Paul demonstrated to us his preferred technique of ‘layering’ fairly thin coats of transparent paints one on top of another (having allowed each coat to dry before applying the next one) to achieve a deeper and more interesting ‘tone’. This method precludes mixing in advance on the palette. Personally I found this more structured approach very different from my normal random and instinctive way of working, but looking at the results Paul himself achieves I could see how successful this way of building up colour adds a deep richness not always seen in watercolour paintings. I think everybody agreed with Paul when he said that water colour painting is very under rated as a skill, and I for one think it is certainly the most challenging medium for a painter. As well as demonstrating to us his method for producing a painting from start to finish, Paul gave a short talk on colour values which was extremely interesting. For me his most useful tip was the difference between transparent and opaque paints – and I think we all agreed that transparency won hands down!

It was a miracle to me as to how Martin and Greta managed to produce any of their own work (which by the way, they did most successfully) as they tended to our every need throughout which included a delicious sandwich lunch with fruit and cakes. And a special farewell treat from them both - a glass of sparkling rose – thank you so much.

The day finished just before 4 o’clock with Martin proposing a vote of thanks to Paul who was so encouraging to us all, and with Clare Weatherill thanking Martin for running this his last, and hugely enjoyable day. Clare was left wondering how she was going to cope as his successor as she doesn’t have a Greta!

Our first model, the lean, statuesque ballet dancer Jo, struck wonderful poses, some only for minutes. Lucinda's instructions, familiar to some of us by now, come as fast as her movements - "This time wrong hand only!" "Quick! Two minutes left!" During the longer, more considered drawings one had long, detailed guidance and tuition, rare enough among workshop leaders, as is Lucinda's insight into one's intentions and capability.

There was a large spread of pictures by Masters old and living. I took inspiration from one with extreme economy of line and in keeping with this soon came the perremptory demand - "Five marks only!" I must have been doing something right, because Jo requested two drawings as keepsakes: my day was made!

A swirl of scarlet, dazzling embroidered shawls, high peineta rosada and the same scarlet stamping shoes suddenly and improbably transported us to the Malaga caves - enter Fenella as an authentic Andaluza. Well, here was a completely different build of model who was capable of striking those amazingly formalized poses familiar to anyone who knows flamenco. Some, of course, Lucinda encouraged us to catch in minutes, seemingly seconds. Others Fenella held with formidable grace and long endurance.

The subject demanded brilliant colour even from a confirmed line draughtsman like me. I could hear the splashing of red as my fellow artists toiled around me. Two more superb costumes later and, with Lucinda's tireless encouragement, we had produced a large volume of colourful work which I think may well appear framed before too long.

Brava! To Lucinda: a most invigorating and enjoyable day.

Fenella watercolour

It may be appropriate to explain the selection process for this annual event, as some members have wondered how it is organised. To eliminate any suggestion of favouritism, invitations to exhibit are sent only to members who have sold at either of our previous Autumn or Spring Exhibitions. There are two reasons for doing this. One is that it is an out-of-borough show, and as such an important publicity event for the Society as a whole. Secondly, twenty per cent of sales goes to the Hospital's Arts Fund, and it is gratifying that, as we consistently do well for them, we get invited back every year, instead of once every two years.

It is always a challenge to hang all the work as quickly as possible, so that the catalogue can be printed in time for the opening the same evening! My thanks again to all who worked so hard to make it happen - a real team effort, led once again by
Lucinda Stephens.

Martin Chaffer

Chelsea & Westminster exhibition continued

She started us off experimenting on a small scale with different watercolour techniques of wet into wet and then a thicker use of the paint using just 3 colours. It was interesting to see how just 3 colours could interact with each other, which I found very helpful. Some of these little sketches using lines and just 3 colours were mini-paintings in themselves.

Following a delicious Pret a Manger lunch and interesting discussions (about art, of course!), we then moved onto a larger scale and tried to incorporate our sketches from the morning into larger paintings.

It was interesting to see the development over the day and how we gained more courage with the colour and medium as we went along. Our tutor left us very much to our own devices and explained that she was not going to do an initial demonstration as this would have us just copying her style. Hence we all came up with very individual paintings and that was evident as you walked round the room to see all the different results - which were wonderful!

[In fact, one member sold the work she made at this workshop at our
Summer Exhibition! Ed.]

Works in progress.