By Marc Chagall

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This method can also be seen in Woman Waiting, India (right), which I based on one of my photographs. Another example of working in pastel on top of colours laid down in a different medium can be seen in Hot Night, Senegal (page 39). I had a number of large monoprints, printed in oilbased inks, which I wasn’t happy with. Rather than scrap the prints and waste the sheets of beautiful Fabriano paper, I decided to ignore the content of the image and use the colour as underpainting for a pastel of a completely different subject.

I didn’t worry about it blending with the ink u STAGE THREE On my palette I mixed Pip Seymour cadmium yellow deep with Liquitex Acrylic Gloss Medium & Varnish to make a beautiful thin paint. Using a 1in. brush, I made fresh marks around the canvas, not being too precious about it. Glazed over the blue the cadmium yellow created a green shade. I added a touch of thick pale umber straight from the tube and swiped across the bottom left large canvases. I love the Liquitex freestyle knife. Texture Recently, after a spell at Ballinglen Arts Foundation in the wilds of County Mayo, Ireland, I’ve been attracted by the texture of sand, grit, fossils and rocks.

If you need to, shake the paper at times or hold it at an angle to encourage the most beautiful of colour flows. Watch the colour dry and see what patterns form as it does so p p I paint two to three washes like this daily, each in different colours, and it is now part of my routine. Afterwards I feel energised or relaxed, depending on the colours I select to work with. I always use blue when I need quiet time to unwind – you can too.

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