Elly Jackson
Gouache on Paper
A bold gouache portrait of Elly Jackson, frontwoman of La Roux, inspired by a striking Gay Times photoshoot.
This piece isn’t just a painting – it’s a visual anthem. A celebration of individuality, defiance, and colour, captured in matte gouache and unapologetic shapes
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🔥 The Spark: Why Elly?
Some portraits whisper. This one shouted.
The original photograph of Elly Jackson, taken for Gay Times, had that rare, electric tension. Her pose was sculptural, almost mythic. She looked like she’d stepped out of a dream and dared you to interpret it. There was elegance, yes, but also defiance. A kind of visual side-eye that said, “I know exactly who I am. Do you?”
That energy was irresistible. I didn’t want to soften it. I wanted to amplify it.
🎨 Gouache: Matte, Vivid, and Stubborn in All the Right Ways
This portrait was always intended to be created in gouache. The acrylic felt too glossy. Oil is too slow. Digital is too clean. Gouache is tactile, punchy, and gloriously matte, like velvet for your eyeballs.
It’s also a bit of a diva. It dries fast, doesn’t blend easily, and demands commitment. But that’s exactly what made it perfect for Elly’s portrait. Every brushstroke had to be a decision. No dithering. No soft transitions. Just bold shapes and confident edges.
💡 Want to try gouache yourself? I recommend starting with Winsor & Newton Designers Gouache – rich pigment, great coverage, and a joy to layer.
🎵 The Palette: Like a Pop Anthem in Paint
The colours came together like a chorus – deep reds, electric blues, and skin tones that sit somewhere between stylised and sincere. I leaned into the contrast, letting Elly’s suit blaze against the background like a visual shout.
There’s no blending here. No gradients. Just flat, vivid colour blocks that feel like stage lighting frozen in time.
🎨 For bold, flat colour application, I used Arches Hot Press Watercolour Paper – smooth surface, no warping, and perfect for gouache.
🧠 Painting Presence, Not Just a Person
This wasn’t just a portrait. It was a study in presence.
Elly’s music has always felt like a celebration of individuality – strong, strange, and full of colour. I wanted the painting to echo that. Not just her likeness, but her energy. The way she occupies space. The way she bends genre and gender, and expectation.
There’s a kind of pop surrealism in her aesthetic – sharp suits, slick hair, and vocals that oscillate between vulnerability and steel. I tried to channel that into the composition: bold symmetry, exaggerated angles, and a gaze that doesn’t flinch
“I wasn’t painting a person. I was painting presence.”
🖌️ Process Notes: From Sketch to Statement
I started with a loose pencil sketch – just enough to block out the major shapes. Then came the underpainting: a wash of warm ochre to unify the surface and give the skin tones a subtle glow.
From there, it was all about layering:
- Flat colour blocks laid down with a wide brush
- Sharp edges refined with a liner brush
- Minimal shading, just enough to suggest depth without breaking the graphic style
- Final accents in black and white to anchor the composition
🖊️ For precision work, I used Princeton Velvetouch Detail Brushes — great control and crisp lines.
🧩 Where It Fits: Tribute, Experiment, and Statement Piece
This painting sits at the intersection of tribute and experiment. It’s a nod to Elly’s artistry, but also a push into new territory for me – more graphic, more stylised, more unapologetically flat.
It’s also a reminder that portraits don’t have to be soft or sentimental. They can be bold. They can challenge. They can say, “This is who I am. Take it or leave it.”
“Every brushstroke was a decision. And every decision was a little bit joyful.”
