No subject at all. An evening about colour on its own — what it does next to another colour, and what it does to you.
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Some people arrive certain they cannot draw. This evening removes the question entirely: there is nothing to draw.
We look briefly at painters who worked with fields of colour — Rothko, Diebenkorn, Agnes Martin's quiet grids — and then you work with a palette you choose yourself, building large soft areas and seeing what happens where they meet.
It is the most relaxed of the evenings and, oddly, the one people talk about most afterwards. Bring an opinion about a colour you dislike.
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.
Sea, weather and thick paint
Put the brushes down. An evening of thick paint, wide horizons and weather, made almost entirely with a palette knife.
