trying to understand). Apparently, it is not enough to just show an image of the painting along with a description of its size. The best practice is to write a story to go with the painting to help potential customers identify with a particular piece. This has actually been fun and has allowed me to exercise my writing skills (all helps with the novel writing!) and have some fun with getting a bit creative with the descriptions. Feedback has been entirely positive with one person telling me that, although they didn’t really like one piece of artwork they loved the description and went on to say that, with my descriptions, they would happily buy a blank canvas from me!

I have also been learning that showing how the artwork will look in a home or office setting helps to increase the chances of a sale. I found a website called Canvy that allows me to place my paintings into a variety of room settings complete with the correct sizes. It even lets me choose different framing styles so that people can see how the painting may look in their own homes. I have only been trying out the free version of the website but I think I will sign up for the full package which will give me access to thousands of different settings.

I’ll let you know if it does make a difference and I would love to know what you think - does seeing a painting in a mock setting help you choose and decide to buy?

Leave a comment

That’s it for this week’s newsletter. As always, please consider sharing this with your friends and subscribing (still free and you could win a free painting!) and let me have your comments, especially if there is a topic you would like me to talk about in a future newsletter.

Make sure to keep an eye out for updates on my progress on Facebook and Instagram.

As always, I appreciate your support and feedback. If you have any suggestions for future paintings, don't hesitate to reach out to me. And if you haven't already, please feel free to share my newsletter so others can stay up-to-date on all my latest work.

Until next time,

Roy

P.S. If you're interested in purchasing any of my paintings, don't forget to check out my website. I have some amazing pieces available, and I'm always happy to answer any questions you may have.

Art and Science Converge - Painting the Periodic Table

Painting the Periodic Table! It seems that there are thousands of artistic representations of the Periodic Table as a whole but very few artistic impressions of the elements themselves. Being a science geek and an artist, I think it’s high time we rectified that.

The Periodic Table. Almost everyone knows what it is and it’s instantly recognisable. It has become something of a cultural icon, according to chemical philosopher Eric Scerri of the University of California, Los Angeles in the US. Created in 1869 by Dmitri Mendeleev it has been the subject of many artistic endeavours from creating colourful tables to representing each of the, currently, 118 elements in cupcakes. Yes really! However, if you try to find artwork depicting the individual elements they are few and far between. So, I’ve decided to expand my series of abstract paintings, called The Elements, with the aim of representing, abstractly, all 188 elements.

Last year, 2019, was the International Year of the Periodic Table but unless you’re a chemist (like me) I would imagine that this may have passed you by. Still, it’s never too late to do something to celebrate this ingenious system for classifying the elements that make up the natural world.

Earlier this year I started a series of abstract paintings that I titled, rather conveniently, The Elements. Initially, these started out as fairly randomly chosen names but I soon settled on using the names of some of the elements from the Periodic Table. This seems to have been a popular move and, after a suggestion from a friend in the US, I’ve decided to repurpose my series and try to represent all 118 elements in abstract form.

Of course, the beauty of doing this in abstract is that I can’t get it wrong! Everyone will see something in abstract art and it’s likely everyone will see something different. That’s why I love abstract painting so much - there’s always something for everyone!

Here you can see my first three abstract paintings in the series. All are 8 x 8 inch on nearly 2 inch thick box canvas. They can be hung as they are but would also look great in a black floating frame. They will all be available from my shop as I create them. You can explore the shop here.

Zenon

Mercury

Neon

What is the Periodic Table of the Elements?

Okay, so I’ve assumed right from the start that just about everyone has at least heard of the Periodic Table but it might be a stretch to assume that everyone actually knows or understands what it is. As a Chartered Chemist I feel it’s my job to educate you on this!

The Periodic Table is a systematic way of displaying the chemical elements, which are grouped according to atomic number, electron configuration and similar chemical properties. The elements are arranged in 7 rows (periods) and 18 columns (groups). Metals (e.g. sodium) are generally on the left and non-metals (e.g. oxygen) are on the right. The columns tend to represent similar chemical behaviour but also reflect differences in reactivity - just recall your school days of reaction sodium and potassium. This also means that chemical behaviour can be predicted for elements yet to be discovered or isolated.

Currently, there are 118 elements on the table but this wasn’t always so. Although the basis of the modern version was built on Mendeleev’s table from 1869 the work to classify the elements actually dates back as far as 1789 when Antoine Lavoisier built his table of just 33 known elements.

Of course, regarding my planned art project I would probably have been happier with Lavoisier’s version as I’d have a lot less to do! As it is, I have another 115 paintings to create so that should keep me out of trouble for a while.

How will I represent the individual elements?

My initial abstract paintings were clearly very popular and the three that are shown above will be the style I intend to use. But, I feel that I need to be able to show some indication of a difference between each painting as they represent a different element. So, my plan is to paint the radial lines that emanate from the centre but include a special larger radial line or lines to represent the atomic number of the element being represented. It’s probably not easy to imagine so just trust me and follow me to see what I mean. Wish me luck!

Why I’m painting more mini abstract paintings

The Elements mini-series returns!

Another chance for you to buy these hugely popular abstract paintings before they sell out again.

My hugely successful series titled The Elements included these framed square mini abstracts and they were so popular that all sold. In fact, the last three sold before I’d even finished! So, back by popular demand the mini series is returning.

I really enjoyed painting these and each one is entirely unique but still easily recognisable as part of a defined series. The paintings can be bought individually but also look great as a set, as shown in the picture above when all three of these went to the same home. All of the paintings can come framed in black or white floating frames and come with a Certificate of Authenticity.

Since starting to sell my artwork last year my prices have inevitably increased in line with both demand and the complexity of the pieces I produce. So, although my paintings may not be as cheap as they once were you can be sure that each painting will be a great investment as the value continues to climb. Go on, why not treat yourself?

The new series of paintings are not yet available on my online shop and the last ones sold out before I’d finished painting them. So, if you’d like to buy one just let me know and I will happily reserve one for you.

5 Ways to Promote your Paintings

Being an artist isn't just about painting, well it isn't if one wishes to sell successfully. I've been learning that one must embrace social media and the learning curve is steep. I can now see why people get degrees in this stuff! Here I provide my insights into five platforms I've been using.

Small acorns? Building my Pinterest following.

In my current lockdown world I've managed to prepare badly and have just about run out of art supplies. So, not to be idle with my artwork I decided to research how to improve my presence on the internet. Here are my five insights with my two favourites at the bottom.

1. Pinterest

   I'm slowly learning to love this platform but, to be fair, it isn't really social media as it's more of a visual search engine for ideas and inspiration. I was interested to read articles that claim many people choose their purchases based on Pinterest research. Ive been using Pinterest for a few years but mostly to collect recipe and holiday ideas. It's only in the last 6 months that I've changed to a business account and started to really understand it. Don't get me wrong, my account still needs a lot of work but it's better than it was!

   What I have discovered is that if one pins regularly, like at least twice a day, then followers grow more quickly and the number of views dramatically increases. Now, I'm less concerned about the number of impressions or page views because this is really just s vanity metric. Just because my pin has appeared on someone's screen doesn't mean that they were actually engaging with my pin. But, the more exposure one has the greater the chance of positive engagement. I may only have less than 300 followers but I value them greatly and some have turned into buyers.

   However, I think from my research, that Pinterest is the key platform for driving traffic to my website and products and for that reason I've gone all in with developing it further. I'll write a separate post on this later but suffice to say, I now know that I need to be pinning several times a day! Thankfully, the scheduler, Tailwind, is perfect for this, or at least it seems to be. I've only just started using the trial version for free (first 200 pins free) and it's about £10 per month thereafter. I'm emracing it and, if it grows my following as I hope it will, then this may well turn out to be my favourite.

2. Instagram

   I love Instagram! I've only been using this platform for about a year in terms of promoting my artwork and it has already rewarded me with sales. I wanted to grow my following organically so I haven't used any methods that grow followed fast. Instead, I've worked hard to properly look and read others posts and comment on them - getting a dialogue and a connection is essential. I've found that if engagement is done well then those following those you engage with are more likely to follow you too. I don't follow others just because they follow me - I want to be seen as someone who follows great content. It's a slow process but I appear to have genuinely interested followers and good engagent some of which have converted to sales. I've not yet hit the 1k followers milestone but I'm getting closer. For me it's really about quality of engagement and not the total number of followers.

   One final insight is that I have learnt that posting everyday on Instagram is a must and twice, for me, seems ideal: in the morning and late evening. My mid-afternoon posts never seem so successful. I've got a lot more to learn with Instagram and I'll keep with it, especially now I've learnt how to do 60 second micro video blogs! There's just no stopping me!

3. Facebook Marketplace and Groups

Facebook has been great for initially telling people about my artwork but I've discovered that it doesn't take long before your friends and contacts lose interest or the Facebook algorithm limits your exposure. To improve matters I joined a number of marketplace groups. This did result in some new sales but I found it time-consuming and clumsy to keep posting my products into individual groups. I still maintain a presence and occasionally post to the group's but it's not my priority right now.

4. Twitter

I have to be honest and say that I've not really had a lot of success with Twitter. In over a year my following hasn't reached 200 despite posting regularly and trying to engage and use the right hastags. I'm sure it works for others but so far I've found it of almost no value. Perhaps I'll have to review my strategy.

5. LinkedIn

LinkedIn was my wild card option and it turned out to be surprisingly effective, albeit on a small scale. My account is mostly associated with my full-time job as a scientist so my connections are mostly in the science or managent fields. However, I decided to post some of my work and have actually sold quite a few of my paintings through these connections. To be fair, I should probably set up an account specifically for the art business but for now, if it's not broke…

10 Tips for the Self-Taught Artist

One doesn’t need to go to a prestigious art school or have a master artist as a mentor to become a good artist. I’m completely self-taught and have regular sales and commissions. Here are my top ten tips for becoming a successful self-taught artist.

1. Pick up your paintbrush and paint!

It’s stating the obvious but if you want to become a successful self-taught artist you need to paint and paint lots! I started out by painting every day for 30 days and haven’t stopped since. Self-teaching means learning as you go and you need to paint as much as you possibly can with different techniques, different brushes and different subjects. By doing this you will learn what you’re good at and, more importantly, what you’re not so good at and need to work on to improve.

You are likely to find that there are some things you just can’t get to grips with or don’t understand how to get the effect you’re after (or trying to emulate if you’re trying to create something you’ve seen before). When this moment comes, and it will, it’s time to get outside help to develop further and tip 2 kicks in…

2. Read and watch lots

When I first picked up a paint brush I had no idea what I was doing. My first effort (which you can see on my 30 Day Challenge Story) was awful and I decided that I need to find out how to paint. The wonder of Google presented me a myriad of articles on painting techniques and information on what brushes did what and how to use them effectively. I also watched videos - a lot of videos - on YouTube. Be warned, some are good and some are bad, so be selective! Finally, I bought a lot of books too.

The scientist in me has a tendency towards research so it was quite natural for me to research painting to help me understand it and determine which direction I was going to go in. It was through this that I knew I wanted to start with water colours and progress to acrylics.

3. Practice on a small scale

This is perhaps my favourite tip because it facilitates keeping you painting. If you are looking to develop as a self-taught artist don’t be drawn into trying to paint large complex paintings that you might find on YouTube tutorials. You could spend weeks working on a complex painting only to be disappointed with the results. And on that note, don’t think you are going to become Bob Ross overnight because you followed his video!

My tip is to keep a good stock of small canvases and papers to practice on. I often try out new ideas and techniques on 8x8 inch stretched canvas or A4 sized water colour and acrylic paper. By doing this it means you have time to finish whatever you are trying to create and the smaller space is more forgiving. Also, if you make a terrible mistake you can simply gesso over the canvas (with acrylics anyway) and start again. My practice pieces are never intended to be sold (no matter how good I think they might be) and are there just to let me try things out.

4. Be your own worst critic

It’s very easy to sit back and think you’ve created a masterpiece but in order to learn and improve one needs to learn how to review one’s artwork without bias, which is not always easy. Of course, you may be inclined to think your work is the best it can be and this can prevent you from seeing any obvious flaws or identify weaknesses in your ability or technique.

I know that I am overly critical of my own work and genuinely believe that I haven’t yet created a painting that I am truly happy with. To get around this I have stopped relying on myself and get a second opinion - well several actually.

5. Canvas the opinion of others

It’s one thing to be overly critical of your own work, or worse, too praising of your own work. It’s quite another to solicit the opinions of others and it can be brutal. I found that many of my friends were very complimentary about my work even when I knew there were major flaws evident. Some friends, however, can be very direct and were genuinely kind enough to be blunt and tell me when things were not quite right. I also started to show some of my apparently finished paintings across my social media platforms - strangers can be incredibly honest when you make it clear that that is what you are looking for. I’ve had some equally blunt feedback which has helped me enormously. I will be honest though and say that one has to develop a thick skin at times!

6. Be open-minded

When I first started painting I was fairly sure that I really did not like abstract art. In fact, some years ago my wife took me to the Tate Modern in London to see an abstract art exhibition and I hated it! Afterwards, we had to visit the Natural History Museum so that I could see some rocks just so I could feel better! You know where you are with a rock!

About 6 months into my journey as an artist I was asked if I would be interested in painting something abstract for a friend and they were prepared to pay. My initial response was honest and I said that I didn’t like or paint abstract art! My wife kicked me and politely pointed out that I would love to give it a try. The result was my first abstract painting and my first successful sale of one of my paintings!

Since then, I’ve spent a lot of time researching art and reading up on contemporary and historical artists and I now have a much wider appreciation of art in all its forms. I no longer shy away from any genre and remain open-minded when it comes to deciding what to paint.

7. Aim high but be realistic

I firmly believe that one should always aim high in everything one does. However, it is also necessary to be realistic and stay grounded. The art world can be fickle and there are a great many artists out there who may never sell a single painting despite their work being of very high quality. When setting out on your journey as a self-taught artist it’s a good idea to think about where you want to go with your artwork. Do you want to sell or are you just doing it for fun as a hobby? It may be that you start off without the intention of selling (just as I did) but then discover there is a demand for your work. It is then up to you whether or not you choose to embrace that and develop it further.

It’s worth bearing in mind that in some circles self-taught artists are not considered nearly as highly as those who attended schools or colleges so one needs to be realistic in expectation. That said, the 21st century world is powered through the internet and there are many hugely successful self-taught artists selling their work through their own websites or, in some cases, exclusively through Instagram.

8. Copy other artists to learn techniques

Now, for this tip I need to make it clear that I am not suggesting you copy another artist’s work and try to sell it! Instead, what I’m suggesting is that there is a lot you can learn by trying to replicate another painting. You will learn how brush techniques, layering and blending, for example. If you’re lucky you might be able to accurately recreate a piece but that really isn’t the aim. The idea is to simply try to repeat some of the elements so that you learn what needs to be done to get a particular effect.

I used this method to learn how to paint skies with clouds so that they had depth and didn’t look flat and one-dimensional. I have literally hundreds of pieces of paper with prototype skies!

9. Challenge yourself

Stepping out of your comfort zone is possibly one of the best ways to develop as an artist. If you were to attend an art class or a school you might find that you end up painting what you are told to paint. As a self-taught artist you can paint literally anything. However, deciding what to paint can be difficult if you have a tendency to keep doing what you know you’re good at. I found that asking others to suggest topics worked well. I was very comfortable painting landscapes and trees and was terrified when challenged by a friend to paint something else. However, if I hadn’t taken on the challenge I would never have discovered that I enjoy painting snow-scapes and scenes with the northern lights or that I have a flair for abstract art. I sometimes also look at other artists’ work and see if I could do something similar.

10. Put the time in and record everything

There really is only one way to become proficient at something and that is to put the time and effort in. I set myself the challenge from the beginning to paint every day for 30 days. This not only developed painting as a habit (which I now find impossible to break) but it also allows you to develop. Long pauses between painting will inevitably mean that you won’t benefit from the mistakes and the learning that you gain along the way. The mistakes are the most important. As frustrating as it is to make mistakes they tend to be the things we remember and learn from the most and even now I still experiment with different ideas and techniques - sometimes with disastrous results!

Finally, keep good records of what you do. I find photographing my steps helps a great deal, especially if I’ve created something I’m pleased with and want to remember what I did or how I did it. I also keep a notebook to record details about the materials I used. Basically, the better a record you keep the more invaluable it will become in the future as you continue to develop as a successful self-taught artist.

Inside my art studio

Ever wondered where my paintings get created? Did you think I had some swanky huge and spacious art studio or that I worked in a cosy loft space? Not quite! Today, I thought I'd show you where I work which, with lockdown restrictions and working from home, is now also my office. My point? One doesn't need a huge dedicated space to create art that sells. And tidiness is not essential either!

Painting station 1: where I paint smaller works

Work stations

My art studio is really not very large and now doubles as my home office. In terms of size, my space is a bit larger than the average garage. So, although quite spacious when it's empty actually doesn't leave a lot of room once it starts to get used. My solution was to set up work stations so everything is where it needs to be.

The image above is my desk and A2 sized easel. Here I work on my smaller paintings and also my water colour stufues. I also do my sketching and prototype paintings in this space.

Behind this area is my workspace for my large easel. This can take a painting of up to 6ft wide and 4ft high. I have my larger brushes and big pots of primer and under coats around here for ease of access. You can't see it but I also have the floor covered when working on larger canvasses so that I don't end up with a technicoloured floor!

My large canvas work space.

Finally, because I also have to work in this space I've also set up my office area which is another completely different space. The aim being that I don't need to move things around or adjust my room to meet the task in hand. For me this works well but it has taken a few iterations to get right. You soon find out when it's not working when you trip over cables or splash paint where you really don't want it! Anyway, until my art sales get to the volume where I need a dedicated external studio this will do nicely, although I am getting very close to that point. Of course, when that time comes then I'll be able to let people visit my studio which is not quite so simple in a condensed space! There is one final issue and that's where you store your completed works but that's a blog for another time.

My office space in the art studio.

Keeping up with the Kardashians!

It wouldn't be the weekend without another blog or without me trying to learn yet another new trick. Today I've taken my Instagram account to a whole other level by getting into Instagram TV. Brace yourself, I fear this could be a bumpy ride!

Apparently, IGTV is a way of showing longer videos and in a pretty unvarnished state. It's also intended to be a way of showing more of one’s personality rather than polished products. So, never one to shy away from trying something new, I've already posted a video of me narrating a bedtime story. It's not quite Tom Hardy but it's close (😉).

Is this really the way forward? Well, it seems the top so-called influencers have all jumped on this and if it's good enough for the Kardashians then it's good enough for me. Okay, I don't really know who they are but with several million followers they must be quite popular!

I've already started to build a series for my art demos. Going forward I plan to show some of my works in progress which could be interesting because when things go wrong I tend to be quite vocal! I'm not sure how successful this will be but as Instagram is definitely the place to promote artwork I'm going to give it a go.

Virtual Art Gallery - Commissions

Well, here it is! No music. No short piece to video by yours truly. And no linear, slide show experience. Instead, I bring you my first virtual gallery experience without ever having to leave your home.

The concept is simple, enter the gallery and just move your mouse (or finger) over a painting to see a full image and details and then return to the room from which you came. You can also move into adjacent rooms.

I plan to create more virtual exhibitions to show off particular genres of artwork, highlight my free paintings that I give away when I travel (if those days ever come back!) and so on. If you want to see a particular exhibition just let me know. Let me know what you think by leaving a comment below.

NOTE: You will need to open the file in full PowerPoint Slide Show mode to get the full effect. The mouse-over effects and navigation will not work on mobile devices.

Virtually an art gallery

Coronavirus may have stopped us going out and visiting art galleries and the like, but it doesn't mean I can't bring my gallery to you. I've made my first video-based art gallery. See what you think. If you like it, click like and SUBSCRIBE if you'd like to see more.

Understanding Abstract Art - Why you should buy abstract paintings (Copy)

It's just a mess! Anyone could do that! They've just thrown paint around! What's it supposed to be anyway? Sound familiar? For years I didn't like or understand abstract art. Then I became an artist and now I think I get it. There's more to it than you might think.

Understanding abstract art just requires an open mind

If I'm brutally honest, I really didn't like abstract art. Many of those comments were probably things I'd said in the past. But then, I didn't always like classical music either. It may seem odd but the two are related. It's all about having an open mind and opening oneself up to something new.

My first experience of abstract art was an exhibition at the Tate Modern in London. My wife dragged me there, almost kicking and screaming! To me it seemed to just be pretentious nonsense. Random splodges of paint; chaotic; structureless (I like structure!) and seemingly pointless. Of course now I would argue that I was completely wrong and was simply approaching it with a closed mind and no wider thought or imagination. Put another way, I was trying to understand something in a very binary way when it wasn't possible. The abstract artist isn't trying to paint a single image or meaning. Abstract art requires a little effort from the viewer.

Feeling it

Take classical music. I spend more time listening to Classic FM than I do watching TV. I don't know the notes or understand how the composition was put together. I don't even hear all of the different instruments in a symphony. And I don't need to. I simply listen and allow the music to transport me. Each piece may invoke a different feeling or mood but this isn't something that was intended by the composer, it comes from within and is deeply personal.

Filling in the blanks

The same is true of abstract art. An artist isn't necessarily trying to show you a specific image. You, as the viewer, have the job of providing that meaning and deciding what feelings a piece invokes. It just requires an open mind and a little imagination. Do this and suddenly a whole new world opens up in front of you. Yes, I know, it all sounds very poetic and ideal. But, from someone who really didn't get abstract art I can safely say it's true. I don't just paint abstract art, I also enjoy it and spend a lot of time looking at, and enjoying, other artists’ work. I enjoy the process of trying to work out what I can see and looking for patterns and meaning that are personal to me. Quite literally, my job as the viewer is to fill in the blanks. The artist's job is to provide something for me to ponder on.

But is it art?

Okay, maybe you don't quite buy the poetry of it all and are not so convinced about moods or feeling. So why would you hang abstract art in your home? A recent client of mine explained this simply: abstract art can be used to decorate a room easily. Seriously?

If you think about it this makes perfect sense. If you're looking for something to decorate a wall in your living room and your decor calls for something red, blue or whatever colour you have in mind, abstract art can provide it. Moreover, abstract art tends to be more thought out than you might think. Often, complimentary colours are used to create a balanced image and these can be used to blend in with the decor in a room. A very plain wall in a minimalistic room could be transformed with a single, large and vibrant abstract painting. Equally, a busy room can be toned down with a simpler abstract painting.

Food for thought

Finally, abstract art can, and often does, provide a talking point. Not everyone will like it. Not everyone will get it. Not everyone will see what you see. And that's absolutely fine! So talk about it. Discuss and debate about it. Hang an abstract painting in your dining room and you can be certain that someone will want to talk about it. If nothing else, you'll have something to talk about if the conversation at your next dinner party ever runs dry!

Why gallery representation isn't for me - yet.

Many up and coming artists seem to think a key goal is to get their artwork into a gallery. I don't! There are good reasons for wanting to get into a gallery but there are also good reasons not to. Here I explain why it's not for me, despite being offered the opportunity and why it's good for you that I don't.

Gallery exhibition? Maybe one day.

Having made a success of advertising and promoting my artwork over the last year you'd think it would be a good time to get into a gallery. Surely it's time to get my paintings sold from a smart and sophisticated gallery setting. And what about all those potential new customers? Well, not so fast!

I was recently approached by a gallery to ask if I'd be interested in them representing my work. This sounded both exciting and flattering. I'd finally become a real grown up artist! But then I did some research…

First of all galleries, at least good ones, don't typically approach artists. It is more usual for an artist to approach a gallery and have to sell themselves. So that was the first red flag.

High sales commissions equals higher prices

Then I discover that they take 51% of the sales! This would have the knock on effect of pushing my prices up by at least double just so I could make the same money. This would also increase all of my prices thus making a lot of my paintings unaffordable to those who have previously bought from me.

Restrictions imposed - no personal sales

Another issue I had was that the gallery insisted that only they could sell my works. I wouldn't be permitted to sell from my own website or other outlets. I would be allowed to show and advertise my work though.

Free giveaways banned

Another restriction was that I wouldn't be allowed to give any paintings away for free or leave any in cities to be found by lucky recipients. I get a great deal of enjoyment out of doing this and found this restriction a step too far.

But there are positives to galleries

Okay, galleries can't be all bad, and they're not. My experience is based on one instance and probably not very representative of the wider industry. Galleries can put your work in front of a wider, interested audience. The presentation and setting for your work is more professional. A gallery may be able to advise on trends and help you develop your works to march potential customer needs.

But getting into a gallery doesn't mean relaxing

Of course, it might seem simple. Put your work into a gallery and let them do all the hard work for you. After all, you're paying half of your sales to them do you don't need to do anything, right? Wrong! You still have to self-promote and still have to engage with potential customers whilst still doing what you should be doing - painting. I'm only touching on this subject very lightly but gallery representation doesn't mean zero effort on your part.

So would I ever use a gallery?

I wouldn't be so quick to dismiss galleries. At the current time they're not for me. Equally, I may not be for them right now. They do have their place though and reputable galleries may well be able to open up opportunities that I couldn't reach without help. However, for now, I'll keep to personally advertising and promoting my work. It's working.

Primed and Ready. Why prime a Pre-primed Canvas?

Jackson Pollock didn't always prime his canvasses and sometimes even used household emulsion when he did. So why do I prime my canvasses at least three times before painting? Simple, because I want a good surface to work on and I want my paintings to last. Like anything in life, quality is built on good foundations.

A well primed canvas is the foundation to any good painting

Almost all commercial canvasses arrive pre-primed and some even claim to be triple-primed and ready for use. However, I've found that all need some preparation before use. Priming the surface means making it ready to take on the acrylic or oil-based paints one intends to use and to also improve the painting's life span. Apparently, some Jackson Pollock paintings were not primed, or were even primed using household emulsion (yes, really!) and are already showing premature ageing.

Why can't I use pre-primed canvas?

So what's wrong with pre-primed canvas, I hear you ask? Put simply, it is not in the economic interests of commercial suppliers to prime canvasses with thick layers of high quality gesso (the primer). They are more likely to apply thin coats of weak primer simply to provide a modest layer over the canvas. This results in a surface, fresh out of the box, that can be inconsistent (rough and smooth in different places) and a lot more porous do you will use more paint. The surface may also be relatively rough (toothy) which may be fine if that's what you want (some artists like and use this effect) but I find a smoother surface much easier to work on and I use less paint.

How I prime my canvasses

I'm sure every artist has their own ways of preparing their canvasses and this is mine. It takes some effort but it is worth it, in my opinion. In summary, here's what I do:

1. Dust off the unpacked canvas with a lint free cloth.

2. Lightly sand the surface with a very fine grade dry sand paper.

3. Dust off the surface again with a lint free cloth.

4. Apply a generous layer of good quality primer with a wide flat brush, brushing in both horizontal and vertical directions.

5. Allow to dry completely.

6. Sand the surface again with very fine grade dry paper and dust off.

7. Repeat the application of gesso primer followed by sanding and dusting.

8. For the final coat, apply the gesso primer with the flat brush but the smooth the surface, before it drys, as follows.

9. Using a wetted mop-head brush with very fine hairs brush straight across the canvass in horizontal strokes in a single movement from left to right. Work down to the bottom of the canvas. This smooths out any lines caused by the flat brush.

10. Allow to dry completely.

11. The canvas should now be ready for use.

This method works for me and I have found that my paints are much easier to apply and work on the canvas. I prefer not too have too much tooth showing in my paintings so this method also serves to reduce this effect. Beyond this, a solid foundation should ensure that my paintings last for as long as possible.

But if it was good enough for Jackson Pollock….

Now, you may wonder why it's not advisable to use household emulsion. After all, it's cheap, has a consistency similar to gesso primer and it was good enough for Jackson Pollock. Well, quite simply, it isn't good enough. Some of Jackson Pollock's works have already started to suffer from premature ageing. Most notably, cracking. One only has to consider how emulsion behaves in the home. Over time, and with exposure to varying temperatures and humidity, it will crack. It's just not designed to cope with movement and one can imagine how much movement a cotton or linen canvas would experience. So, don't skimp on primer. Use high quality gesso and leave the emulsion for your house!

Introducing The Artist Formerly Known As Doctor!

I wasn't always an artist. I actually only started about a year ago. My background is science, and nuclear-related at that. With a PhD in chemistry I have the pre-nominal title of doctor but I don't use it in my art world. Here's why.

Artist or scientist? I think it's obvious!

I started my career that led me to become a research scientist in the nuclear industry a long time ago. 32 years ago, in fact! Crikey, am I really that old? During all that time I'd never painted and, to be honest, art wasn't really my thing. And abstract art definitely not. In fact, I recall years ago when my wife dragged me to the Tate Modern in London and I was stunned at what was being passed off as art: a stack of different coloured towels (we had that same artwork in our airing cupboard at home!) and a broken fence panel painted in garish blocks of colour! I'm not joking. This trip did not inspire me to fall in love with art.

This all changed when my wife bought me a set of water colours for Christmas in 2018. As I didn't paint I thought this was a rather odd gift. However, my wife is always looking for new hobby ideas to keep me occupied (or out of trouble!). A year later I start to play with the paint set and painted every day for a month until I'd cracked it. Those 30 days are detailed in my About pages if you want to know more.

As my artwork has taken off so too has my appreciation of just how much thought and work goes into a piece. Yes, even abstract! I now paint many abstract paintings and I can truly say that I get it. My own pieces all have a deeper meaning or intent behind them. They are not, as I once thought, just random splodges of paint on a canvas. There is a lot of thought required to be able to produce something that is balanced and thought-provoking.

Since July 2019 I have been amazingly lucky to have been selling my paintings on a regular basis and can even boast a small community of collectors. I could not have imagined that a year ago. And I love it! I am constantly stunned that I'm able to create artwork that others want, and want enough that they will pay good money for and display in their own homes. When I produce a commission, the look on the face of a happy client is also huge bonus for me and I want to keep repeating it.

So, despite over 30 years in the nuclear industry and holding three degrees and the title doctor I'm more happy to identify as an artist. In fact, when people ask what I do these days, I tell them I'm an artist. I don't mention my day job at all. Would being titled doctor help me sell more art? I doubt it. I think people buy art because they like what they see not because of someone's title. So, I don't tend to use mine. In a nod to the pop legend that was Prince I'm now The Artist Formerly Known As Doctor! TAFKAD! Oh dear, perhaps not!

Getting ahead - preparing for my biggest commission yet

A couple of days ago I received a request for my biggest commission so far and my first 4-figure sum. This was not to be taken lightly and I need to build up to it. It's going to be big!

Getting prepared to practice for the commission

Here you can see that I have one background-prepped canvas on the easel and another two triple-primed on the floor. They might become pieces to sell but that's not their purpose just yet. The commission is going to be big, up to 7 feet long, and painting anything on this scale is going to need some new skills. Maybe s bigger studio too?

First off, the paint needs to stay mobile for longer and not dry out before I've had time to blend it. As paint dries it tends to seize up and stall as one tried to apply it across the canvas. Some magic retarder liquid will be in order.

Then we have the colours. What works on a small scale may not work the same way when going large. Experimentation and practice is needed. Yes, I get the irony - colour blind artist worrying about the colours!

Brushes! I'm definitely going to need a bigger brush! I guess I could go all Sean Scully and use s fence brush!

Finally, I need an idea! As usual, I have no idea what I'm going to do but for something this size I feel I should at least have some kind of plan. If for no other reason than I need to know what paints to have available.

The one thing I do know is that the commission will be an abstract piece which sounds easy but, as I've learned, there really is an art to it (pardon the pun!). The skill is in creating something that invokes a feeling or a mood and isn't just a mess! We shall see if I can pull this off. Stay tuned!

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New lights! How lighting can help with colours

Those of you who follow my blog or my work will know that my unusual angle is my colour blindness. What you may not be so aware of is how light can also affect the colours one sees, whether or not you're colour blind.

I've been painting a wide range of different subjects including night scenes, snowscapes and even cats. When I was reviewing some of previous artwork I noticed that there were differences in the colours that came out, even in similar paintings. This was actually highlighted when I was interviewed on BBC Radio about my artwork: I showed three floral pieces that all had blue skies. Or so I thought. It turned out that all three were noticeably different, but not to me. So what was going on? It was time to investigate.

It turns out that there is a lot of information available on the subject of colour temperature and how it can affect an artist's work. Rather than simply copy and repeat what's already out there, if you're interested in learning more read Dan Scott's informative blog. In summary, it all means that the colours you see depend entirely on the ambient light around you at the time.

So how did I end up painting three different coloured skies? Quite simply, it was the time of day! I painted all three on the same day. However, the first was painted in the morning when it was still dark outside and my studio was illuminated by a tungsten overhead bulb and two LED lamp lights to the side. Both gave off a warm, orange-like colour. The second was painted around midday and, with the curtains open, the north-facing room was bathed in a cool flat light. By the time I painted the final one it was still light outside but significantly dimmer and so my side lights were back on. So you can see, three paintings on the same day with totally different lighting resulted in different skies. So, what's the solution?

I needed to have a consistent light source with the same colour temperature and, ideally, one that represented daylight but also that might be found if my art was displayed anywhere. The solution was daylight bulbs. However, I did a lot of research and almost bought some relatively cheap LED panels from Amazon. Until, I looked at unpaid reviews and comments; cheap LED panel lights are small, not very powerful and not fit for purpose (in terms of art studio lighting). Instead, I found daylight studio lights from Heamar. (My blog is not sponsored so this is just honest commentary). They arrived within a week of ordering, were quick and easy to assemble and appear to be very good qualiry. And they are powerful with their 32W equivalent bulbs. I bought two at a cost of £176. So, did they work? Read on to find out.

Heamar daylight lamp stand

Grammar daylight bulb

I've recently been working on a painting of a cat and to my dismay found out that some green colouring had made its way into the picture. Not good when the cat is meant to be creamy-ginger colour! Under my less-than-ideal lighting I just couldn't see it. Now, with my new daylight lighting setup even I can see something is wrong. To be honest, I can't see the green but I can now see the areas where the colours are not matching. The image below is of the unfinished painting under the new lighting. Clearly, I have some more work to do!

Green cat? Daylight lighting showing the true colours

Finding inspiration from staying in

Here we are heading towards a third week of so-called lock-down due to this dreadful Corona virus. I'm now working from home 100% of my time and go out for an hour a day to walk the dogs for exercise. Of course, this means all my travelling has stopped and so too has the opportunity to see new things from which to draw inspiration for my paintings. Or so I thought.

Springtime inspiration in the garden

The water colour painting above was the result of sitting in my garden watching the birds compete for territory and empty my bird feeders, well, when they could get past the greedy pigeons! I think I'd taken my garden for granted and not really considered it as a source of ideas for my work. Now, forced to stay at home I started to properly look at what was right in front of me. Not just birds but flowers too.

Amazingly vibrant tulip

Colourful inspiration all over the garden

I've also found that my love of abstract art can be inspired and motivated from my garden. Just looking closer at some of the plants and flowers provide for a very different perspective. Take this image of the anthers inside the tulip - totally abstract when the wider context is removed but still a beautiful image. I think this would make a great large acrylic canvas and would make a fantastic addition to someone's home. Assuming they like red!

I'm sure I will find more inspiration in the coming weeks. If you'd like to see what comes next why not subscribe and follow my blog?

Abstract inspiration deep inside a tulip

First BBC radio and now the company magazine!

It's still hard to believe that I've only been painting for little more than a year and successfully selling paintings for half that time. I've now sold around 30 pieces of my artwork and am still amazed that people actually like my work enough to buy them.

It's been quite a year so far with highlights including being featured for almost an hour on BBC Radio Berkshire, having my art displayed at the Award winning gluten free cafe, Nibsy's, in Reading (twice!) and now…making it into my company's in-house magazine!

It really has been incredible and, as the article states, I am truly humbled by the success I’m enjoying. I keep trying to add more interest to my work so have now begun to record YouTube videos of some of my work. I'm also enjoying being challenged by friends to paint different subjects that take me away from my comfort zone (landscapes). I'm still growing as an artist but I love the fact that I feel that I can legitimately self-identity as one!

Of course, none of this would have happened if people, possibly you, didn't enjoy and purchase my works. Thank you!

Featured in my company’s in-house magazine

Colour blind artist in great company!

How does one stand out in a world full of successful artists? Marketing people will say you need to find your USP or unique selling point. Mine? Being profoundly colour blind.

Can you see the number in the image here? No? Then, like me, you're probably colour blind. Colour blindness can come in a variety of forms including red-green (the most common); blue-yellow and monochromatic. Then there is me! My colour blindness appears to be a mixture of a problem with my eyes but also my brain. Rather bizarrely, I don't seem to be able to recognise most colours except really bold primary ones. Mixed colours completely confuse me and I'm unable to even suggest the name of a colour in many cases. However, I do still see in colour but possibly not quite in the way that you do.

There is no cure for colour blindness despite the ridiculous adverts one sees on the internet. The most awful of these are the correction glasses from Enchroma. They show clips of apparently colour blind people being given the gift of perfect sight with a pair of sunglasses. Thankfully science has stepped in to debunk these nonsense colour vision correction glasses.

So can I really be an artist with such a condition? Well, I'd argue that the proof is clear. Having been a selling artist for little more than a year I've sold 30 pieces. Many were commissions and the client knew I was colour blind. It's become my USP.

Of course, there are plenty of artists out there who are colour blind and some notable greats included. It's believed that as Monet developed cataracts his colour vision failed and even Vincent Van Gogh was thought to be afflicted.

If you're interested in Understanding colour blindness a bit more this link will get you started. Of course you can also ask me.

Can't see the number? You're probably colour blind!

A Winter's tale - another commission finished

Today has reminded me why I love painting and why this hobby of mine has stayed with me when so many others have gone. No, it's not because it earns me money! The smile on the clients face when he saw his painting for himself for the first time. He was rather pleased to say the least.

One happy client with his commissioned artwork by Roy P Awbery

A Winter's Tale by Roy P Awbery - close up

This painting was very challenging but I got a great deal of satisfaction from finally getting this one right. The original plan was just to have a night snow scene but, as the painting developed, the client asked for the addition of wolves and an elk.

I managed to capture a sense of movement with the animals which was not easy. I'd not tried to do it before but it seems to have worked.

I'm seriously pleased how well this one turned out and now understand why my followers were not too happy with the very simple Jumble Animals. Lesson learned!