Question 1

ORIGINAL PAINTINGS and COMMISSIONS

Accepted Answer

WHY PURCHASE AN ORIGINAL or COMMISSIONED PAINTING?Original paintings are a unique, one-of-a-kind, handmade creation. No two are identical.Every painting tells a story, which gives the viewer a personal connection to my artistic inspiration and lifelong journey.My original artworks are steadily increasing in value over time as my reputation grows and business expands. As the client, you have total control. Size, background colour, species of bird and composition can all easily be "tweaked" to your exact specifications.Original works are painted using 100% museum grade archival materials and pigments that have withstood my rigorous 2 year lightfast test (please see FAQ regarding my lightfast testing below).Under proper framing and display conditions, original paintings will last centuries! Giclée prints will last decades.NONE of my paintings are created using AI (artificial intelligence) in any way whatsoever. From taking my own photos to the final signature, you will receive work that is a cumulation of over 55 years' practice and dedication from my own hands. LET'S GET STARTED!In line with standard practice, my fees for original paintings and commissions are calculated per square centimetre of actual artwork. This ensures clients receive an accurate and consistent quote prior to commencement of painting.Regardless of original paintings being purchased through me directly (as a private commission) or though Morpeth Gallery, clients always pay exactly the same for the (unframed) work. ARTWORK FEESFor artwork that utilises a fair amount of airbrushing: $3.60 AUD per square centimetre.This is because airbrushing is a relatively quick process, therefore the overall time to complete a painting is significantly less, as there is less surface area remaining for painting.For artwork that has NO (or under 10% surface area) airbrushing: $6.00 AUD per square centimetre.This is because artworks mainly "brushed in" take significantly longer, often double the time for a similarly-sized work created with an airbrushed background.To keep everything simple and tidy, BOTH these artwork rates factor in and FULLY INCLUDE :Research of the species and habitatPhotography of the birds and habitat which will be used as referenceMock-up of the composition using basic editing softwareClient liaisonMasking and airbrushingPaints and materialsActual painting time ADDITIONAL COSTSFraming, freight and insurance are additional costs payable by the client. However, I am happy to provide and post artwork unframed.Photo LicensingThe majority of my work uses photos taken by me. However, occasionally I may need to source and obtain permission to use other reference photos not taken my me.
Photo permissions and licenses usually require payment, the cost of which will be added to the overall commission price.THE LEGAL STUFFOnce composition and size of the commission are to the client's satisfaction, a contract will then be sent, which must be signed by both client and artist prior to commencement. A 25% non-refundable deposit (of the unframed artwork total) is required. Please contact me directly for any further information.

Question 2

TECHNIQUE and MATERIALS

Accepted Answer

Frances' artworks are created primarily in watercolour with small touches of opaque white gouache (for details such as the reflected light in a bird's eye, etc). Preferring the translucency of watercolour, "coloured" gouache is rarely used, due to the chalky and flat nature of the pigment when dry.
Backgrounds are airbrushed using either liquid acrylic or watercolour. Using  the tiniest of brushes (size 000), her elaborate paintings may take around 13 to 297 hours to complete. Many of the details are so fine they may only be seen with a magnifying glass.

Ensuring the longevity of her work, only the highest quality professional artist materials are used. Only pigments that have withstood Frances' rigorous 2 year lightfast test are used. For the last decade or so, she has used 2000gsm (8 ply) Rising museum board for the ground. This is an archival quality board, buffered against acid migration and deterioration and contains no optical brighteners.

From February 2026 onwards, she will now be painting on FABRIANO ARTISTICO 640gsm Hot Press Extra White.
This is a 100% cotton, acid-free, archival and a superbly fine surface which captures all her astonishing detail. The reasons for the change are, namely, that museum board isn't designed for watercolour application and isn't sized, meaning watercolour washes sink in rapidly, and may look a little duller than on sized paper. The surface is also exceptionally fragile, tearing very easily when removing masking film or fluid.
However, this doesn't mean the remaining sheets of museum board will go to waste! Using archival wheat flour paste as advised by an art conservator, Frances will be mounting each Fabriano sheet to a matching-sized sheet of museum board for extra rigidity and strength.

All original paintings are professionally framed to the highest conservation standards, using archival quality 100% cotton matting with either museum glass, UV glass or perspex for glazing, which cuts out between 70% to 99% of damaging ultra-violet rays.

Question 3

What is the difference between a limited edition print and an open edition print?

Accepted Answer

LIMITED EDITION PRINTS are limited to a small press run. Once the quota of prints is sold, no more prints of that size will be produced. This increases their value. Every limited edition print is individually signed and numbered by the artist and comes with a signed Certificate of Authenticity. To assist with framing, a generous border of 5cm or wider surrounds the image.  With a few exceptions, the artwork is reproduced at 100% (same size) as the original work to keep the integrity of the original.

All my original artworks offered as limited edition prints are printed using the giclée printing process.

A giclée print is the closest duplication of an artwork that is physically possible. The word “giclée” is a French term, which when translated means “to squirt out”. It refers to the way an inkjet printer works – squirting or spraying the ink when printing artwork.

The original painting is scanned at an astonishing 600dpi and colour-corrected. This may be a lengthy process, as watercolour naturally employs delicate tints that are not easily replicated.

Printed at Lucent Imaging, Canberra, giclée prints are created using the amazing Canon imagePROGRAF printer using 12 colour Lucia PRO pigment inks to create exceptional results. For longevity and quality, they are printed on Canson Infinity Edition Etching 310gsm; a superb archival, acid free 100% cotton rag with no optical brighteners added. 
 
OPEN EDITION GICLÉE PRINTS are printed in exactly the same way on identical paper stock as a limited edition giclée print. The important difference is that open edition giclée prints don't have a limited press run, will not be signed and numbered by the artist and do not come with a Certificate of Authenticity.
Unlike limited edition prints, open editions may be cropped slightly to fit the aspect ratios of suitable commercially available frames. For these reasons, these prints will be slightly less expensive than their limited edition counterparts.

To see Frances' recently added page of open edition giclée prints, please click below!

OPEN EDITION PRINTS are, as the name implies, printed in open numbers often in the thousands. They are not signed and numbered by the artist, and don't come with a Certificate of Authenticity. They are usually printed via offset lithography, using paper of any degree of weight or quality. They are NOT printed via the giclee printing process.

The only open edition print I have for sale on this website is "Waiting For The Rains" (Eastern Rosellas). 
Other examples of open edition prints are those that may be purchased through print on demand websites such as RedBubble and Fine Art America.

Greeting cards are another example of printing a tiny open edition print!

Question 4

How lightfast are watercolour paints? I've heard they are prone to fading.

Accepted Answer

There seems to be a collective impression that watercolour is fugitive, wishy-washy and prone to fading. This is an UNTRUE and absolutely false assumption!
Indeed, some pigments are fugitive, but the discerning artist will be educated in the chemical components of the pigments they use and choose wisely.

As a professional artist, using top quality paints of the highest possible lightfastness is absolutely imperative. There are various ways that lightfastness is rated, from the "blue wool scale" to the ASTM (American Society for Testing and Materials). However, for many technical reasons that there isn't space to explore or explain here, the best lightfast test is the one you conduct yourself.

Over the course of 2 years, I conducted my own lightfast test using EVERY paint, liquid acrylic and liquid watercolour I currently own.

THE RESULTS ARE NOW IN!

Please see the results pages below this one in FAQ ↓

Question 5

WATERCOLOUR Lightfast test results

Accepted Answer

Over the course of 2 years, I conducted my own lightfast test using EVERY watercolour I currently own.
Every pigment was painted onto acid-free watercolour paper in four strengths. This is because masstone (the highest concentration) of some pigments may prove lightfast, while weaker dilutions may fail, or vice versa.
Each sample was sliced vertically through the centre to create both a test strip and a control. The test strip was placed in a north-facing window (which received as much direct sunlight as possible) for 2 years continually, being checked at regular intervals of 3 months, 6 months, 1 year and 2 years. All control strips were placed in a black cardboard envelope, sealed, and put in a drawer for 2 years. The test was conducted from January 2023 to January 2025.

The results were amazing.
Of all my watercolours, only a few had faded slightly. These being:
Cadmium Free Yellow Pale faded in dilution only after 2 years. I bought this colour as a safer alternative to genuine cadmium to use in an airbrush. I've never used this colour. Interestingly, Cadmium Free Lemon was superbly lightfast. This is why artists must do their own testing!
Olive Green seemed to lose the yellow component of the mixture. I suspect PY65 is the culprit.
Buff Titanium was a surprise. Made from the usually inert Titanium white. Slight discolouration.
Jet Black Gouache. Wonderful in masstone, faded in dilutions. PBk1 is unstable. 
Art Spectrum Spectrum Deep Red Liquid Acrylic contains the disastrous PR170. Marketed as ASTM 1. Started to fade after 3 months.

Pigments that are lightfast over 2 years have proven their stripes and should remain in their inert, lightfast state for centuries, particularly if the original work is framed with UV protecting glaze and museum quality matting.

NOTE: The centre strip appears to be slightly lighter. This is due to the natural fading of the PAPER that was used after being in a north-facing window for 2 years.

↓ PLEASE SCROLL DOWN TO SEE ALL EIGHT PAGES OF RESULTS ↓

Question 6

OTHER WATERMEDIA Lightfast Test Results

Accepted Answer

Over the course of 2 years, I conducted my own lightfast test using the pigments I airbrush with. These include Schmincke AquaDrop, Schmincke Liquid Acrylic, Liquitex and Amsterdam liquid acrylic.
Every pigment was painted onto acid-free watercolour paper in four strengths. This is because masstone (the highest concentration) of some pigments may prove lightfast, while weaker dilutions may fail, or vice versa.
Each sample was sliced vertically through the centre to create both a test strip and a control. The test strip was placed in a north-facing window (which received as much direct sunlight as possible) for 2 years continually, being checked at regular intervals of 3 months, 6 months, 1 year and 2 years. All control strips were placed in a black cardboard envelope, sealed, and put in a drawer for 2 years. The test was conducted from January 2023 to January 2025.

The results were a real eye-opener.
Of all my other watermedia, most held up beautifully over 2 years, with only a few disasters. These colours, fortunately, were rarely used and have since been discarded.
Amber, Olive Green, Indian Yellow, Gold Ochre, Olive Green and Brown Brazil all started to fade after 3 months, progressively getting worse over time. The culprit is PY83. 
Aqua Drop Vermilion Red, containing PR112 often marketed as "lightfast" by manufacturers, is extremely unstable.
Neutral Grey faded to mauve. This is surprising, as the component pigments are all extremely lightfast. This highlights the importance of home testing.

Pigments that are lightfast over 2 years have proven their stripes and should remain in their inert, lightfast state for centuries, particularly if the original work is framed with UV protecting glaze and museum quality matting.

NOTE: The centre strip appears to be slightly lighter. This is due to the natural fading of the PAPER that was used after being in a north-facing window for 2 years.

↓ PLEASE SCROLL DOWN TO SEE ALL EIGHT PAGES OF RESULTS ↓

Question 7

Do you paint with other mediums?

Accepted Answer

No.

Watercolour has been my first love for decades. Although it's probably more accurate to say I paint in watermedia. The main body of work is watercolour, but I will use touches of white gouache (for small highlights) with airbrushed backgrounds that are either watercolour or liquid acrylic.

Watercolour, gouache and liquid acrylic are all water soluble, which categorises them as watermedia.

Question 8

Do you paint other subjects?

Accepted Answer

Yes!

Birds are my favourite subjects to paint, but I am happy to take on pet portraits or other subjects. Please contact me directly for further enquiries.

Question 9

Do you teach art classes in person or online?

Accepted Answer

I'm incredibly flattered that many artists and members of the public ask if I teach. Thank you for such amazing support.

However, I'm not offering classes at the moment.

The main reason is that I really need precious time to focus on creating my paintings. The work is incredibly slow and time-consuming and there are always more paintings that need to be finished yesterday!

Furthermore, because the work is very detailed and intricate, I feel that online lessons wouldn't really be of value to the student simply because of the limitations of resolution via a screen. To set up high-resolution cameras to "hone in" on what I'm doing is something I really don't have time or resources to do.

My technique is also painfully slow. An hour lesson would only cover the "how to" of painting a small eye!

At the end of the day, art is really something you teach your self though many hours of practice, inspiration from the work of others and a sheer love of the subject.

Question 10

Can I reproduce your artwork for my own or commercial use?

Accepted Answer

ALL images on this website (including the "bird and brush" logo) are strictly protected by international copyright law. No image on this website may be used for commercial or non-commercial purposes without prior written permission, a licensing contract and payment of royalties or fees to Frances McMahon.

Images must NOT be downloaded, copied, printed, saved, used on websites, transferred or reproduced in any way in any medium without written permission from Frances McMahon.

For further terms and conditions, please read the TERMS and LEGAL page on this website.

FREQUENTLY ASKED QUESTIONS