Young Artist: Beth Pritchard talks inspiration

New Voice Projects recently caught up and sat down with aspiring writer and artist Beth Pritchard. Here she answers our questions, encapsulating her thoughts on art, literature, style and progression.

Where do you find your inspiration?

I like to go somewhere different, somewhere I’ve not been before. Being in a landscape where every detail is something new to notice helps me think about how everything fits in together, yet creates a scene that could be so contrasting if you look at it from a new angle. A woodland might not have a centrepiece until you find a rich red peony; the sky might be blank but the skyline is full.

What would you say to people with art block?

Sometimes inspiration can just be a burning feeling instead of a tangible thought, and that’s fine. Personally, I love to mess around with colour theory and shading. I’ll start with just a circle of red, and shade it in with darker red-purples and highlight it with glowing oranges and yellows. Seeing your circle transform into a sphere can inspire you to start sketching, drawing or painting again.

What are your favourite medias for art?

Acrylic paint is definitely my favourite. Different colours blend so easily and so well, it’s almost a guarantee every colour you blend will be different. I also love the different ways in which you can apply it: blended and smooth with a paintbrush, layered on with a palette knife or dabbed on with a sponge. My second favourite is sketching with a H pencil.

How do you plan on developing a style?

However much I hope a definitive style will just come naturally, I do know I’ve got to work for one unique to me. I look for inspiration in artists online whose style I admire, and try to mimic certain aspects of their work in some of my own. In the end, those mimicked aspects will develop as I adapt them over time, and soon become wholly my own.

What are your final thoughts on your finished cubist-style piece?

I’m really happy with the end result. Despite sacrificing some of the vividity of the colours, the dark charcoal shading did help to distinguish one object from the next in a way that the colour couldn’t. If I had to do it again, I’d make sure each line was sharp and clear, not crossing out of where it should be.


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