Art can be a really personal and rewarding way to express your love of the coast. So we asked lifelong RNLI supporter and top artist Glyn Macey for his tips on creating maritime masterpieces

‘ When I was 12, our community was devastated by the loss of the Penlee lifeboat. My best friend then is now the coxswain. So I have always wanted my art to help the RNLI – lifeboat crews and lifeguards.’

Glyn Macey can often be found roaming the harbours, moorland and coast of his native west Cornwall, sketchbook in hand, recording the details of daily Cornish life and history. That’s the inspiration for his studio paintings which, since 2000, have featured in galleries and collections around the world. They have also raised over £45,000 for the RNLI – Glyn has frequently donated a percentage of sales
to our charity. ‘I use a variety of techniques to capture the essence of the coast and the people who live in it – anything I have to hand really,’ says Glyn. ‘When I first took up painting full-time, I asked for advice from the late Penzance-based artist John Miller. He told me to paint for myself and hope others like it. And, fortunately, they do!’ Travel light Instead of carrying a supply of water for your painting, pack a simple container to fill with water when you get to the coast. Think seawater, streams, rain-filled puddles or shops.
 'Found’ water also helps to tie your work to its surroundings. Don’t worry about the seawater longevity myth; Turner used seawater and his coastal watercolours are still looking good! Use a limited palette Why carry and struggle with 30 colours when you can work with just three? Choose your colours before you set out or work with the few colours that you already have with you, which can lead to exciting, unexpected results. I use W&N Artist Acrylic Colour and Liquitex exclusively.

Reduce the number of brushes

Do you need an army of brushes when painting studies on location or just one or two? Or even any brushes at all? You could try creating a painting using found materials. Get a good easel A good Pochade box can be really useful, not only to pack your items into but also to act as a small easel. And for larger plein air work (reproducing the actual conditions you see), a box easel, sometimes called a French easel, is fantastic. My favourite is my bamboo windrush easel.

Look for treasure
I always carry a small handful of freezer bags. These are for collecting materials for later use and inspiration – shells, sand seaweed or beach junk. For studio work, open the bag, close your eyes and take a good sniff, and you’ll be transported back to the location instantly. If you have a smart phone, record sounds such as waves, gulls and boats. Enjoy your surroundings Work quickly and with energy, the end results will have much more life. Detail isn’t as important as atmosphere. Finished is better than perfect. Unfinished is fine too! Have fun painting outside and let the elements – sun, rain and wind – influence your process. Capture the essence of your surroundings. And celebrate

Words: Rory Stamp/Bethany Hope | Photo/Painting: Glyn Macey