Put the brushes down. An evening of thick paint, wide horizons and weather, made almost entirely with a palette knife.
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Painting with a knife is fast, physical and very hard to overwork — which is exactly why it suits an evening like this. Paint goes on thickly, edges happen by accident, and the result has a surface you want to touch.
The subject is coastline in weather: a horizon, a sky doing something, water that is not just blue. You choose the mood — grey and wild, or late sun on a flat sea.
This one is louder than the other evenings. It is also the one people are most surprised by, because a knife makes marks no beginner could make with a brush.
A starting point, not a rule. You will choose your own subject on the evening.
No experience is needed and most people in the room have never used oil paint before. You are shown how to hold the brush, mix a colour and build the picture up in stages, and helped as often as you want.
About half of the places are taken by people coming on their own. There is a short introduction at the start so nobody has to break the ice by themselves, and the tables are arranged so conversation happens naturally.
Artist NamePainter and workshop host
PLACEHOLDER TEMPLATE — replace with the studio's real policy.
Night light and deep blues
An evening built around night pictures — lamplight, wet streets, windows from the outside. Deep blues, warm points of light, and no need to draw anything realistically.
Objects, shadow and quiet
Fruit, glass, a folded cloth, an ordinary jug. An evening on the oldest subject in painting, and the one that teaches the most.
Abstraction, mood and pure colour
No subject at all. An evening about colour on its own — what it does next to another colour, and what it does to you.
