Demonstration Reports


Adebanji Alade – Demonstration Report, January 2022

Adebanji's  reputation has gone before him as he is well known on TV with the One Show and Sky Arts along with his role as Vice-President with the Royal Institute of Oil Painters and his Search Press publications related to drawing and painting. He certainly proved a lively and energetic demonstrator bringing all his professional skills to drawing and painting an urban scene from London (Embankment) over a two-hour period. He started by gridding the MDF board (Gesso primed) to match the gridding on the photo he planned to work from. Once ruled he started to sketch using Winsor & Newton Brush Pens – mainly browns – which he classified as like drawing with felt tip brushes. His love of sketching and the importance of this as a base for the painting came across strongly as he started the many tips and comment made throughout the demonstration about all stages of the demonstration. He talked of the four key stages of a painting – I.e. Sketching, Creating Tonal Values, Blocking in Colours and adding the Final Detail. Then using W & N acrylic paints he took us through the painting of the sky, the shadows on the embankment/foreground, bridge and outline buildings, the Sphinx and then the trees (an important part of the painting) on the embankment using a range of greens from dark to light and illustrating the “joy” of painting trees, finishing with a number of detailed touches to the painting by looking back over the key parts of the painting. 



Jake gave the third demonstration of OAG’s new programme for 2021/22 and there were around 50 attendees and the atmosphere was “buzzing” as Jake is a well known and popular artist with OAG Members. Jake specialises in watercolours with either landscapes or animals – painted in his own distinctive style.  He began by painting a pen and wash landscape. His view was that this was an easy introduction to watercolour painting as around 50% of the work is in the drawing and pen work prior to creating a wash of different colours. Having drawn the important outline of a farm/barn/tree scene in pencil he did his pen work using a shaped (cut wedge end) lollipop stick with waterproof Indian ink from a bottle. He felt this was better (and cheaper) than using artist pens as different strength of lines and shaded areas of stroke were achievable with the shaped ends of lollipop sticks. The paper being used was Arches Aquarelles (Rough) – 300 gsm - which Jake feels in more suitable for watercolour work in general and particularly suitable for pen and wash. After this stage Jake started to paint by wetting the paper all over (for wet-in-wet work) and creating warmth in the sky with Raw Sienna and Cobalt Blue then working on the foreground and parts of the farm and barn buildings with Raw Sienna, Light Red and touches of green. After drying he went on to use a mixed grey for images in the distance, more greens for the trees and hedgerows and then added finishing touches with warmer colours. Jake is well known for his speed of work whilst at the same time giving a detailed and thorough explanation of what he is doing for the audience. He had stated at the beginning he would try to finish the painting in one hour and he did it to the minute which generated a spontaneous round of applause. After the break Jake went on to paint a puffin from a photograph and sketch. He applied his own specific style for painting animals by first creating a Cobalt Blue sky and Raw Sienna foreground. He emphasised the shadow colour on the body of the puffin could be created using colours that we might not associate with shadow – Cobalt Blue, Alizarin Crimson and even Orange. Painted as a watery mix, allowing the edges of the colours to mix illustrated the puffin’s body very well. Thicker paint mixes of the same three colours were used to paint the eyes, feet and claws. Jake emphasised that leaving areas of white paper as part of the image are important for all paintings. Finally he added cast shadows around the puffin and some his trade mark splattering to add movement to the painting. At the end of the meeting some members expressed an interest in Jake undertaking a Pen and Wash Workshop for OAG and discussions are underway for next year.



Rebecca gave the second demonstration of OAG’s new programme for 2021/22 – and it was the group’s first face to face meeting  for 18 months. There were around 50 attendees and the set up and the atmosphere was like 'old times'. 
Rebecca is a well-established professional painter who specialises in pastel paintings and runs courses for art groups, undertakes demonstrations, exhibition work, writing and publications. She has exhibited with the Pastel Society and is an Associate Member of the Society of Equestrian Artists. 
Rebecca led us into the two-hour demonstration with an explanation of some of the key principles of pastel painting – drawing with colour, mixing colours on the surface of the paper, tonal contrast and using a 'tonal ladder', mark making, blending and matching colours. Rebecca also emphasised the importance of using high quality pastels and pastel paper and board. Her pastels were made by Unison with individual boxes containing a range of shades for each colour. 

In the first half a landscape painting was undertaken running through the use of black charcoal for the outline drawing, then adding blues, creams, greens, purples, ochres and white to create a rocky and country scene from Devon. One specific point related to constant use of fingers and palm of the hand to rub and blend each colour put down. 
The second half featured a tonal sketch cleverly “painted” by Rebecca showing a cloudy sky and sea scene with reflections. There was an emphasis of tonal variation within each part of the scene as well – e.g. the tonal variation in the clouds, plus use of white and Naples Yellow to create light under and linked to the clouds. All in all a “masterclass” on how to prepare, paint and finish a pastel painting.