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These two paintings are from a series I made showing phases of the lunar eclipse.
For impact they rely upon the contrast between transparent and opaque washes and also the contrast between strong and delicate tones. Technically they were difficult to make: to build up this degree of gradated colour in watercolour demands that several washes should be superimposed upon one another. So to avoid disturbing the paint it is important to choose pigments which stain the paper most permanently. Careful study of the manufacturers colour chart will tell you which pigments stain and with plenty of drying time between washes and with the softest brush and the lightest touch you can flood wash upon wash without the first layers lifting.

Many ancient stones circles were built in alignment to the moon and I love the idea that when we look at a view such as this we are sharing with our ancestors in what is perhaps one of the few unchanged experiences.

This is one of Dorchester Abbey’s gems: C14th century tracery, sculpture and stained glass uniquely interwoven into a work of art and dedication. The placing of this window adds to its grandeur. Being set into the north wall it is obliquely illuminated from behind during the first part of the morning, then later the east window casts it with dapples of coloured and white light which shift along to illuminate differents aspects as they go.

One of the joys of painting is that different moments in time can be brought together into the one image and so here I am showing you the coloured glass as illuminated from one point whilst the east window plays its part at the same time.

Creating contrasts within a picture can add to its excitement; we can use light and shade, complimentary colours, alternating tones and so on. Here I have chosen to use soft marks next to harder ones. Look at the top right hand quarter of the painting; the tracery is described in sharp focus whilst the dappled light has been described with a wet-in-wet technique and then repeatedly sponged and lifted to further effect.
The sharp and soft go a long way towards describing transient light on solid form.

Rebecca was shown making the sketch for this painting on The Heaven and Earth Show, BBC 1