Thursday 28th March 2019

Yvonne Taylor - The Yellow Chair

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
Andrew then uses a stick to paint in vertical lines and horizontal lines in the still Life 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:

Thursday 13th September 2018

Demonstration by Fraser Jenkins

Large Scale Portrait using Graphite Materials

To see more of Frasers’ art work go to :       



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 Cameron

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

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

Art Demonstration

Maggie Downer - Figurative Painting

Glasgow characters in George Square by Maggie Downer

Thursday 2nd February 2017

Art Demonstration

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

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 

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.

The finished painting.

Thursday 10th March 2016

   Bryan Evans Art Demonstration

   The Use and Abuse of Watercolour

To see more of Bryan's art work go to

Previous similar completed painting titled 'Reflections in Grey'

Thursday 4th February 2016

Art Demonstration by Carol Moore   Intuitive Painting

First drawing
Final stages

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.




Here is the list of the members who entered the competition. Can you match the painting to the artist?

Names will be revealed on Thursday 22nd April.

Anne Clark

Marshall Wyllie

Lauretta Macleod

Beth Alexander

Gordon Avison

Sally Gallagher

Sheila Morrison

Lorna  Hutcheson

Jim Scott

Doreen Clark

Anne Murdoch 

Eileen Cumming

Bill Kennedy

Catherine Fearns

Bernard Shieff

Glenda Asquith

Margaret Malloch

Michael Morris

Ida Rennie

Linda Berman

Margaret Burnell

Anne Higney

Roger Smyth

Suzanne Hunter














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