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I’ve always loved drawing, and would enter lots of competitions when I was a child. Beatrix Potter was my favourite, and in one of the competitions I had to include all of her animals in one picture, so I put them all in a wood, strolling through the trees and for this I won a book! I also enjoyed sewing and made things; hoarding scraps of felt, beads, and basically anything pretty. I mainly used coloured crayons or pens for artwork, so that I had more control over detail.
At the age of 16 I was accepted into Bournville College of Art to study for a Graphic Design course. It was very varied and taught me various new skills. This was when I first used Designer Gouache and got used to its various qualities. I later organized exhibitions at local venues and sold work to The Stable Gallery, London, where I had my first major exhibition. I worked as a window dresser for two years, but was always writing stories and painting in my spare time. Throughout my working years I constantly showed my work to publishers and The Halcyon Gallery in Birmingham regularly bought my work. As a result of this Washington Green asked me for a set of four small cat paintings and consequently I embarked on a publishing programme with them.
Inspiration for my work can come from anything and everything! I usually have a small drawing book with me when I’m out, and often make notes on colours and designs etc. I’m an avid collector of all kinds of objects, vintage hats, purses, and antique china, which often turn up in my paintings. I love the delicate nature of old faded fabrics, lace, and beaded jewellery. My work has a nostalgic feel, which reminds you of childhood days, reading the Beano comic, or sorting through Grannies button tin. Photographs are a good source of reference material for me. I use subjects such as the brickwork of an old building or beautiful patterned tiles in fishmongers.
I’ve always been fascinated by fine detail; looking at a picture and finding more and more tiny objects that you didn’t notice at first glance; a tiny glass marble, or a bright ladybird under a leaf. As a youngster I collected old children’s books and pictures by artists like Arthur Rackham, who did fascinating detailed pictures of fairies, goblins, and trees full of branches with strange faces peering out of every root. I suppose my first recognition of wanting to be an artist was seeing Nicola Bailey’s work from the ‘Tiger Voyage’. Her work is so rich with colour and detail it’s almost like looking at a beautiful antique fabric. Needless to say I’ve since collected all of her books, and many other books by illustrators that I admire such as Kathleen Hale, Kit Williams, and Sara Midda.
I also like traditional British icons such as road signs, post boxes or telephone boxes. I try to draw on everyday occurrences that happen to us and then substitute humans with cats, queuing to use the phone or lazing around on the sofa eating chocolates.
Once I have an idea the painting starts with the research, which usually means sorting through my files for reference material that will help to get details accurate. I keep magazine articles on interior design, antiques, architecture and fabrics etc. I love this part of it and often spend hours in the library looking for information. I’m getting used to taking my camera with me wherever I go and often take pictures of rusty iron gates, old paintwork flaking off a door, post boxes etc, all the traditional sort of things that we see everyday. I do take photos of cats, but I think that I’m so used to looking at them and the way they move, that I very rarely use reference when painting them.
I work out the idea for the painting in a sketchbook and when I’m happy with it I’ll cut the watercolour paper to size and will draw up the finished picture using fine pencil lines.
I always start painting the background first, then slowly work forward till only the cats and mice are left. I decide on their colours to fit against the tones of the background. I use Designers Gouache paint, which gives me a wide range of techniques. I started using it at Art College and have been hooked ever since! It’s a water-based paint, which can be thinned down to various degrees, from a thin translucent wash, as in traditional watercolour to a rich dense tone. If I’m painting the fabric on a cushion I put on a wash of colour then build up the tone and shape with tiny dots of colour to create form. It’s the same for cats; only their fur is painted in small flecks exactly as it would grow. I use small sable brushes and just a few large ones for the background. I’ve been known to use a decorator’s brush for a large expanse of sky. I tend to work on one painting at a time and get thoroughly engrossed. Sometimes to the extent that I don’t want it to ever be finished, however, I soon get an idea for the next one and it starts all over again.
I don’t know what Beatrix Potter did, but I feed the birds and clear out the back bedroom. What is it about delaying the start of work? Most artists and writers I know have the same problem.
Once I’ve done all the usual jobs around the house I’ll settle down at my table with a cup of coffee and carry on with whatever painting or drawing I’m working on, while listening to Radio 4 of course – I couldn’t live without it!
Next doors cat usually comes in to see me during the day, and it’s an excuse to potter around the garden and do a bit of weeding. You do have to be disciplined to some extent, but I still think I’m lucky being able to work from home and arrange my day to suit me. If I go out I tend to work later in the evening to make up for lost time. I have files of magazine cuttings for reference, but if I need something special I’ll take a trip to the library.
My work is usually planned, so once the initial drawing is done I can settle down to paint. I have lots of other projects on the go as well, so once the work is done and I have cooked dinner, I’m either painting furniture, sewing or taking an endless supply of cuttings from the garden!
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Linda Jane Smith's Work
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