Holly and ivy, water colour student works.

 Holly has such glossy dark prickly leaves that are irresistible at this time of year. Variegated leaves allow for lovely layering, which is the basis of water colour painting. Here is a selection of students artworks 

Katy 

One of the challenges of water colour is deciding on the order of work. Light first, moving to darker colours with subsequent layers is the preferred method, though of course this can be played with and manipulated. To create crisp-edged veins, often the best way is to put down the vein-colour first, then allow to dry. Then paint the darker colour over most of the leaf, APART from the vein, leaving the paler colour showing and pushing the dark colour as close as possible to it to 'create' the vein. 

For softer transitions of colour, working on a damp surface is the key, though just HOW damp is learned through trial and experience. 

Nicky

These artworks were done in one of my weekly classes, which last two and a half hours. Frequently things are not finished in the time, which is why sometimes the images shown here are not completed. However, the point is the learning, not the race to the end. 

Ken

Rachel

Christine

Heather

Rosejane

Above - lovely artwork by Toni, who has only been painting for a few weeks! For info on weekly classes please email julie@juliedouglas.co.uk 

Portrait commission, progress shots (and cats in the studio)

 Cats are an interesting addition to any studio, and not, I must admit, for the faint hearted. They have a knack of wanting to sit just where you are, or on the computer keyboard or, wait for it, ON YOUR ARTWORK. This is a common occurrance for my students too, as many of them finish off their Zoom class by sending a photo of the cat either drinking their water colour water, or sitting directly on top of their painting! 

'What's the story?' 

I'd just blocked in the line drawing for this commission when the cat decided it was enough already. No harm was done, thankfully... 

Usually, I like to start at the eyes and work outwards from there. This was a graphite commission, so only one layer needed. 

Gently gently down the cheek - the best work to have in mind is 'SOFT' - no hard transitions or edges!

'I give up'

Above, the finished artwork. 

Finally, dear little Lulu, who was fond of lifting the pencil and 'helping'. Fondly missed. 

For info on portraits, or drawing and painting workshops please email julie@juliedouglas.co.uk