Andrew Robinson
Artist bios are often written in the third person. I’m not into pomposity and pretention, nor do I wish to distance myself from my audience. This is my work, my story, in my own words.
In 2018, after a period without much creative involvement, I decided to become self-employed and adopted a back-to-basics approach to life to pursue my creative aspirations full-time.
They say a picture tells a thousand words. Alongside this short background, I’ve included a selection of images that reflect my character, interests, and creative journey.
Background & Style
I’ve always been creative, with a lifelong passion for art and traditional craft disciplines. Following A-Levels, I worked for an engineering company as a Design Engineer and Draughtsman. As the industry shifted from physical drawing boards to CAD, I broadened my horizons by studying Design Management and 3D Product Design at the University of Salford.
That technical background—combining structural understanding with precise draughtsmanship—remains a major influence on my painting style today, lending detail and structure to the work I produce.
Inspiration & Environment
I was born in Cambridge and currently live outside the city bordering the Fens. While the relative tranquility is conducive to painting, I find myself drawn to structure and human heritage over flat, featureless landscapes.
I occasionally paint local Cambridgeshire scenes, which can be explored in the "Cityscapes & Cambridgeshire Art Gallery" section of this site.
Sports, Architecture & UK Cityscapes
Most of my portfolio celebrates sport and stadium architecture. These passion-fuelled match-day occasions are atmospheric, emotional, and deeply rooted in popular culture—capturing the euphoria, frustration, and energy of the stadium environment.
To expand my work further, I am also developing an ongoing UK Urban Cityscape collection. With 76 official cities in the UK, my goal is to capture famous architectural landmarks across every one of them using a blend of watercolour and gouache.
Beyond the Canvas
Alongside painting, I design and build my own furniture and craft Tiffany-style stained glass lamps. Looking ahead, I plan to expand my craft skills into ceramics, blacksmithing, and metal casting.
Outside the studio, I enjoy, cycling, running, walking, gardening and spending time at our local RSPB nature reserve.
I regularly share progress, new artwork, and studio news on my blog and via my andrewrobinsonart Instagram and Facebook pages—feel free to follow along.
Thank you for showing an interest in my work, and I hope you enjoy exploring the site!
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Puppo Cat: The Black Cat Makers Mark
Craftspeople and artisans have incorporated maker’s marks to their finished work for thousands of years and they are some of the earliest forms of trademarking.
Makers marks are created to help identify different artists and craftsmen’s work and to also ensure the pieces authenticity.
Whether complex or simple in design the maker's mark reveals the who, what, when, where and how of the finished piece.
Some of the earliest examples of makers marks have been found on ancient Greek pottery but they've been adopted by artists, jewellers, metal workers, stonemasons and woodworkers etc throughout the ages.
In each of my paintings you will find Puppo Cat, my black cat makers mark. He’s not always in the same pose or the same size. Sometimes he’s clearly visible and sometimes obscured but he is evident in every piece of my work. Find him if you can.
Artists Materials
Every artist has their own personal preferences/favourites when it comes to the materials and tools they use.
Most of my preferences are chosen on a range of criteria which include, performance, usability, durability, results, and cost/value for money.
As with most things, what suits one person won’t necessarily suit another so this is purely an insight into what I use and why. If I was to impart any advice regarding materials and tools I would recommend that you buy the best you can afford. If you select products from the long established brands you do generally get what you pay for.
Its easy to purchase materials online but I like to also support my nearest art shop. There's nothing better than physically choosing and comparing products. Decent art shops with staff that have good product knowledge are getting thin on the ground so its a case of use it or lose it.
Watercolour Paper
Stadium & Urban Cityscape Artwork
I’ve experimented with numerous papers and my personal favourite for stadium artworks is Saunders Waterford (Hot Pressed) 300g/ m² - 140lb. This paper is available in a “High White” (bright white) variant, but I prefer the standard white paper and use it in 16” x 12” block form.
Saunders Waterford is the superior quality watercolour paper made at St. Cuthbert’s Mill in Wells, Somerset and it comes with the Royal Watercolour Society’s endorsement.
Made from 100% cotton and sized with gelatine it’s resilient to rubbing out pencil, reworking gouache paint, applying masking fluid and tape.
Apart from using a wash or wet on wet technique for skies I work in quite a dry manner. I often use a hairdryer to speed up the drying process of skies which also limits pigments running and mixing and reduces cockling (wrinkling) so I don’t bother with the whole drama of pre stretching the paper.
Landscape Artwork
In the past I have used Saunders Waterford (Hot Pressed) 300g/ m² - 140lb but I now generally use the Cold Press (Not) 300g/ m² - 140lb variant of Saunders Waterford. It has a medium surface texture which I like, and the same performance characteristics as the hot pressed paper used for the stadium artworks. If you prefer an extreme surface texture this paper is also available in Cold Pressed Rough.
I also like using Arches Cold Pressed 640gm² - 300lb Watercolour paper in block form. Saunders Waterford Isn’t available in the 300lb weight in block form (only sheet). This is also a 100% cotton paper. Due to Its heavy weight Its pretty much ‘bombproof’ and capable of withstanding extreme wet techniques. It’s robust properties make it ideal if you like to paint ‘plein-air’ (outside)
The way paint pools on the surface of the cold Pressed textured watercolour papers help to create multi tonal areas of light and shade and can make some very interesting effects such as granulation and blooming.
Gouache & Watercolour Paint
The unique characteristics of gouache, (opaque, water based, matt finish, bold, and vibrant) are just what I’m after in my stadium artworks
I use Winsor & Newton Designers Gouache as it has a high pigment content and is easy to use. The best gouache paints are manufactured with high amounts of quality pigments to gain their opacity. Cheaper gouache, made with lower quantity/quality pigments are made opaque by the addition of white extenders like calcium carbonate (Chalk). This decreases the potential colour palette and vibrancy of colours.
Due to the high pigment content, each individual paint colour in the Winsor & Newton range does perform slightly differently when mixing, applying and drying but knowledge is gained with experience.
I use Winsor & Newton Professional Watercolour when applying washes and working wet on wet for all my skies. The 109 different colour paints in the range are made using very finely milled pigments. These paints have a fantastic translucency and are exceptionally luminous. The purest pigments ensure performance and permanence.
I use Winsor and Newton Professional Watercolour for my landscape paintings. I occasionally use some W&N Designers Gouache for areas of deep shade and for some highlights.
Brushes
I use a mixture of brushes. (Synthetic, Squirrel, Sable, and Kolinsky Sable)
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Daler Rowney Aquafine (Sable & Synthetic Sable)
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Winsor & Newton Cotman (Synthetic Sable)
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Winsor & Newton Professional Watercolour (Pure Squirrel & Synthetic Sable
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Winsor & Newton Series 7 (Kolinsky Sable)
I’m not overly precious about brushes. Kolinsky sable brushes are nice to use but I can’t square the price differential v’s performance and results, especially in the larger brush sizes.
I favour using less expensive, consistent, mass produced synthetic brushes and change them on a regular basis to ensure a sharp point rather than spending a fortune on sable brushes. Contrary to claims, brushes don’t last a lifetime. (Not in my hands anyway)
Natural sable is inconsistent and due to the handmade nature of ‘top of the range’ brushes, no two brushes are exactly the same. If you want a similar replacement brush which is your preferred shape and size you can’t just buy them unseen online, you need to hand select them in an art shop.
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