PTG Exercise 3 - Moorland View

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This one is especially compelling - and it's interesting to find a devotee of interactive acrylics, too. This whole series has been a brilliant idea, working with the magazine AND the website together.

Lovely work, who'd have thought that something as good as this could be achieved by using such a dark and dreary source photo.

Ian Stevenson sent in his version of Paul's exercise saying: 'The painting is in Atilier Interactive Acrylics painted onto 3oo g/m2 Bockingford paper stretched onto a board. This allowed me to work both wet in wet and wet in dry without the paper suffering. The image was drawn with a small flat hog brush and the colours were blocked in and softened using acrylic flow medium and also water. The Interactive Acrylics allow fine tuning and blending even after the acrylic has started to dry. My painting takes its direction from the photograph but I felt the composition was lacking a strong focal point so I decided to add the derelict Cornish tin mines at the 1/3 point so that the lines of the wire fence directs the eye towards the mines. I always feel that the lonely Cornish moorlands with their old tin mine engine houses offers a powerful and evocative image for a painting'