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.
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Night paintings are forgiving. Shapes soften, detail disappears, and a single warm light in a field of blue does most of the work for you. That makes this a good evening for a first attempt at oil paint.
We start with a short look at how painters have handled night — Whistler's nocturnes, the blue hour, lit windows seen from a dark street. You choose your own subject from the references on the table, or from a photograph on your phone.
Then you paint. The artist moves between the easels the whole evening: mixing a blue that is not flat, getting a light source to actually glow, knowing when a painting is finished. Expect to spend the last half hour standing back with a drink, looking at what everyone made.
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.
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.
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.
