Emeli Theander won a Runner Up Award in the Jackson’s Art Prize this year with her work Beasts. In this interview, she talks about the counterbalance that exists in each of her paintings, the meditative process of mixing oil paint, and how she learned to trust the process, to become a better painter. Above image: Emeli in her studio Photo credit: George Baroud   Beasts, 2019 Emeli Theander Oil on canvas, 160 x 120 cm | 62.9 x 47.2 in   Emeli Theander: Cut Out of a Dream   Josephine: Could you tell us about your artistic background? Emeli: I grew up in Sweden, where I went to a ..read more

Carborundum printing is an accessible, direct, and highly expressive printmaking technique. In this article, I will look at its development, its unique properties, and how you can incorporate it into your practice. If you want a printmaking process that is inherently very painterly and bypasses a good deal of process in creating the plate, then carborundum printing might be for you.   Jackson’s Coarse Carborundum Powder   Introduction to Carborundum Printing What is Carborundum Printing? If you search for information online relating to the history of the invention of carborundum pr ..read more

Plein Air painter Valérie Pirlot is known for her dynamic and expressive landscapes. An associate member of the Royal Institute of Oil Painters, member of Bath Society of Artists, and founding member of the British Plein Air Painters group, she was invited to be one of four official artists at the Glastonbury Festival three years ago and has been returned to paint at the event every year since then. In this conversation with Lisa Takahashi, Valérie shares her experience of painting at Glastonbury Festival, emphasising that a great painting can only be painted if you have a real urge to paint t ..read more

This month, we see inside the sketchbook of Andrew Torr, winner of the Jackson’s Art Prize 2024. Here, Andrew shares how, through his sketchbook practice, he investigates compositional ideas for his paintings, keeps his drawing skills sharp, and the benefits of working on sketchbooks with a toned ground.     Inside the Sketchbook of Andrew Torr I have four or five sketchbooks on the go at any one time but my go-to in the studio is a hardcover, ring-bound, A3, Winsor & Newton heavyweight cartridge pad. The hardcover is important; it means that I can use the pad on my lap or a tab ..read more

On Ask an Artist Podcast, co-hosts Peter Keegan and Tom Shepherd explore the world of being a working artist. With the help of practicing artists and leading industry experts, they share advice on a wide range of topics, from managing social media and finances to nurturing artistic confidence and maintaining a work-life balance. Peter and Tom invited Evie Hatch, materials specialist and presenter of Jackson’s Pigment Stories series, to discuss where artist pigments come from, how artists can harness their unique characteristics, and why colour is a subject of endless fascination for creatives ..read more

We invited John Cogley, the owner and CEO of Daniel Smith, to the Jackson’s London Studio for the latest instalment of our In Conversation series. In this film, he shares insights into the history of the company, how they source rare and unique pigments, and the science behind making artist colour.       Contents – In Conversation with Daniel Smith 0:00 Introduction 0:12 How did founder Dan Smith start producing art materials? 1:18 Dan is an artist himself, can you tell us more about his work? 2:41 How did you get involved in the company? 5:01 Tell us about the initial range of ..read more

Eric Ravilious (22 July 1903 – 2 September 1942) was a watercolour painter, book illustrator, and wood engraver, whose work traversed the boundaries of fine art and illustration. As well as his famous book illustration for the Wisden Cricket Almanack, and his designs for Wedgwood Pottery, he is often credited with being one of a handful of painters who revived the popularity of watercolour painting in Britain during the 1930s and 1940s. He is best known for his airy landscapes of the Sussex Downs, as well as his scenes from the Second World War, which he made as an Official War Artist.   ..read more

Alessandra Acierno won Second Prize in the Jackson’s Art Prize this year with her oil on canvas work Leaving The House, Followed. In this interview she discusses her low-dark colour palette, the ebbs and peaks of her studio practice, and the materials she can’t do without. Above image: Alessandra working in her studio.   Leaving the House, Followed, 2023 Alessandra Acierno Oil on canvas, 127 x 117.5 cm | 50 x 46.2 in   Alessandra Acierno: Paintings That Hide in Plain Sight   Josephine: Could you tell us about your artistic background? Alessandra: Art has always been a part of ..read more

Cadmium Yellow (either PY35 or PY37 in the pigment index) is a cadmium sulphide pigment developed in the 19th century that can range from cool lemon to warm orange shades. It is one of a number of yellow pigments that emerged in Europe during the Industrial Revolution, a time of rapid chemical innovation, but it is the only one that is still widely used on the artist palette today. This article examines the history of Cadmium Yellow, concerns around its potential toxicity, and explores its versatile role in colour mixing.   Michael Harding Cadmium Yellow Lemon oil paint (PY35)   Ca ..read more

Andrew Torr won Jackson’s Art Prize 2024 with his oil on linen painting Estate, which we look forward to exhibiting at Bankside Gallery in July. In this interview, we chatted with Andrew to find out more about his body of work, artistic journey, his interest in estates as a subject, and how it felt to realise he had won First Prize.   Interview with Andrew Torr, Winner of Jackson’s Art Prize 2024     Contents 0:00 Introduction 0:40 “I have three favourite subjects” 1:32 “The landscape of the housing estate says something political” 1:59 “Nostalgia and melancholy” 2:19 “I make p ..read more