David Poulter

David Poulter


David Poulter was born in Sunderland in the U.K. in 1965.
He studied at Sunderland University and gained a Diploma in Art.
And Bretton Hall, Leeds University where he gained a BA Hons in Art.

He has worked as a freelance artist and exhibited in various exhibitions. He has also had various commissions.

1989: Private Exhibition, Arthur Anderson & Co., Leeds.
1993: Private Exhibition, Arthur Anderson & Co., Manchester.
1993: Private Exhibition, Nicholson Design, Manchester.
1996: Mixed Show, Eight Clifton, York, Art Agent Meg Speed.
1996: Mixed Show, Stephen Jones Theater, Scarborough.
1997: Exhibitions at Ballincollig, Fermoy, Charleville, County Cork Ireland. Cork City Council.
2000: Exhibited with Art Trail, Cork City Council.
2002: Private Gallery Batavia, Fermoy, Ireland.
2003: Artist in residence Glanworth, Cork Ireland.

He has work in private collections and one large painting in the British National collection:




The works’ subject matter is largely landscape and nature combined with light effects. The paintings are of various sizes from the very small to the very large. The message is not just a pretty picture though. From a moral standpoint it is about natural or realised beauty- something that is being eroded at an ever faster pace in this modern era.

The medium used is acrylic/watercolor on paper/ board and canvas.

He has lived in the UK, Ireland and now resides in Taiwan.
Since moving to Taiwan he has experimented with digital work and has had a fiction novel published.




The ability to distinguish colours differs amongst animals. And can differ amongst humans. To some extent the ability in humans is sometimes varied. But the average person is trichromatic, with a potential to perceive up to a million “colours.” Some bird and butterfly species are pentachromatic with a potential to perceive up to ten billion “colours.”

Artists as colourists generally achieve the effect they desire by using a whole range of colours, which have various names and specifications. Indeed different brands of paints have their own colours and ranges.

I decided to take an opposite approach. Why not limit my palette to the “primary colours” and mix everything myself? From a theoretical and practical angle I surmised this method would simplify and unify a composition/painting – yet conversely have an incredibly vast potential for subtlety and variation. Just like real life.

A hue is a color- most artists/colorists use different pigments.
A shade is the darkness of a color – most artists/colorists add black.
A tint is the lightness of a color – most artists/colorists add white.
A tone is the intensity of a color – most artists/colorists add gray.

So for practical purposes I use a white pigment along with the “primary colours” to achieve any tint variations. Anything else I consider I can mix myself.
Therefore the three “primary colours” – yellow, red and blue, plus white are my total palette.
The majority of people would suggest the primary pigments are yellow, red and blue.

Yet the reality is the primary colours/pigments are akin to the angles of an equilateral triangle.

For a set of three essential colours to create perfect secondary colours – and tertiary colours and so forth – a balance is essential. Just as an equilateral triangle is balanced – with perfect symmetry.

Consequently the choice of what yellow, red and blue is crucial

I use a pure yellow, a magenta based red, and a cyan based blue. Along with titanium white.

The science between perceived colour and light is scientifically established. My paintings hopefully reveal the genuine wealth of this planet and “reality” as well.