Why artist selected wall prints feel at home

Welcome to my blog, I am a professional cartoonist, illustrator, artist and writer. My site here is intended to promote a range of works that I think will look good on the wall. Included on my site is not just my own work, but some works by other artists whose work I love and hope to bring to a wider audience. I hope you enjoy your tour of my site and welcome any feedback. Prints are fulfilled by The Print Space for prints on paper, they are one of the UK's premier fine art print companies, and there is also the option of buying some images printed onto canvas, these are fulfilled by Printumo. All prints are available worldwide. That is the simple idea behind artist selected wall prints: work chosen because it has something to say when you live with it.

Why artist selected wall prints make a difference

A wall does not need filling for the sake of it. Most of us have seen enough bland hotel art, generic landscapes and anonymous graphic designs to know the difference between an image that merely matches a cushion and one that keeps catching your eye.

Artist selected wall prints begin with a point of view. They are not gathered by an algorithm or picked because they happen to fit a fashionable colour palette. They come from artists whose work I know, admire and would happily put on my own wall. That does not mean every image will suit every room. It means each one has earned its place through character, composition and the simple pleasure of looking at it.

There is a useful balance to be had here. A very loud image can be brilliant above a plain sofa or in a hallway that needs some life, but perhaps less suitable in a small room already full of pattern. Equally, a quiet charcoal drawing can hold a room together without demanding attention every minute of the day. Good art does not always shout. It just has enough in it to remain interesting.

Buildings with a bit of history in them

I have always had a penchant for old buildings, sheds, corrugated iron and industrial metalwork. There is something particularly satisfying about a weathered wall, a bent roofline or a collection of patched panels that have plainly done a hard job for many years. These subjects are not polished, but that is exactly the point.

Corrugated iron has its own rhythm. Rust, shadow, faded paint and repeating ridges can become almost abstract when you look closely. Old industrial buildings often have a kind of accidental design that would be very difficult to invent from scratch. A leaning shed door, a battered sign or a row of windows can make a stronger picture than something arranged too carefully.

Much of this work begins with photographs. I take pictures when I am out and about, then return to them in the studio, usually when the weather is less inviting. Some images stay as photographs, while others become paintings, drawings or digital works. The change of medium matters. A photograph can preserve a particular piece of light and surface detail, while a drawing can strip a place back to its essential shapes and mood.

The Gloucestershire countryside is a continuing source of inspiration, especially its less tidy corners. The River Severn and its surrounding sites offer big skies, changing weather, working structures and a sense that the landscape is always moving between rural calm and industrial memory. A field, a riverside building or an old shed can look completely different from one month to the next. That variety keeps the subject alive.

From Los Angeles signs to canvas prints

Not every strong image comes from the countryside. Los Angeles has its own visual language, particularly in its large advertising signs, streets and sun-faded commercial details. These are not just records of a place. They are graphic objects in their own right: large lettering against open sky, bold shapes, odd juxtapositions and that unmistakable sense of scale.

The Los Angeles images are available as photographic prints, which suit the crispness of signs and street scenes particularly well. Some are also offered as canvas prints. Canvas can be a good choice for a larger wall, where the image needs a little physical presence and a less formal feel. Paper prints tend to reward closer looking, especially where fine detail, pencil marks or subtle tones are part of the image.

Neither option is automatically better. It depends on the picture, the scale and the room. A clean, framed paper print may be right for a study, landing or gallery-style arrangement. A larger canvas can be ideal above a bed, sideboard or sofa, where it can carry the wall without the need for a heavy frame. The important thing is that the image still looks good at the size you choose.

New work, and artists worth sharing

The collection is always growing rather than standing still. New charcoal drawing images have been added, bringing a different sort of texture and directness to the range. Charcoal can be wonderfully unforgiving. It shows the hand, the pressure of the mark and the decisions made along the way. For anyone who likes black and white work, it offers depth without unnecessary fuss.

There are also new photographs, including fresh observations of buildings, landscape and the visual oddities that turn up when you pay attention. Photography is often described as instant, but finding the right image rarely is. It depends on noticing where shapes meet, waiting for light or simply seeing a familiar place from an unfamiliar angle.

I am also pleased to include new exciting works by Steve Parker. Bringing in guest artists is not about filling out a catalogue. It is about sharing work that has its own voice and broadening what is available without losing the personal nature of the site. If I would recommend an artist to a friend, I am happy to recommend them here.

Buying prints to live with, not just look at once

It is worth thinking about where a print will sit before choosing it. This is not a rulebook, just a practical way of avoiding the common mistake of buying an image you like on a screen but never quite connecting with on the wall.

Look at the room's natural light, the distance from which the work will usually be seen and the colours already doing the heavy lifting. A dark drawing can be excellent on a pale wall. A bright Los Angeles sign may bring needed energy to a neutral room. Landscape work can give a compact urban flat some breathing space, while an industrial subject can provide contrast in a more traditional setting.

Do not be too concerned with making everything match. A good print can work because it adds a little friction. The best rooms usually contain a few things that are not entirely expected: a contemporary print alongside old furniture, a rough shed drawing in a smart dining room, or a sunny street photograph in a quiet hallway.

The works are not limited editions. That keeps the focus where it should be - on finding an image you genuinely want to live with, rather than on artificial scarcity. Every print is produced to a high standard, whether you choose fine art paper or canvas, and is made for people who want proper artwork on their walls without the games that sometimes surround buying art.

Take your time with the images. The right one is often not the one that makes the biggest first impression, but the one you can imagine noticing afresh on an ordinary Tuesday morning.