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 with their preferred size prior to commencement of painting. Regardless of original paintings being purchased via private commission or though Morpeth Gallery, clients pay exactly the same for the (unframed) work. I currently have TWO differing rates, depending on the complexity of the artwork. Paintings that utilise a lot of background airbrushing (which is done fairly quickly) are currently charged at $3.40 AUD per square centimetre. Artwork that has extensively more work in the background such as landscapes, trees or large amounts of leaves/flowers will be charged at $4.00 AUD per square centimetre. These rate(s) INCLUDE everything needed to complete an original; from my time taken to photograph reference; client liaison; mock-up of compositions; paints and materials; airbrushing and painting. It's all factored in, which keeps things simple and tidy! Framing, freight and insurance are additional costs payable by the client. However, I am happy to provide artwork unframed. Please contact me directly for further details.

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 and will not be signed and numbered by the artist. Unlike the limited edition prints, open editions may be cropped slightly to fit the aspect ratios of suitable commercially available frames. 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!

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 ↓

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 ↓

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 ↓

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.

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.

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.

All images on this website (including the crimson chat logo design) 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.