Pebbles Project Photo Gallery

I’m delighted that so much enjoyment has been had looking closely at pebbles, seeing them as individuals rather than merely a tiny part of the foreground of a seascape. Thank you to everyone who’s shared their paintings this month. I’m sure you’re going to enjoy looking at the results as much as I have.

By Claire: “It was great fun emptying drawers and finding materials and paints I haven’t used for years. I think I should have put masking fluid around the stones first as the tape tended to lift, allowing pastel dust to escape. I used watercolours, watercolour and acrylic inks, oil and soft pastels, white charcoal and a few touches of gold cerne relief on Bockingford Not 140 lbs p;aper.”

From Marion: It feels like I’m looking at a display at a geological museum, and that if I looked off to the side there’d be a little notice explaining the links between the different pebbles. I’d be hard pressed to pick a favourite.
By Cathi: “This is pure watercolour — no pen, no pencil just paint — to give it a simpler, cleaner feeling. The pink wanted to run everywhere, but hey-ho that’s what paint does.. The sandstone pebbles, although having clear patterns, have quite a texture so I hope I have been able to capture that.”

From Marion: The pink running adds a sense of the pebble sitting in wet sand. And you’ve definitely got the sense of textures as well as colours.
By Eddie: “I was excited to start this and decided to do a grid with a different medium in each box. One source of trepidation was that I only had one sheet of A2 watercolour paper so if I got it wrong I would have to wait while I ordered more. I decided just to go for it and think it went well.”

From Marion: It’s beautiful, as a collection of stones, and mesmerising for the differences in appearance and mediums.
By Eddie: “A little pile of pebbles. Some years ago, when I was more into pen and ink, I got, as a present, an electronic dots pen by Cuttlelola. It’s a nifty little device that really speeds up stippling. It’s been languishing for a while so I thought I would give it a try for pebbles. I tried hard to concentrate more on the process than the result and not care that some of my pebbles looked rather like cream cakes and, mostly, succeeded. The added media are, from top to bottom; coloured pencil; watercolour pencil; watercolour; Graphitint; gouache; XL charcoal; XL graphite; and Elegant Writer all washed in with a water brush pen. All great fun added to by the fact that they were on a wobbly desk and kept falling over as I tried to draw and paint them.”

From Marion: My favourite pebbles are the second lowest one and the fourth from the top, the nature of which I think stippling suits, giving a lovely sense of their layered, weathered, slab structure.
By Sarah: “Had lots of fun with this. Using walnut ink and a dipping pen, watercolour, Uniball Signo white pen and Coliro M600 (bling). I added my own rock and seaweed from the coast picked up last year. I have thoroughly enjoyed this process and outcome.”

From Marion: Another beautiful painting on that grey paper; starting from a mid-tone rather than white really works for you. I like your composition with the bottom pebble (which was being problematic) cropped, giving the feeling of the scene continuing beyond the edg. My eye is lead up whilst the single pebbles and grouped change the pace.

This was my first painting arranging the pebbles in a grid, done in my sketchbook:

By Marion. Mixed media, 30x30cm.

And my second, done with acrylics on wood panel.

By Marion. 30x30cm, acrylic on wood panel

The extra content I created this month for Project Subscribers on my Patreon page included a three-part explanation of how I painted this: Part 1, Part 2, Part 3.

Remember, it’s never too late to tackle any of the painting projects, or share photos of your paintings. You’ll find a list all the projects here.

April’s Painting Project: Seaweed

This month’s painting project continues the seashore theme of March, focusing in on a detail on a beach rather than a wider view (as in February, August 2020 and June 2019). The reference photo is of some seaweed lying on the mixed black/white sand found on Skye, full of pattern and texture as well as “interesting greys“.

What appeals to me are the different textures, the deep darks in the seaweed, and the muted colours. I think it lends itself to exploring various things:

Transparent/opaque colours: being deliberate about choosing transparent colours to start building up layers of colours to get the sense of the depth and texture in the seaweed, then swapping to opaque colours for the topmost layers such as the grey stems. Use the white of the paper or canvas in the transparent layers rather than mixing in white. Use a thin glaze of opaque white as a layer to give a sense of water over elements.

Mixing colours: aim to mix every single colour, to not use any colour straight from the tube. To desaturate (mute) a colour, mix in a little of its complementary, so for yellows mix in purple. To get “interesting greys”, mixing complementaries together and explore the region of colour space where you’re in greys and browns. (I particularly enjoyed using dioxine purple acrylic inkwith yellows and oranges in my attempts at painting this.)

Granulating watercolour: The sand lends itself to granulating watercolour, where the pigment particles in the watercolour separate out rather and dry as specks of colour rather than smooth colour. Daniel Smith Lunar Black would be my starting point; mixed with any other watercolours it retains its strong granulating properties.

Texture paste: The sand could also be done with some texture paste, and here I’m thinking something with small granules, such as glass beads, or black lava texture paste flooded with fluid colour which will sink inbetween the granules.

Exaggerated colour: As well as working with desaturated colours, explore how far you can push (exaggerate or emphasise) a colour and still have it read as real. Getting the tone right will help this. So if something is a blue-grey, push the blue. If it’s a purple-pink grey, push the purple.

Collage: Using different papers for the seaweeds, torn edges and cut. The ribbon seaweed in particular I think could work well as a cut piece of thin paper.

Abstraction: Move away from representation and realism into abstract, focusing on the shapes and working these into your own patterns. Perhaps using shapes of flat opaque colour in the style of Matisse (see example).

To share your painting of this month’s project, or any previous project (it’s never too late to do any ) in the project photo gallery, simply email it to me on art(a) or share it with me on social media. I look forward to seeing the results. For extra project-related content and personal help with your painting, become a project subscriber on Patreon here.

I took the photo on the beach at Staffin; see my blog Shoreline Abstracts for some more photos. For my first attempts at paintings inspired by this reference photo, see Shorelines: Seaweed Video Painting Demo. The photo below was my second attempt, acrylic ink on watercolour paper.

Not a Painting Project for 1st April

I had been thinking about writing up a painting project called “50 Shades of White” for an April Fools, using a photo of Ghost sleeping on the shelf in my studio. I’d put the ‘bubble paper’, which an order of paint/ink had been wrapped in, on the shelf, thinking it could be useful for collage. Next thing he’s on the shelf and fast asleep.

With the whites of Ghost, the roll of paper, the tub of primer (Michael Harding’s non-absorbent acrylic primer, for those curious) and its reflection in my watercolour set, and the whites of the pages of the closed book (volume two of the Matisse biography by Hilary Spurling), and the blacks of the shadows, it could be an interesting challenge. But not one I’m in the mood for right now, hence the thought of doing it as an April Fools’ project.

Then over breakfast this morning, reading various things as I do through an RSS Reader, I came across a long illustrated article on the use of white in art by Vinciane Lacroix titled “Challenge #9 White“, which I thought was far more fun. Even if you’re not in the mood for a long read, I think it’s worth taking a look at the photos of the paintings to refresh our thoughts on white as a colour. And let’s try, as Vinciane says, to “not pass by a white without observing the shades that dress it.

Project Photo Gallery: Shoreline in the Style of Van Gogh

Looking at the drawings and painting and reading the comments, it’s clear a great deal of creative fun and energy was found channelling our inner Van Gogh! (You’ll find the project instructions here and the list of all the projects here.) Also that using the drawing to guide your mark making in the painting can work well, like a roadmap for brushstrokes. Thank you to everyone who’s shared their pieces. Enjoy!

By Caryl D: “The first ink drawing was done with a dip pen and ink. Then I added chalk, gouache and watercolor to the drawing surprising myself when the ink let loose, thinking somehow I was using permanent ink. I had seen a drawing of Van Gogh’s where he used those mediums over his ink sketch.”
By Caryl D
By Caryl D: “Acrylic on canvas board. The paint is a little thin and I don’t like my composition especially how it goes off the left corner in such a straight line. But I like the textural effect. Great exercise and I enjoyed the challenge.”

From Marion: It’d involve a lot of repainting to fix the composition heading into the corner, but you could cut the canvas board before framing to fix it, or possibly peel off the canvas and restick it once the board’s cut. I particularly like the sense of texture on the “hairy rocks”.

By Cathi: Pencil study on A4 mixed media paper
By Cathi: Acrylic on A3. I have had fun trying to simplify impressionistic colours.

From Marion: The blue and yellows feels very Van Gogh to me, not to mention your brushwork in the sky that echoes his famous Starry Night. The swirls in the foreground echo the sky, creating a unity across the composition. I think you should channel your inner Van Gogh more often, especially when you’re thinking you’re working too tightly.

By Gail: “I did this sketch with the idea that I would work from it alone to create the painting since Van Gogh would probably have worked the same way if he could not go back to the beach to complete the work but would have to rely on memory and notes.”
By Gail: “The finished painting doesn’t much resemble the photo but is done from my memory of the photo. It is done in acrylic since I don’t generally work in oil. I laid the paint on thickly as Van Gogh might have done and used black outline in areas. I used directional strokes on the sea weed on the rocks and in the ocean and added the clouds to give the painting a sense of distance as many of Van Gogh’s landscape paintings have a “sky” in them. I really enjoyed this work and it made me appreciate how quickly Van Gogh worked as I did this painting as quickly as I could and had it done within about three hours all together with interruptions and so forth.”

From Marion: I think the drawing serves as a roadmap for a painting, the first stage in translating a scene into paint, getting what’s interesting about a subject. I think it makes painting for more fun too, because we’re not being restrained by consulting the reference photo. That said, I think your painting feels true to the location.

By Karen
By Karen: “I couldn’t find anywhere to slot in a cheeky crow or two but I really enjoyed this project. Nothing like I would normally do but I loved the freedom to throw a bit of paint around! I found the rocky beach difficult but I found a use for the lava paste and liked how it ran when I sprayed water on it.”

From Marion: Delighted you enjoyed yourself! I think working in thicker paint is fun, the way it moves under the brush, the creation of strong brushmarks. You’ve retained a freshness to your colours, rather than moving it all around so much you end up with murky mixtures, which is one of the dangers. There’s a distinctness to the various elements in the composition, which is what I was hoping this project would generate.

By Eddie, ink: “I like to paint in gouache, pastel and oils. I have tended to paint in one medium for several weeks or months then change. I have found that doing this requires a learning curve with each change. From the new year I have done things differently by painting the same picture in each of the media on consecutive days. So far it’s going well and this is what I have done with February’s challenge. The oil might have been easier if I painted in layers but I am also trying to increase what I can do alla prima.”

From Marion: Don’t forget to count ink amongst the mediums you used for February’s project! I have really enjoyed looking at the versions in the different mediums, how each has its own characteristics and types of marks. I’d be hard pushed to pick as favourite as each has something I particularly like.
By Eddie,gouache
By Eddie, pastel
By Eddie, oils

By Sarah: “Interesting morning. I started with the Ink drawing, which I thoroughly enjoyed. Then added the acrylic Ink , not so great . So ended up cutting it apart and put it back together again. Still happier with the Ink drawing.”

From Marion: I think that, much as we’d like to be always on a forwards growth with our art, it’s more circular, that we regularly go backwards and around, gradually going forward. Some pieces won’t work to our satisfaction, but once we let go of the fristration at this (easier said than done), we do learn from it. In this case, how much you enjoy a drawing with just ink.
By Sarah

By Bee: Ink on paper

From Marion: I think I’d crop in tighter to reduce the amount of negative space, which I feel unbalances the composition, in from the left to where the rocks start, and in from the top to beneath the ink lines in the sea. Try it with a piece of card first, before you cut it.

By Julie: “I was deliberately tight in this drawing as I plan to try to use it as a basis of a print. It is controlled and each mark consciously made, and with an attempt to use different marks to represent various textures and shapes. I used a pen with a nib, dipping it into undiluted and diluted sepia ink. I tried to vary the shapes of the marks by varying the pressure and angle on the nib.”
By Julie, dry-point print: “I did three prints of the Van Gogh-style shoreline drawing I completed earlier. I have done very little print making, but It was a fun exercise, and much learned. They are dry point prints made by using a plastic etching plate, so I was able to see my drawing underneath. I would have liked to have controlled the plate tone a little better, as well as making more marks to create darker areas.”

From Marion: I think there’s a greater fluidity in the lines in your print than your drawing, a freedom that’s come from having already decided what’s important in the reference photo and where what kind of mark is to go. Printmaking has a magic all of its own, not least that moment you lift up the sheet of paper to see the result!
By Julie, dry-point print
By Julie, dry-point print

And because it’s never too late to submit photos for any of the projects, here’s one for January 2021 Eggshells project.

By Barbara H: As a novice, I tried to keep it simple. I used watercolors, charcoal, and a dab of acrylic. I enjoyed the process of studying the cracked shells and getting them on paper.  I call this “Eggshell road”.

From Marion: I did several versions, both ink drawings and paintings, some more successful than others. I’m not sharing the total dud, though I haven’t ripped it up just yet.

Black ink. I like this drawing most because I’ve got varied mark making but also lighter and darker marks created by changing the angle of the pen.
Marion Boddy-Evans, mixed media on A3 watercolour paper. This was the loosest of my paintings. I like it because it’s verging towards abstract, leaving a lot to your imagination to fill in.
Marion Boddy-Evans Oil paint over Payne’s grey acrylic ink on wood panel (A1 size, or 594x841mm). These two were the last ones I did, developed out of all the previous attempts, and I am very pleased with them. I like the combination of line and colour, and that I managed to retain the colour and grain in the wood in areas. Also that I did decide to not include a horizon line (to eliminate the sky), so it’s a composition about what I see when I’m looking down.

March Painting Project: Pebble Portraits

This month’s project takes the idea of a grid of small paintings from last May (details here and gallery) and uses it for pebbles to create a grid of little pebble portraits. Whether you include the whole pebble or part of the pebble, with or without drawn boxes, is up to you. Another option would be to paint the same pebble from different angles, and/or in different mediums.

I encourage you to paint from life, a pebble you can hold in your hand, view from different angles, watch the light fall on it and any shadows. Get to know a pebble as an individual, its specific characteristics rather than merely a generic pebble.

If you don’t have pebbles, take a small vegetable such as a mushroom or onion, something with pattern and texture that looks different from various angles. Cutting it in half, and sections, would be another series of views.

I appreciate that not everyone has access to a beach or river with beautiful pebbles to borrow for a bit, so here are closer-up photos of each of the nine pebbles in my grid. Click on a photo to get the biggest version of it.

Doing it as a monochrome, using black ink, charcoal, or pencil has potential too.

For my first attempt at this project, I used a pen with black ink and watercolour, on a page in my sketchbook. The ink is water soluble, so the lines softened a little as I brushed watercolour over them; how much varies on how thick the line was and how long it had dried.

I initially wasn’t going to add a background to my grid, but leave the pebbles against the white. However studio cat Ghost had other ideas: if you look at the bottom right image, to the left of the middle pebbles on the right, you’ll see the remants of a pawprint where he’d stood on my watercolour set and then neatly printed his paw on my painting. I tried to lift it, but the colour was one of those that stains the paper, so instead I added a background of hematite genuine, a granulating colour that works well as ‘sand’.

As always, to have your painting included in the project photo gallery, email me (on art[at] a photo along with a sentence or two about it. For individual help with your painting and extra project-related content, become a project subscriber on my Patreon. Remember, it’s never too late to do any of the projects!

February 2021 Painting Project: Shoreline in the Style of Van Gogh

This month’s painting project is to create an ink drawing and a painting of the reference photo working in the style of Vincent van Gogh, who has long been one of my favourite artists. In both mediums his style involved strong mark making and direction, individual strokes rather than smooth blending together. The drawing will help you with the painting as it’ll give you a map for brushmarks.

I took the reference photo in Uig Bay at high tide. For me the appeal is the contrast between the different textures and the strong lines. The smooth bigger rocks against the “hairy rocks” (which the in-house art critic says look like the heads of Highland cows without horns), the small pebbles against the dark sand, the gentle ripples in the water against the line of foam at the water’s edge. I’m still undecided as to whether I prefer it as a horizontal (landscape) or vertical (portrait) composition, so here are both photos.

For the ink drawing, use something that will give you a variable width line, such as a dip pen or stick, not a fineliner pen which has a consistent width. If you haven’t got anything suitable, use a soft pencil, at least 2B, or a piece of charcoal.

For the painting, you might using a limited palette, (e.g. only white, yellow, and black or Payne’s grey), like the dark colours of the earlier paintings of Van Gogh. Or use exuberant, exaggerated colour as in his later paintings, with or without his distinctive black outline.

For examples of Van Gogh’s drawings, take a look on the Van Gogh Museum’s website, which has them divided into early and later drawings. Similarly for his landscape paintings. I suggest choosing one drawing that appeals to you, and then copying it as there’s no better way to get a close feeling for the mark making.

GET MORE: Additional articles and other content supporting my painting projects available exclusively to Project Subscribers on Patreon. This also includes feedback on your finished painting, and help as you’re working on it, if you wish it. Sign up here…

PROJECT PHOTO GALLERY: When you’ve finished your painting(s), email me a photo on art(at)marion(dot)scot for inclusion in a photo gallery at the end of the month, ideally with a few sentences about it (think: things you might say when talking to a friend about the painting). Alternatively, send it to me on social media. I’ll post photos with first names only, unless you ask me otherwise. Seeing what different people have done from the starting point is interesting, intriguing and inspiring.

This was my first attempt at an ink drawing, in my sketchbook. A little squashed in on the right-hand side, looking at it; I should have started drawing on the left-hand page of my sketchbook and then I would have had space to continue it.

January 2021 Painting Project: Eggshells (or seeing the potential beyond the obvious)

This project is about going beyond the obvious in the everyday and finding the potential in the familiar, about the visual interest in the ordinary and changing how you’re looking at something. The subject is one I’m thinking many of us have in our hand regularly, an eggshell. The challenge is to get past the “it’s just an eggshell who’d want to paint that” and “I hate still life” reactions, and realise the potential in this seemingly simple subject.

IMPORTANT: Your painting or drawing should be done from life, not a photo (unless you’re allergic to eggs or can’t get hold of any). The reason for working from life is that you have do set up the arrangement of the eggshells yourself, figure out and decide a composition, and then ensure that you’re positioning yourself when you’re painting it so you’ve a consistent viewpoint. Submitted paintings for the project gallery should ideally be accompanied by a photo showing your still life setup.

TIPS: Use some poster putty or tape to hold the eggshells in position. If you put the eggshells on a piece of card, you can turn this around and see the setup from different angles.

COMPOSITION; With this relatively small object, a small shift in the angle or height at which you’re looking at it will change what you’re seeing quite a bit. In the three photos below, the eggshells haven’t moved at all, it’s my viewpoint that has, giving three quite different options.

But before I got to this, I had to decide how many eggshells I would have (three fitting the Rule of Odds) and decided to place them in a straight row. Part of the joy of still life painting is in the setting up of the subject, exploring the arrangement, looking at the light, deciding on a background and a viewpoint. The fun and challenges are not just about painting the thing.

COMPLICATED WHITE: Like snow, the white of an eggshell isn’t all straight-from-the-tube titanium white. It’s that range of colours that are are off-white or not-quite-white. If you’ve strong light, there’s the possibility for reflected colour too (light bouncing colour off a surface onto the subject), such as this orange from my bottle:

TAKING IT INTO ABSTRACTION: Besides painting this subject realistically, I think it invites explorations of pattern and shapes of colour. You might focus on the negative space around the eggshell. Or cut a stencil of the shapes of the eggshells and use this for layers of colour and pattern. Or create a grid of closeup details as in the Blocks of Abstraction Painting Project.

To have your painting included in the project gallery at the end of the month, email me a photo on art(at)marion(dot)scot ideally with a few sentences about it (think of the things you might say when talking to a friend about it). I’ll post photos with first names only, unless you ask me otherwise.

I’ve also set up new Discord forum to share and dicuss paintings here. It’s open to all readers, and also a good place to ask question. Feedback from me on project paintings is available to my Patreon project subscribers.

Happy painting!

Project Photo Gallery for November & December

Being a bit late with November’s painting project photo gallery, I thought I’d be a bit early with Decembers and do them together. Enjoy!

By Mark: “A great challenge!”
From Marion: “Delighted you enjoyed it. Lovely painterly result.”
By Cathi
By Bee: “A very quick pastel with some felt tip pen”.
By Eddie
By Erika: “I felt so intrigued by the wall behind the buoy and also the foreground, all fun to do with drywall paste. But then, after having fun, artistic disaster struck. I wanted to keep this very minimalistic but nothing seemed to work. What we see here, is not the end result. I messed up so royally that I didn’t want to take a picture of it.”

From Marion: “Thanks for sharing the photo of it at this stage Erika. Whilst you may not have got a result you were pleased about, I always find it intriguing where your imagination leads you, and I know others do too, as you’re able to take it to regions we can only dream of getting!”
By Eddie, oils 16×12”.
By Bee: oil painting
By Bee, watercolour
By Mark

These are my two paintings:

By Marion, mixed media, A2 size. The photo is a bit dark and a bit bluer than in real life.
By Marion, mixed media, A2 size. You’ll also see I’ve a new pair of studio shoes, as yet without any paint on them.

Thank you to everyone who participated in this year’s projects, and a special thank you to those who’ve shared photos of their paintings for us all to enjoy and project subscribers on Patreon. Here’s to 2021 being another creative year for us together!

December’s Painting Project: A Dark Foreground

This month’s reference photo was taken in southern Scotland on a crisp November morning with the sun relatively low in the sky, backlighting and silhouettting a scattering of autumnal leaves and branches. It’s is an excuse to get out yellow, orange, sienna, as well as explore strong darks. The challenge lies in the dark foreground: having it dark enough to have dramatic impact but still pull you into the painting.

In the dark foreground there’s a stream, path, bench, and autumnal leaves covering the ground. If you click on the photo to get the full-size version you’ll see these more clearly.

You might choose to mix a chromatic black (the darkest mix you can create, typically a blue/green/red) rather than use a tube black because it’s a richer dark. It’s also easy to create gentle variations in it by varying the proportions of the colour in the mix and/or by not mixing the colours completely before you use it.

I’d be telling myself to not go too dark too early but to also not be afraid of the dark. Better to need to glaze or add another layer of dark later on in the painting’s development, than to have a black hole. But not to be half-hearted about committing to having a dark foreground.


  • The tree isn’t right in the centre of the composition. The base of its trunk is to the right of centre and then stretches across the centre. Its branches lead your eye up and across. The tree on the right echoes this whilst providing a dark ‘frame’ on the right to keep your eye in the composition.
  • Use branches to lead the eye across the composition, not worrying to replicate them exactly as they are in the photo but for the photo to be a starting point.
  • Notice in the top left corner all the small branches going off the side and top edges in an open, lacey pattern. It’s not a single branch going into the corner, which would lead your eye in and off the edge.
  • The green hill runs down in an improbably straight line, creating a very hard edge that’s distracting. I would change it to a more irregular line, putting a curve into it. Just because it’s in the photo and like that in real life doesn’t mean it should be like that in the photo if it doesn’t work for the painting.
  • Put the houses in the distance or not? They give a sense of scale, and add to the story, but are they a distraction?
  • Consider the format: might you crop it to a square or a vertical rectangle rather than horizontal? The photo is a result of compositional choices I made when taking it,and I like the horizontal format with space for the branches to stretch out into, but that doesn’t mean it has to be this.

If you’d like to see your painting included in the project gallery, simply email it to me. And remember, it’s never too late to do any of the monthly painting projects or share your paintings of any of these. For some extra project-related content and one-to-one help, become a project subscriber on my Patreon here.

Happy painting!

Painting Project Photo Gallery: The Little Mouse

It’s clear the little mouse from October’s painting project generated great inspiration! Enjoy!

By Mark
By Mark

From Marion: A lovely sense of fur texture without over-describing it, and of it being the same mouse from two angles (essential to book illustration). A tweak I’d consider making is to add a few more whiskers to the side with four only.
By Eddie: my take on the mouse. Scraperboard 9×6”.

From Marion: The scraperboard works ever so well, the white pops from the dark background.
By Eddie, pen and ink.
By Karen: “I painted it using acrylic paint and ink using just my new 0 rigger. It’s painted on a sample of flooring. I loved doing this; as you know I like intricate detail.”

From Marion: “Brilliant idea to paint on a flooring sample! Very beautifully and delicately painted. Positioning of it in relation to the knot in the wood is perfect.”
By Karen: Mouse number two.
By Erika: “The little mouse…. taking it out of context…. this one had bigger ‘fish to fry’, not just morsels in a cat bowl! It looks a bit sinister with the cheese knife which I didn’t want to. And maybe it wants to express a certain love/hate relationship with those rodents: on one side they are very cute – but when they attack your flour and oats in a time or place when you depend on it, that changes the nature of things. 12×9″, acrylic on canvas/collage, mouse fur is real fur.”

From Marion: I do love that reference photo has taken you to this imaginative place, even as the splatter of red makes me wonder is that another mouse which has met it’s demise, or from the person wielding the knife? It left me with “Three Blind Mice” playing in my head.
By Cathi
By Cathi
By Cathi

From Marion: Really enjoying this combination of loose and expressive (the drips) with the detail, as well as the use of black negative space at the top vs the white in the bottom.
From Julie-Ann: “Looking through the projects I saw this cute mouse and he looked so easy to do. Best of all it’s my first ever real drawing of an animal and I think it turned out great.”
From Marion: “It certainly did!”

Marion’s paintings: I had great fun with this project, trying it in pencil, watercolour, and acrylic on watercolour paint. A friend sent me a concertina album book she made, which by happenstance was the perfect size. I also did a couple in acrylics on wood panel with a gold ground, which make me smile when I look at them as they’re so different from what I mostly paint.

Little Mouse paintings

Project instructions can be found here, and the list with all the projects and related content here. Remember, it’s never too late to do a project, nor submit a painting to share. Happy painting!