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$90 - $300
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This class series runs over 4 consecutive sessions, at the same time every week.
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ClassBento money-back guarantee
Our mission is to improve mental wellbeing through our workshops and experiences. We curate our teachers and hosts carefully to ensure that they are of high quality.
That's why we provide a money-back guarantee*: If you're unsatisfied with this experience, just leave it at least 20 minutes before it ends, and tell us (the ClassBento team) the reason for your dissatisfaction within 4 hours of that time, and we'll provide you with a refund.
* We may choose to limit our refund per customer at $1000. In some rare cases, we may also require you to show us your photo ID before we process the refund.
How can we help?
Q: What ages is this class suitable for?
A: Adults & 14+ years. Adult accompaniment is not required.
Q: What's the cancellation policy?
A: Free to cancel or reschedule up until 7 days before the class
Q: How long does the class run for, and what's the price?
A: 4 x 3 hours, $90 - $300 per guest ($90 for One class; $300 for All four classes)
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card_giftcard Gift an experiencePainting Course: Oil Pastel and Inks
Learn how to paint using oil pastels and inks to create a beautiful original masterpiece!
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4 x 3 hours
1 to 5 guests
$90 - $300
($90 for One class; $300 for All four classes)
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My Technique Was Published in Artist's Palette
Cover of the magazine
Choose a Subject
I start with an image. Preferably not a very good photo.
Do Thumbnail Sketches
I always do a quick thumbnail sketch before I start. This simplifies the image and
usually improves the design. I use the sketch as the basis of the painting design rather than the original image. The thumbnail is done in a sketchbook using an Artline 220 fibre-tipped pen. I just scribble it and sometimes spit on it to smudge the ink to create a general sense of light and shade. I have noticed that when you do a small sketch, you tend to unconsciously change the design, often enlarging and repositioning features.
Copy the Sketch Onto a Large Sheet of Watercolour Paper
Using a sheet of Arches 300gsm Satin (smooth) paper, I draw the image in pencil, using the sketch for the design and the photo for detail. I want to stay loose and not worry about accuracy. There is no such thing as accuracy. This is a painting; I could draw the house upside down, and it would still be valid. Ink over a pencil sketch with Indian ink using a reed pen.
A Reed Pen Oil Pastel Sticks
We often make a reed pen in class, as it's just a bit of bamboo stick sharpened at one end.
Colour with Oil Pastels
I sort through my oil pastel sticks and select a palette to work with. I choose
mainly yellows, oranges and reds with some complementary violets. I always have the colour wheel in the back of my mind when I choose colours, and I recommend using a palette from one area of the wheel with a small amount of the complementary colour. I like their strong colouring combined with translucency when applied thinly. In oil pastels, I work from light to dark, which usually means starting with yellows. As the oil pastels I use are translucent, it is impossible to cover dark colours.
Look at the Patterns
As I am not sure what was going on in the painting, I make another thumbnail sketch of the work, this time upside down, showing the main linear and tonal features. I work on this to enhance the abstract design foundation of the work, then try to incorporate it into the painting itself.
When I work on the painting, I look for the overall pattern and feel of the work, not the detail. With my oil pastel technique, the detail will be obliterated anyway.
Painting is like a conjuring trick; as long as it appears to be logical, you can get away with all sorts of lies
Destroy the Painting by Covering It with Pigmented Ink
The technique I am about to apply is one I started doing in art school over a decade ago. It’s very dramatic and risky. I place the painting on the ground and obliterate it by brushing over it with pigmented ink. I find it useful to do this late in the afternoon, after a couple of glasses of red wine, as the work is frequently almost entirely lost.
Creep Back Into the Painting with a Palette Knife
I start by scraping the ink off the oil pastel with a palette knife. In some places this is easy, but in others it is impossible. If we work hard, we will find our fossil. This should not be mechanistic but rather a vigorous, selective scraping, like that of a paleontologist with an exceptionally large Ammonite. With luck, an image will emerge.
Work Into the Painting
I walk backwards and forwards between my easel and a large mirror at the
other side of my studio the whole time. Viewing it from a distance and in a
mirror helps me see the work as an abstract design. Sometimes I take the
painting outside to view it from a distance of perhaps 100 metres. Often I
work with the painting upside-down. All of these techniques help you to get
away from the image and see the design of the work.
Tips
Never give up. Remember that there is value in everybody’s work. When I
taught art, I never came across any work without some element of beauty. The
wonderful thing was that the students’ work was so varied and different. It’s
normal not to like your own work. Look for the beauty in it, treasure it and
make it even better next time.
- Use photographs and AI (Artificial Intelligence) for inspiration to create several thumbnails in your sketchbook
- Learn about design, including negative space, tonal images, and joins
- Draw with an Artline 0.2 mm pen using spit and smudge to create tonal areas.
- Assisted by Jeremy select the best thumbnail to form the basis of your painting.
- Transfer it to watercolour paper using a pencil.
- Make a reed pen.
- Ink the image using a variety of marks inspired by Van Gogh's wonderful pen and ink drawings.
- Learn about:
- Bonnard's colour patches, patterns, rejection of perspective, his lost wife and the always cat
- Klimt's unique landscape designs.
- Lloyd Rees stretched landscapes and tonal joins.
- Record the direction of the light in your painting
- Develop a colour design with instruction from Jeremy on the colour wheel, primary and secondary colours, tints and shades, and some colour theory.
- How to colour your painting with translucent oil pastels made from waxes and oils.
- Create unique patterns and marks.
- Layer pastels from light to dark.
- Blend into scintillating patches
- Destroy your work with pigmented ink (an important lesson for all artists).
- Re-discover the image by scraping into the ink and pastel with a palette knife.
- Inspired by Van Gogh, I create interesting and varied marks.
- Observe the magic of your new painting emerging from the one that was destroyed
- Feel your way into the painting, letting it take over and guide you.
- Work into the painting with pastel layers, inks, marks and scraping
- Allow the painting to blossom
- Techniques and skills to finalise the project: Jeremy will guide you, but the painting will always be uniquely yours.
- How to use varnish to bring out the colours and tonal contrasts.
- How to frame or mount the work for display at home or in a gallery.
- Take home your lovely painting.
celebration
info
This class is not available for purchase
What you'll get
- Expert guidance and tips from an industry professional.
- Your own masterpiece created entirely by you!
See available dates, Request a private class or Gift
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Knowledge required
This course is for all skill levels, from new painters to experienced artists!
What to bring
- The materials required are inexpensive. Please contact Jeremy to discuss the requirements for each class.
- BYO drinks and snacks, as well as photos for design inspiration.
Session repeats
This class series runs over 4 consecutive sessions, at the same time every week.
Suitable for
Suitable for adults, and kids (minimum 14 years old).
Adult accompaniment is not required.
This experience would also be a unique gift for her, gift for mum, Father's Day gift or gift for couples.
Your teacher
I have worked as a town planner, a Geologist in East Africa and Australia, a senior manager in IT for BHP and Woodside and a management consultant. After studying for a Diploma of Art at the prestigious Claremont School of Art in Perth, I started working as a professional artist in 1994. Since then I have had countless exhibitions. I have sold well over 1000 paintings and my work is represented in collections around the world. I teach painting at my studio/gallery in the Perth Hills and our arts guest house in NE Thailand by the Mekong River (Thailand Painting Holidays). I teach techniques including oil pastel and inks and modelling paste/acrylic/quick-drying oils and glazing. My main emphasis is on helping students to loosen up and paint creatively from imagination.My own paintings are in acrylic and oil on canvas or cotton rag paper, incorporating a wide range of techniques from rough brushing, in which I drag paint across the canvas, to the glow of multiple translucent glazes. Recently, I have been working in digital painting mediums, experimenting, extending my range and style.
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