For the past 3 decades, I've been on a journey with paint. Like one of my artistic inspirations, Kyffin Williams, I've developed what you might call an obsession with this versatile medium. But unlike the strict rules of art college days, today's world of paint is a playground of possibilities.

The Changing Landscape of Paint

When I started my career almost 30 years ago, it was drummed into us to: "Never put acrylic on top of oil." It was a rule as immovable as the landscapes I painted. But why? Simply put, acrylics weren't up to the task (back then). They would repel from oil surfaces, creating a mess rather than art.

But paint has changed, really changed. The last decade especially has seen an explosion in paint technology. Now, we have acrylics that not only work with oils but bring out the best in them. It's not just about breaking rules anymore; it's about pushing boundaries with paint.

• A great example in my work of breaking these “rules” is seen in Moving Clouds Over East Head, which combines spray, oils and acrylics to achieve the depth and realism that I am always striving for. 

• And again, to create a bit of drama the layering of acrylic, oil, acrylic was essential for me as an artist, as displayed in the effect on both clouds and the water in The Isle Of Wight From West Wittering.

celebrating new possibilities

This evolution excites me, it really does. Each new product opens up fresh avenues for expression. Brands like Golden and Liquitex have revolutionised what's possible with acrylics. Their sprays, for instance, offer effects that were unthinkable just years ago.

Take the Liquitex acrylic spray - it's a game-changer for me, a coastal artist. Unlike some other sprays that can flake off oil surfaces, this one sits beautifully, adding new dimensions to my work. It's these discoveries, made through endless experimentation, that keep my passion for painting alive.

• A great example of how I use spray in painting can be seen in Passing Storm Over The Isle Of Wight From Bracklesham Bay. 

Developing a Visual Language

With these paint mediums, I'm constantly refining my visual language. It's a process of trial and error, of loving and hating what appears on the canvas. But gradually, a unique expression (and impression) emerges.  

This language isn't just about technique; it's about conveying meaning. When I paint a landscape, I'm not just reproducing what I see. I'm expressing what that place means to me, using every tool at my disposal to capture its essence.

Ultimately, if you want to develop your visual language you need to understand your mediums of choice - for me, that’s oils and acrylics. 

This evolution, this celebration of paint and landscape is told in Pink Granite At Fionnphort, Mull, which is currently on display at the Castle Gallery in Inverness, following my Solo Show there in early Spring and in Fidden II, Mull, which can be seen as part of my permanent collection at Scotland Art gallery in Glasgow. 

The Joy of Discovery

I often tell aspiring artists: celebrate paint. Embrace its quirks, its challenges, and its endless potential. Yes, 80% of the time, I might start a canvas and think it's crap! But that's part of the journey. It's in working through those moments that we grow, that we discover new ways to make paint speak for us.

Here's my advice: experiment. Try that new medium. Mix that unlikely combination. You never know - you might stumble upon your own artistic breakthrough. After all, that's what makes being an artist today so exciting. We're not just creating art; we're pushing the boundaries of what paint can do.

Every brushstroke, every spray, every layer is a celebration of how far we've come. And I, for one, can't wait to see where paint takes me next.

Some of my favourite products to work with:

• Golden acrylics

• Liquitex acrylics and sprays

• Montana acrylic spray (does not work well with oils, it can flake)

• Daler Rowney oils

• Winsor and Newton watercolours (when painting en plein air ie outside)