Thursday 28th March 2019
Yvonne Taylor - The
Acrylics using a palette knife
Yvonne found her inspiration for the yellow chair in an old cafe in Kashmir, the Jewish district within the beautiful city of Krakow in Poland.
Working on a piece of mount board, a rough mix of colours are applied to seal the board. The restricted palette colours are cadmium yellow deep hue, crimson, indigo, phithalo blue, ultramarine, titanium white and zinc mixing white.
Painting from the centre outwards, Yvonne lays down the yellow for the chair back, left side, and cuts in the background colour over any rough edges. She uses a no 24 W&N palette knife to lay down colour and detail.
Mixing a dark tone with crimson, ultramarine and cadmium yellow, darker areas are established. The green for the walls comprise of mixing white, phitalo, indigo, ultramarine blue, cadmium yellow and a pin prick of crimson.
The yellow of the chair has a small amount of crimson and titanium white to make it warmer and more opaque. Liquitex gloss medium and varnish are used at various points. This assists with the transparency of the layers.
The finished painting. Yvonne likes to work with broken colour, thin layering of paint building up texture, both real and implied.
Yvonnes’s palette is a piece of white card. At the end, she smears any remaining paint over its surface with the intention of it becoming a support for another painting - a forest scene. The card will be glued to a backing board and framed.
Thursday 7th February 2019
Andrew Taylor - Still Life in Oils
Still Life set up by Andrew
A wooden board is previously primed with four coats of gesso then painted with Paynes Grey and vermillion. Andrew then uses a stick to determine the vertical and horizontal lines of the objects in the Still Life.
The shape of the objects are sketched in using a fine brush. Areas of depth are indicated.
Using a larger filbert brush, colour is applied. Lamp black is used to define the edges of the jug and handle. The jug is a mix with light vermillion and highlights are established using vermillion, lemon yellow and white.
Warm tones are used for the pumpkin and the wine in the glass. Colours used are vermillion, lemon yellow with green. Andre reminded us that horizontals attract the most light.
The painting so far. The cloth is lightened in the left hand area and highlights put on the copper pot.
A painting Andrew did previously of the same Still Life. Note the change of colour in the jug and colour tones in the cloth.
Thursday 15th November 2018
Lesley Banks - Canal Study in Oils
Canvas is painted using a mixture of thinned oil paint and Sansodor
Underpainting is started using thinned paint.
Lighter areas are painted using white, lemon yellow and cadmium orange
Darker areas are painted using green, purple and Payne’s grey
Overpainting is started using thicker paint and watercolour brushes. Masking tape is useful in defining straight lines. A sponge can be used for trees and smoothing paint.
The painting so far
To see more of Lesley’s paintings go to: lesleybanks.com
Thursday 13th September 2018
Demonstration by Fraser Jenkins
Large Scale Portrait using Graphite Materials
The photograph Fraser was working with.
After an initial sketch to establish facial features, Fraser began by drawing in the nose, eyes and mouth using graphite pencils. To create skin tones, graphite powder was applied with a tool like a cotton bud.
Hair and darker areas were drawn using graphite pencils and crayons. A special pen containing rubber helped to lift off the graphite to lighten hair.
The finished picture
Thursday 28th March 2018
William Dobbie - Landscape in Oils
For more paintings by William Dobbie go to
Using acrylics - alizarin, ultramarine, hooker’s green and a touch of titanium white, Billy starts by painting a base for the sea area
Clouds are added in oils using a mixture of titanium and cadmium yellow, then darkened with raw umber, then ultramarine for blue sky
Sea is painted with a mixture of ultramarine and touch of titanium and yellow
The finished painting
2nd painting. Sunset is painted by using cadmium red to outline hills then ultramarine, alizarin and titanium. Raw umber is used to darken areas
The finished painting
Thursday 1st February 2018
Peter Nardini’s Demonstration - Scene with Figures using Acrylics
Peter uses a limited colour palette of cadmium red, cadmium orange, yellow, phthalo blue (red and green tones), white and black acrylic paint. He paints with a dry brush enabling painting to
dry more quickly.
Peter begins his demo with a mounting board covered with black and red acrylic paint.
After painting the board with a mixture of watered down phthalo blue ( green tones) and white paint , Peter sketches the first figure in charcoal. He then fills it in using a mixture of red and black acrylic paint.
Using a dry brush and a mixture of orange, red, yellow and white acrylic paint, highlighted skin tones are established
Defining the outline of the figure using paler blue paint
The completed painting
Thursday 2nd November 2017
Demonstration by Thomas
He uses a limited palette of cadmium red, cadmium yellow, ultramarine, burnt umber, yellow ochre and white
The painting at the end of the demo. Thomas plans to finish the painting and send a photo of it to us.
The completed painting
You can see more of Thomas’s work at : thomascameronart.co.uk
Thursday 21st September 2017
Fiona Wilson - Portrait Demonstration in oils
Colour is applied with a brush.
Skin colour is made by using a mixture of yellow ochre, bright red and white.
Maggie sent us a photograph of the finished painting
Thursday 30th March 2017
Maggie Downer - Figurative Painting
Glasgow characters in George Square by Maggie Downer
Thursday 2nd February 2017
Joe Broadley - Tuscan Street Scene
Joe begins by demonstrating the use of a charcoal pencil to define windows and doors
Usu of colour to give vibrancy to buildings
The framed finished painting
Thursday 3rd November 2016
Demonstration by James Orr - Landscape in Acrylics
You can see more of James's work at jamesorrartist.com
James paints an outline
As acrylic paint dries darker, James lightens the sand colour
The painting - still to be finished
Thursday 27th September 2016
Demonstration by Janet Forry - Landscape in oils
You can see more of Janet's work at janetforry.co.uk
Using thinned oil paint a background is established.
More detail added -tree marking, branches and snow drifts.
Janet experimented with crushed cling film to add more detail.
Thursday 10th March 2016
Bryan Evans Art Demonstration
The Use and Abuse of Watercolour
To see more of Bryan's art work go to bryanevans.com
Previous similar completed painting titled 'Reflections in Grey'
Thursday 4th February 2016
Art Demonstration by Carol Moore Intuitive Painting
Thursday November 5th 2015
Ed Hunter's Demonstration Landscape Painting in oils
Thursday 17th September 2015
Lynn Howarth's Demonstration Animal Portraiture
Lynn came to the club and demonstrated painting her dog, Oskar, using pastel.
The finished painting.