Artists of the Tamar Valley opened their studios. Highlights for me were:

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Roger Pyke (Callington), acrylic and mixed media incorporating relevant text (sometimes on edge of canvas). Uses photographs of local areas – perhaps projecting onto canvas? Artist not available to ask. Lots of textures.

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Oonagh Glancy (Callington), sugarlift and ink. Spoke to artist at length – uses Drypoint etching initially for her main black outlines and then uses a cardmaking press (cheap) to print several copies. She then adds detail in ink making each copy slightly different. Also uses ‘Sugarlift’ and ‘Aquatint’ processes (see this site for what they mean: http://www.blogmuseupicassobcn.org/2015/07/sugar-lift-aquatint-by-pablo-picasso-the-delicacy-of-the-etching-of-pictorial-effects/?lang=en ) Also uses a quicker and easier method of etching using sheets of acetate which she scratches her marks onto (rather than metal plate) and then prints off those – only works for a couple of prints though.

Joely Swift (Callington), stitched felted silk. Beautiful landscapes with textures eg the rock columns which stand out. Irregular shaped supports = more organic.

Paul Jeffries (Callington), mixed media. Rather muted colours for me but the textures are magnificent – carefully placed and work so well for the rough rock cliff faces.

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Rosemary Wood (Callington), mixed media. What was astonishing was her vast range of materials and techniques used – textiles, collage, resin, drawing, printing. She said she loved to play and didn’t want to settle on one style.

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Jackie Lowman (Gunnislake), mixed media. Uses acrylic inks because she loves ‘their jewel like colours’ (Jackie Lowman). I agree, I love the vibrancy they give and found myself constantly returning to use them in Drawing 1. Colour was the main focus of some of her work – woodland silhouettes over sunsets of vibrant reds and oranges. Others were landscape scenes incorporating found seeds, leaves, bark etc. And this mystical piece of ruined buildings high in the forest – imagine your own dream story for this one!

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Allie Cole (and other artists at Calstock). Prints of organic shapes, very clean and neat. Some including fabric (as above). Also Hot knife fabric cutting being demonstrated – looks like a soldering iron but with a point end – uses it to join coloured silk fabric strips together to make abstract arrangements to put on cards. Quick line will melt fabric enough to join together, slow line will cut through ie can cut shapes through some layers and leave lower layers.

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Colin Pethick (Gunnislake), oils. Colin has recently been on Portrait Artist of the Year (Channel 4) so it was great to have the opportunity for a proper chat with him in his studio. He had just begun a 1 hour portrait in oil and the likeness, especially around the eyes, was already there. He says to always use the largest pallet possible so that you’re not tempted to skimp on putting out the paint. Rarely rinses brush, just wipes quickly on rag. Uses large brush strokes, doesn’t fuss over them, if they’re not right it’s easy to go over. Uses swipe of finger to soften paint when too bold. He runs classes on fridays in this studio and has spaces! Definitely giving that a go.

Large portrait of a local fishman above doorway. Skin really looks weathered and textured. He has painted the lower eye lids watery – makes them so real.

Absolutely love this ‘simple’ still life of coffee pot and lemon. Great study of the reflections in the metal and also on the table. I need to find a coffee pot and have a go at this.