Thursday, 7 February 2019

Richard Crabtree - Line & Wash

Richard Crabtree

We were pleased to welcome Richard Crabtree to demonstrate working with line and wash. Richard holds regular classes and workshops in watercolour, oils and pastels, at Avoncroft Arts Centre, Bromsgrove. You can find more details on his website

Richard began by demonstrating a range of marks possible with pens, markers and modified lollipop sticks. A cable fault prevented us from using our projector so we were glad that Richard could adapt to this and use bolder marks for much of his demonstration.

Richard produced three pictures: a squirrel, a railways scene and a rose. Images showing the stages for all three demonstration pieces follow.

Wednesday, 9 January 2019

Paul Arnott - Computer Art

Walking the Dog - one of Paul's digital images
on his website
Paul's demonstration was quite different to what we've been used to but very instructive for the most of us who have little or no experience of using a Wacom graphics tablet attached to his computer to paint a picture. He took us through some of the main tools available in Corel Painter 12 (his preferred software) before showing us how these tools could be used to paint a seascape. The use of layers enabled him to reposition some elements of this painting. There were plenty of tips for those of us who might be tempted to give it a go.

Wednesday, 5 December 2018

Graham Wilson - Winter Landscape in Acrylic

This was Graham's second visit to us and, as before, he entertained us with the humorous manner in which he communicated his approach to painting. You can read about his previous demonstration here

He often uses large canvasses for his acrylic paintings but favours a smaller scale for demonstrations. His support this time was mount card which he had coated with pink paint. 

 Ten images show the stages of his demonstration. He applied various widths of masking tape while he painted on a background, initially using white and then mixing into it on the support. When the tape was removed the position of the main tree trunks was marked by the pink undercoat. Pink was probably not a wise colour choice as he had difficulty covering it.

Monday, 19 November 2018

Christmas Exhibition in the Weavers Gallery

The hanging crew
Many thanks to the hanging  crew (Tony, Ian, Sarah, Daph, Kate - and Sue who took the photo) who worked for several hours on Sunday night to set up the exhibition.

The doors opened to the public (28 in all) on this cold Monday afternoon. We look forward to welcoming more than 300 as the week progresses.

Limited photography skills mean not all the paintings have been photographed well enough for publication but a selection here gives some indication of the quality work produced by members of Ledbury Art Society.

Tuesday, 6 November 2018

Tim Wilmot - Ledbury Scenes in Watercolour

The Market House, Ledbury
Tim has a very loose style and this enabled him to complete two paintings in less than two hours. Impressive! He brought along two photographs of Ledbury: the Market House and Church Lane looking towards the church tower and spire.

Based in Bristol, Tim specialises in vibrant watercolours exploiting the medium with tone and light. He has painted all his life and is completely self-taught. He loves to paint landscapes and is well known for his harbour and boat paintings. Nearly all his landscapes include figures and cars to give focal interest to the scene. You can see more of his work on his website His YouTube channel has more than 40 full length demonstration videos with commentary.

Below you'll find images showing the progress of this and his second painting and also one of his  YouTube videos.

Friday, 5 October 2018

Angela Gaughan - Flowers with Inktense

Detail of her starting point
Angela worked from a large reference photo showing roses. As her method of working is quite slow she had made a start on her painting in advance of the demonstration. 

Angela studied portrait painting but her work is not restricted to portraits. Angela works in all mediums and has demonstrated for Max water soluble oils, Daler Rowney and more recently for Derwent Pencils. She has also featured in the Artist and Leisure Painter magazines. She has demonstrated at a variety of shows and exhibitions and also on television. She is the author of “How to Paint Wildlife in Acrylics”. For more about her work visit her website

Palette at an early stage

Angela worked with Inktense pencils and blocks. For both forms she transferred the pigment to watercolour paper which was used as a palette. A brush (often a Pentel water-brush) was used for painting. Her support was illustration board.

Her tips for working with Inktense pencils and blocks were very helpful.

The blocks were left in their container
She advised against dipping the tips of the pencils in water or lifting pigment directly from the pencil tips with a brush. It was better to make pencil marks on the palette and use the pigment from there.

The blocks were left in their container which could then be used like a watercolour box.

The following pictures show how the work progressed.

Wednesday, 5 September 2018

Tim Fisher demonstration

Tim Fisher
Tim gave us two demonstrations. The first and main one was using line, ink wash and soft pastel to paint a scene at the Yorkshire coastal village of Staithes. The second showed how to enhance a watercolour painting by applying softpastel.

Tim is a regular contributor to the Leisure Painter and is the author of several books published by Search Press. You can find out more about Tim's work and the painting breaks he offers by visiting his website 

Tim based his demonstration on a photograph he had taken at Staithes. The support for his painting was Fisher400 Artpaper which is a sanded paper suitable for a range of media. This is availableUK from Jacksons Art Supplies and from in the in the US.

Tim began with an ink line drawing using a long match stick to apply black FW acrylic ink. This has to be done with the support close to vertical to prevent ink blots on the support. The ink ran down over his fingers so the problems that would arise if working flat were fairly obvious!

The next stage looked a bit scary to start with as Tim applied washed of various brightly coloured acrylic inks across his drawing.

The images that follow show how the painting progressed