After graduation in 1919, he was offered a job by Frank Morley Fletcher running the department of applied design at Edinburgh College of Art. Fletcher had worked on a stained glass project with students at Reading and two years later another stained glass artist arrived, apparently to take over from Paine. This was John Platt, but Paine and Platt were by no means equals. Platt would have great success with his colour woodcut The giant stride at Los Angeles in 1922, but Paine was the better draughtsman, closer in his modern sensibility to younger R.C.A. graduates like Eric Ravilious, and he moved onto work as a graphic artist for the firms of Guthrie (who made stained glass in Glasgow) and Sundour at Lancaster. Colour woodcut was in his make-up as a designer; Boat race 1921 was inconceivable without the example of Hokusai and his colliery scene takes the schematic approach of the colour woodcuts of Edward Loxton Knight see here.
In 1923, Fletcher left Edinburgh to work at the Community Arts School in Santa Barbara and Paine went to work with him as head of applied arts on two occasions in the twenties (and would have returned a third time if the school hadn't hit such hard times). In fact, after his second stint, he and Fletcher handed in their notice on the same day. It was a pattern, never staying anywhere very long untill he and his second wife settled at Welwyn Garden City. Eventually, she bought a house on Jersey without his knowledge and both went there to live. By then, he was cut off from the places he needed to be to more a proper living as a commercial artist and he turned to watercolour. At this stage of the story, I become nervous, wondering what I will find, but his watercolour designs are excellent and nearly not well-known enough. The plan is to give then a post of their own.
All this depends on Mark Allaby. Apart from the boat race poster, everything you see here has not appeared online before and is a testament to the care he has taken with this book and the presentation of Paine's imagery - with much of it available only on CD. The book is a half-way house between biography and Paine's graphics and is intended not only for readers interested in his designs and watercolours. There is a lot of material in the form of appendices; nothing much is left out and none of the images in this post can be found in the book. Sometimes I got lost, especially over Jim (who was a girl) and I would have rather had Paine referred to as 'Paine' rather than 'CP', but these are quibbles. For a book that has been published by the author, a mere two typos may well be a record.
Mark is seriously considering a Charles Paine blog. He has some diverse material, which I think would be a considerable interest to any student of mid-twentieth century design, a period that has remained fashionable for almost forty years. Only ten copies have been printed so far, but Mark tells me if there is real interest, a revised edition (less the typos) may be printed. Contact me at email@example.com and I can pass your details on to the author.