Paul Cox

  1. general
  2. landscape
  3. bio
  4. work process

Paul Cox’s approach over the years has changed in that he has become braver about reorganising his subjects, architecture and perspective in his topographical work to make the images more dynamic. However the subjects of interest and his attitude hasn’t changed. Why watercolour? Paul doesn’t work with a traditional watercolour technique, he works quite loosely, allowing the brush work to define the drawing, leaving wet areas to introduce and mix new colours and tonal values. Due to the speed he generally works at, the medium can convey a gestural response to a life situation and, at it’s best, can look fresh and luminous.

Client List

Daily Telegraph & Magazine
The Times
The Sunday Times & Magazine
The Observer & Magazine
The Independent
The Guardian
The Spectator
The Daily Express &Magazine
Punch Magazine
Blueprint Magazine
Readers Digest
She Magazine
Radio Times
BBC Publishing
Company Magazine
Living Magazine
Country Life
New Scientist
Country Homes and Interiors
Vogue
Good Housekeeping
In Britain
International Living
Ogilvy and Mather
Tricket And Web
Anderson and Shepard
Royal Mail Post Office
Edinburgh University
Royal College of Surgeons
St Mary’s Hospital
British Medical Journal
Pizza Hut
Felix
Tesco
London Transport
Newell and Sorrel
Veuve Clicquot
Folio Society
Random House
Pavilion Publishing
Oxford University Press
Penguin
Heinemann
Century
Music Sales
Harper Collins
Durrell Foundation
Vanity Fair
Town and Country
Esquire
The New York Observer
The New Yorker
New York Magazine
Wall Street Journal
LA Times
The Deal
Business week
Traditional Home
House Beautiful
Conde Nast Traveller
Sports Illustrated
G Q Magazine
Baltimore Sun
Atlantic Monthly
Chatelaine
Savour Magazine
Delta Sky Magazine
American Way
Golf Illustrated
Forbs Magazine
Spy magazine
Swing Magazine
Boston Magazine
Private Clubs Magazine
Travel and Leisure magazine
D Magazine
St Martins Press
Eerdmans Publishing
Clarkson Potter
Vasa Collage
John Hopkins University
Bingham Young University
Spence School for Girls
Convent of the Sacred Heart
Boston College
Guest Informant
Chase Manhattan Bank
Nike
AT&T
Madison Square Gardens
Givenchy

Watercolour, line and wash is my medium of choice. It is most suited to the way I like to work – quickly laying down washes whilst introducing and mixing new colours into wet areas. This enables some remodelling and adjustment but requires very fast responses. There is very little over painting, as this tends to deaden the luminosity and diminish the vibrancy of the colours. I also like to leave white areas to show the edges of brush strokes accentuating the sense of movement.

I work on a variety of Arches papers from heavy 600 gsm for the larger paintings and lighter weights for illustrations where I need to see the ‘ghost’ of a line sketch underneath the paper. I use Windsor and Newton colours and masking fluid to block out areas using stencils, dry brushes or sponges to create texture.

Working on location and the challenges it presents has been a major influence on how my style has developed and the medium I have chosen to work in.

When outdoors I draw with acrylic inks on a large drawing board, which I rest on my hip. I will always work standing in busy situations this helps with my choice of perspective and discourages onlookers. I have developed an all encompassing fish eye version of perspective to make it possible to be more inclusive of the whole scene and reflect more accurately how the eye reads the peripheral elements.

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