top of page
This is a small section of the many class demonstrations I have created over the years
Based on a picture of Port Louis in France in Peter Caldwells Pen & Ink sketching book.
This is drawn with Sepia Ink and a Gillott 303 and Watercolour washes
This is drawn with Sepia Ink and a Gillott 303 and Watercolour washes
Watercolour class demo on rough watercolour paper. Based on an image by Ted Kautzky
Painted using acrylic from a photograph I took of a still life in a class. Delivered to an online class
A quick demo painted in class of a tree at Osterley park using acrylic
Still life artwork using pastels delivered to an online class.
Watercolour demonstration based on a painting by Ted Kautzky.
The barn is painted in a restricted palette of Cobalt blue and burnt Sienna
The barn is painted in a restricted palette of Cobalt blue and burnt Sienna
Painted in watercolour based on a picture in Gouche by Gordon Bening Field.
Colour palette on left hand side is Sap Green, Cobalt Blue, Yellow Ochre, Light Red, Cadmium Red, Cadmium Yellow and burnt Sienna
Delivered to an online class
Colour palette on left hand side is Sap Green, Cobalt Blue, Yellow Ochre, Light Red, Cadmium Red, Cadmium Yellow and burnt Sienna
Delivered to an online class
Painted using a limited pallette of Cobalt Blue, Burnt Sienna and Yellow Ochre.
Based on an image from a Readers Digest Watercolour book
Based on an image from a Readers Digest Watercolour book
Based on a painting by Rowland Hilder on the cover of Rowland Hilder Country book.
Painted in watercolour using an unusual approach, where the details in the background were painted with staining colours before the big washes for the sky
Painted in watercolour using an unusual approach, where the details in the background were painted with staining colours before the big washes for the sky
Based on a photograph of Kew Bridge taken by a student of mine exploring blending techniques with coloured pencil
Close up of Poppies
A field of Poppies for Armistice Day
Poppies exploring using complimentary colours
Based on a photograph taken by a student of mine at Stand-On-The-Green with Kew Bridge in the background
A quick watercolour demonstration experimenting with using cling film to create the pattern of the water surface and once this was dry using a lifting off technique to create the beams of light.
Onto a board coated with Acrylic texture paste containing volcanic sand that was then painted black the sparkle of the fireworks was created by dry brushing with heavy bodied acrylic paint containing a lot of titanium white.
The sky was painted wet-in-wet, the sea dry brushed and the beach had paint spattered with a stiff brush on top of the initial wash of colour with the rest of the picture masked with paper.
The fireworks lights on the headland and reflections were indicated with oil pastels picking up the texture of the watercolour paper. Dark washes were then added over this resist layer which repelled the paint.
Based on a photograph taken by ‘Capturing Life’s Moments Photography, I completed this demo of a red squirrel drawn with coloured pencils on watercolour paper in a class where we were thinking about pictures for greetings cards.
Painted with Acrylics applying some knowledge of colour theory so that areas of yellow were blended with areas os mauve rather than blue to avoid turning green.
We were investigating using candle wax as a resist medium with watercolour in the class where this snow scene was painted.
Windsor Castle in Autumn from the Long Walk, painted in oils as a demonstration in class. Initially painted broadly in an ala prima technique, shadows and details were added in a subsequent session using transparent glazes and more solid colour mixed with white, for some of the brighter leaves, including the fallen ones. Painted on an A3 size Daler-Rowney Georgian oil painting board.
I painted this portrait of a student's dog as a demonstration during a couple of classes to help while he worked on his own version. I used a limited palette of Winton oil colours: titanium white, yellow ochre, burnt Sienna, Alazarin crimson and ultramarine blue, working on canvas, using Winsor & Newton Sansodor and Liquin with my paints.
My emphasis was on accurate proportions and control of tone to give a sense of form. The background was simplified to a more abstract arrangement than the distracting interior in his photo.
My emphasis was on accurate proportions and control of tone to give a sense of form. The background was simplified to a more abstract arrangement than the distracting interior in his photo.
This view of Durdle Dor, in Dorset, was selected for an oil painting demonstration as my students and I were going to work on linen effect canvas, which is primed with a clear acrylic primer so that the colour of the fabric is visible. I painted in oils but worked thinly, with a dry brush, to retain the linen colour for the rock formation, the beach and some areas of the sea. Other areas were painted more thickly to obscure the colour of the canvas, including applying the paint for the sky and some areas of the sea with a painting knife, before brushing it smoother. Using a knife helps to create a crisp and straight horizon line working with the oil paints wet-on-wet.
I painted this demonstration picture of a girl in mixed media, using gouche on a buff coloured pastel paper (Daler-Rowney Murano) over a sepia ink line drawing. To create the graduations of tone the gouche was feathered in layers, building up areas of hatching of different tones, mainly lighter tints, using fine lines applied with a rigger brush. This was why this picture was chosen because the technique suited her hair, where it is spread out on the floor. As pastel works well with gouche, as they are both "chalky", some linear marks were added with pastel pencils and some areas of soft pastel were blended using a paper stump, to give even graduations.
bottom of page