Part 2 of the portrait project. Complete the face with the features and more shading, strengthen the background and final adjustments.

A face [project using traditional zorn colours and steady washes some wet into wet and pthers on dry

A very delicate painting using a cool and warm to represent white background and drapery. Cherries with different approaches to highlights and layers.

Part 2 of our Ely painting. This week explore tonality and balance between foreground and background , painting details, wet and dry combinations tointegrate details and less defined areas.

The first part of Ely Cathedral using thin wet layers to build the foundation for adding more detail in part 2. Simple palette of Cerulean, Raw Sienna, Alizarin Crimson

Paint a pastoral scene of sheep in a winter landscape using a very limited palette and concentrating on tones. Blue (cobalt), Burnt Sienna, Raw Sienna, Violet (Ultramarine or a soft blue-violet), Sap Green.

Build up a forest of birch trees using alimited palette contrasting greens and neutrals.

Part 2 of Cat in a Setting. Continue developing your colour mixing skills with this limited palette. Find out about painting detail, unfying tonal washes and the effect of light.

Using a limited palette for part 1 build the foundation for the effects of light in this picture. Cobalt Violet, Winsor Blue green shade, Raw Sienna and Burnt Umber. A few fine details at the end to see the effect. Next week part 2

A project to test your smooth , plain washes of colour, layering in clean stages and painting final dark details.

A challenging and technical exercise . Using wet into wet, and dry on wet variations find out the importance of being aware of the surface behaviour on your paper and its response to different weights of mixed colour.