Fruit, glass, a folded cloth, an ordinary jug. An evening on the oldest subject in painting, and the one that teaches the most.
Go to bookingTimes are shown in UTC.
A still life is the most patient subject there is: it does not move, it does not mind being looked at, and it will wait while you work out what colour a shadow actually is.
The tables are set with objects to choose from — glass, ceramic, fruit, fabric, a few things that catch the light oddly. You arrange your own group, which is already half the painting.
The guidance is on seeing rather than technique: how much darker a shadow really is, why white objects are almost never white, how to keep an edge soft. It is a calm evening, and the paintings that come out of it tend to surprise people.
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.
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.
