Not everyone who follows my tutorials is in Europe so I thought I would add some more exotic species to this series. This cheeky Kookaburra has an inquisitive look that I found amusing. I’ve used high contrast to add drama to this work.

The Project.

Many of the techniques in this tutorial echo earlier bird tutorials in the series such as wet-in-wet, dry brush, resist, etc and introduces the use of powdered watercolour (Brusho) with eye droppers.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 25 x 35 cms

• Brusho by Colourcraft – Dark Brown, Black,Emerald and Leaf Green

• Winsor & Newton pigments – Raw Umber, Yellow Ochre, Sepia, Payne’s Grey, Potter’s Pink and Zinc White Gouache.

• Winsor & Newton - Masking Fluid

• Rosemary’s Brushes - Golden Synthetic No 8 round, Short Flat Shader, fine liner/rigger.

Step 1. Sketch out the image, editing out any unnecessary detail and making changes as you see fit -I’ve changed a metal grill to a tree branch.

Step 2. For this piece, I am painting the back ground first and because I want very strong colour I am going to start by masking the edges of the bird and branch. I applied masking gum with a ruling pen, ‘drawing’ the edges and fine feathers. Only the edges are covered – our aim is to preserve the white of the paper from the background colour. Here I also sketched in the bird’s tail which I had forgotten originally!

Step 3. When the masking is completely dry we can begin the background. First prepare your washes; I have used Brusho colours, (dry crystal watercolour), mixed with water in a palette, then wet (use your large flat shader) the whole background with water. While still wet, drop colour from your mixed washes onto the wet surface of the background, working through the colours from lightest to darkest. Brusho is very strong and gives excellent deep colour, I’ve applied it with an eye dropper in this example, you could use a large brush and strong washes of regular watercolour if you prefer. I have added colour quite randomly to suggest ‘something’ in the background without any definition – it is a backdrop for the bird.

Your background colour must be completely dry before removing the masking gum; this is done by gently rubbing a flat finger tip over the gum causing it to roll up and off the paper. Take care to rub from clean paper towards painted areas to avoid smudging – regularly check your finger for colour pick up.

Step 4. The bird is painted when the masking is all removed. Start with the ‘soft modelling’, use wet-in-wet techniques to create the form of the bird – work from light to dark. Wet the main body of the bird taking care not to lift the background colour at it’s edges, drop in a mix of Potter’s Pink and little Raw Umber for the shadowed ‘white’ areas. Remember a wet surface will produce soft blends, dry surfaces crisp edges. Block in the main areas; wings, head, eye, beak etc

Build detail with stronger colour, Sepia and Payne’s Grey and use a very dry brush to produce ‘feathering’. Continue adding detail taking care to observe the direction of feathers and markings.

Use Zinc White Gouache for the highlights in the eye, (applied with the wrong end of a paint brush) and for the feather tips on the wing feathers – use a dry brush for this and make a template for the curved edge if you wish.

Elizabeth Tomkins, Kookaburra-W.I.P, 2026.

Step 5. I decided to keep the branch very simple. I painted the entire branch in Yellow Ochre and while it was still very wet, I dropped in some Sepia and a little Payne’s Grey. I used lot’s of water to help the colours blend on the paper, suggesting shadows and texture without competing with the bird (you could use salt on the wet paint, or cling film for texture if you prefer). Take care to ‘feather the edges under the bird so it looks as though his belly feathers are in front of the branch. Add his claws – I used Payne’s Grey.

Tweak any areas of your subject – often that means adjusting tonal levels and a bit of tidying but don’t fiddle – less is more! Remember to step back and assess your work from time to time.

High in the tall trees around my vegetable garden a woodpecker can be heard, searching for grubs and drilling into the old wood with a sound like a ruler in a desk. Occasionally we see him flitting between trees, he is a fine fellow, definitely worthy of a painting. There’s something wonderfully rhythmic about his presence, as if he keeps time for the whole garden – and like Professor Yaffle from Bagpuss, he’s the MC presiding over it all. He brings a flash of movement and colour to the quiet green canopy, and it’s that lively contrast — stillness and sudden energy — that makes him such an inspiring subject for watercolour. Capturing his character is as much about atmosphere as anatomy, and that’s exactly what we’ll explore in this tutorial.

The Project

For this tutorial I’ve used masking fluid to protect edges so I can work more freely on the background. There is a little wet-in-wet, texture effects and a lot of fine detail.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 25 x 35 cms

• Winsor & Newton pigments - Cerulean Blue, Yellow Ochre, Light Red, Winsor Blue, Winsor Violet, Sap Green, Payne’s Grey, and Zinc White Gouache.

• Winsor & Newton - Masking Fluid.

• Rosemary’s Brushes - Golden Synthetic No 8 round, Short Flat Shader, fine liner/rigger.

• Loxley – ruling pen.

Step 1. Sketch out the image, editing out any unnecessary detail.

Step 2. Apply masking fluid to the entire edge of the bird including his feet – pay special attention to the white edges. This process is to protect the bird from background colour and preserve fine white areas like the feathers around the feet and on the breast. I’ve applied the masking fluid with a ruling pen but you could use a cocktail stick or similar. Make sure it is completely dry before proceeding – and always apply to a dry surface.

Top Tip – Decant a little masking fluid from the bottle into a small container (an old bottle top is ideal) and replace the lid – you can then use the small reservoir without drying out the whole bottle.

Step 3. Using my large flat shader I wet the whole background area. Working quickly, drop cerulean blue onto the wet surface, while still wet drop in some Sap Green and Winsor Violet (or colours of your choice) allowing them to run vertically to suggest trees and shadows in the back ground. Make sure your background makes a neat edge around the bird and that it is consistent between it’s legs etc. I have aimed for strong colour next to the paler edges of the bird to maximise the contrast.

Step 4. When the background area is dry we will move on to the tree. For this we want lots of texture which can be achieved using salt and cling film. Flood the bark area with a wash of Sepia – plenty of colour and water, drop in some Payne’s Grey in vertical streaks breaking up the edge of the bark against the sky so it is not too tidy. While still wet take a piece of cling-film big enough to cover the bark area and carefully lay it over the wet area – pull the cling film and manipulate with your fingers to give a ‘bark’ like texture. Be careful not to splatter colour over your background – it can be messy! Wait a few minutes and carefully lift the film – your surface should still be wet but will have dried enough to hold the texture. Quickly add a sprinkling of salt to the wet area – salt will not work on dry paint. Leave it to completely dry before brushing off as much salt as possible.

Step 5. Remove the masking fluid by gently rubbing with a flat finger.

Begin adding colour and form to the bird starting with the paler colours; use a light wash of Yellow Ochre to the shadow areas of the bird’s white breast, there is a little on the head too. Use a light wash of Winsor Blue to the white markings that are in shadow on the wing tips. I used Light Red for the red areas of the bird and with a little Sepia to darken it for shadow areas. Build layers of detail using Payne’s Grey for the darkest tones. Use a dry brush to describe soft feather edges and a liner brush for more refined detail - pay attention to the direction of the feathers.

Use Zinc White Gouache for the highlight in the bird’s eye.

Every morning, a thrush sings from the treetops above my stables, greeting the day long before the sun fully rises. There’s something wonderfully sure and hopeful in his voice, and I wanted to capture that feeling in paint. This tutorial walks you through the watercolour inspired by his dawn chorus.

The Project

In this tutorial, I have used wet-in-wet techniques for most of the work, this creates soft edges and blends over which sharper details can be added when the surface is dry.

Please note; the background in the following process images appears to change colour - this is due to natural lighting changes while I was painting. It really is just Cerulean Blue.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 25 x 35 cms

• Winsor & Newton pigments - Cerulean Blue, Yellow Ochre, Sepia, Payne’s Grey, Potter’s Pink, Sap Green, and Zinc White Gouache.

• Rosemary’s Brushes - Golden Synthetic No 8 round, Short Flat Shader, fine liner/rigger.

• Faber-Castell - 9000 HB pencil

Step 1. Sketch out the image, editing out any unnecessary detail.

Step 2. Using my large flat shader I wet the whole page except for the bird and twig – take care around the paler edges of the bird. Working quickly, drop cerulean blue onto the wet surface, allowing it to run over the wet areas and ‘find’ the dry edges of the bird. Make sure your sky makes a neat edge around the bird and that it creates a consistent background between it’s legs etc. You could use any colour you like or perhaps more than one – but be careful if you use yellow and blue as a green sky may not be what you had in mind!

Step 3. When the background is completely dry, apply plain water evenly to the whole body of the bird and drop in Yellow Ochre, Sepia and a little Payne’s Grey to describe the form of the bird with soft-edged tone. Lift out* small areas if you need to. Sharp edged details are added later to a dry surface.

Step 4. When the ‘soft modelling’ of the bird is dry add some colour to the legs; I used very light wash of Yellow Ochre and then dropped in some Potter’s Pink and Sepia.

I used Sepia washes to add the darker areas to the bird’s body and eyes and for the speckles which were made with a fairly dry brush (round) in a dab stroke.

Step 5. As each layer dries, add more refined detail with Sepia – I added a little Potter’s Pink to the inside of the beak too.

Step 6. For the twigs I filled in the whole shape with a very light wash of Payne’s Grey into which I dropped a little Potter’s Pink. While still wet I added a drop of Sap Green here and there and pulled out some leaf shoots with a liner brush (rigger).

Step 7. Add more twigs using the same process, add a dot of Zinc White Gouache for the highlight in the bird’s eye and make any final tweaks. When completely dry erase any visible pencil marks.

* Lifting Out. This means using a clean, dry (hungry) brush to mop out small areas of still wet colour. To lift out dry colour use a clean damp brush to lift the colour.

A great place to start is to create a tonal scale. To create a three tone scale you will need paper (I used watercolour paper), a pencil, ruler, black paint (I used Ivory Black gouache) and scissors.

Step 1. Take a strip of paper and divide it into 3 squares, I use the width of a ruler for the strips and divisions.

Step 2. Fill in an end square with the darkest tone you can (I used black gouache).

Step 3. Use your visual judgement to find the mid-tone for the centre square - you are aiming for the midpoint between the darkest and lightest tones.

Now you have a three tone scale that you can use to help find tonal changes simply by holding it up to your subject. You could use a hole punch to make a hole in each square your subject and observe through the square of tone.

A Sweet in a Shiny Wrapper. Tonal Exercise 1.

Using the reference image above, or your own image, make a study in just three tones - your scale will help you find those tones. Do simplify, you will have to ‘round up’ gradient areas to the nearest tone and do experiment with different media; in the example at the top of the article, there are three examples rendered in paint, newsprint and toned paper.

Your Face. Tonal Exercise 2.

Take a black and white photograph of yourself, or someone else, and repeat the Sweet exercise, reducing the softer gradient tones of a face to just three tones. A good approach is to find (freehand or trace) the lightest highlight areas, then the darkest which will naturally describe the mid-tone area.

You will find that using different media changes the way you work; the limitations of each will force you to simplify.

The learning outcome is to observe the impact of tone in an image - even when simplified it will create form and dimension on the picture plane. Note how seemingly abstract shaped blocks of tone work together to suggest form. Learning to find these blocks of tone in any subject is key to producing quality art works.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 35 x 25 cms

• Faber Castell - HB pencil 9000

• Winsor & Newton - putty rubber

• Winsor & Newton pigments - Aureolin Hue, Cadmium Yellow, Winsor Red, Permanent Sap Green, Terre Verte, and Cinnabar Green.

• Lefranc & Bourgeois Deco Acrylic - Antique Gold.

• Rosemary’s Brushes - Golden Synthetic No 8 round.

Click here to download a printable templates

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Step 1. Sketch the first layer - stars. Aim for balance that looks random - consider the size and grouping of shapes. Use the templates provided or draw your own.

Step 2. Fill in the stars with a colour wash of your choice and while still wet, drop in a darker shade to one side. I’ve used Aureolin Yellow and Cadmium Yellow.

Step 3. Sketch some round shapes to represent baubles - you could also add candy canes, fir cones or any decorations you fancy. Apply a colour wash to your balls and lift out a highlight on one side. Lifting out is simply using a clean, almost dry (hungry) brush to remove an area of wet watercolour. Use the templates provided or draw your own.

Step 4. Now you can gather some ivy leaves (or use the templates provided) - choose leaves that are a suitable scale for your painting. Remove the stems and use the leaves as a template to draw around. Placement of the ivy leaves should underlap the stars and balls but not overlap each other - pencil in a simplified version of the veins. As before, you are aiming for a balanced wreath.

Step 5. The next stage is to fill in all the leaves with a soft yellow wash, no need to be too picky here as long as the veins are covered and patchy coverage is better for this stage. I used a pale wash of Aureolin Yellow but any pale ‘leafy’ colour is fine. When the yellow base coat is dry, (important because the next part requires crisp edges), fill in each leaf segment with a green wash leaving fine gaps where the yellow shows through to define the veins. This technique is called ‘negative painting’ .You are aiming for variation in the strength of green for a natural look. I’ve used Permanent Sap Green and Terre Verte. Note that I have added an extra small star (top left) for balance.

Step 6. The wreath is really taking shape now. The next layer is sketching holly leaves, I used cut out templates to draw around, adding guide lines for the veins - position them so that they emerge from behind the other elements but do not overlap each other. Colouring them is the same process as for the ivy leaves - start with a base layer, I used a light wash of Permanent Sap green, then add a darker, bluer shade for the segments between the veins

Step 7. Now to add a bit of bling! To finish off your wreath add curlicues of dot trails to add further balance. One of the most useful brush strokes is the humble dot. It is easily achieved by dipping the wrong end of (a suitably shaped/sized) brush into a puddle of colour and dabbing the upright brush on the paper - the first dot is the biggest , subsequent dots become progressively smaller as the paint runs out. I used this process with gold acrylic paint - it works equally well with glues to which you can add glitter if you wish.

When everything is completely dry rub out any visible pencil lines. This design is endlessly customisable - have fun with it!

Portrait painting is always challenging. In watercolour, we can utilise the unique properties of the medium to suggest gentle contours - raising the face off the paper surface using tone to model the form.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 35 x 25 cms

• Winsor & Newton pigments - Cadmium Yellow, Alizarin Crimson, Prussian Blue, Payne’s Grey, Raw Umber, Burnt Umber and white gouache.

• Rosemary’s Brushes - Golden Synthetic No 8 round, Short Flat Shader, fine liner/rigger.

Step 1. Begin by making a sketch - keep it simple, just accurate placement of features and main shapes. If working from a photograph be sure to select a good quality, reasonably sized image - it is the contrast of shadow and highlights that describes the form.

Step 2. Mix a flesh tone. Here I have used a mix of Cadmium Yellow and Alizarin Crimson neutralized with a tiny dab of Prussian Blue. When mixing flesh tones, remember that you will be using your mixed colour in a very dilute form - test on scrap paper to assess how it will work in your painting. Make a deeper, more concentrated mix for shadows. Paint in all the flesh areas - try to avoid the eyes but you can go over the lips and a little into the hairline - don’t forget the ears!

Step 3. Working quickly, while the skin base coat remains wet on the paper, use your shadow mix and drop colour onto the shadow areas. Remember that there is already a lot of water on the paper and add pigment rather than more water. This wet-in-wet process produces soft blends, so we use this technique for all the ‘soft’ modelling, sharper edged details must be worked on a dry surface. Refine the modelling by ‘lifting out’* highlight areas if the shadow tone has spread too much, typically - under eyebrows, eyelids, philtrum, bridge of nose and sides of nostrils. Let the face dry before working on the features and the neck to preserve crisp edges.

*Lifting out is the process of removing pigment with a clean, dabbed-dry brush. Remember to clean your brush after each ‘lift’ or you will just replace the paint you lifted.

Step 4. The lips are painted separately, use your colour of choice to fill in one lip, (I used a redder flesh tone). While it is still wet, drop a slightly deeper shade at the sides, then lift a little colour from the central section. allow to dry before repeating the process on the other lip. While waiting, create a little form in the eye whites. Here, I wet the entire eye (go over the iris and pupil) then drop a little shadow in each corner - I’ve used Payne’s Grey.

Step 5. The eyes are worked on a dry surface. Apply a wash of your chosen eye colour, I’ve used Prussian Blue, to the whole iris - go over the pupil, it’s darker and will cover. Lift out a little colour at the lower left of each eye - let dry. Paint the dark pupils, I used Payne’s Grey, take care to position them accurately and symmetrically. When dry, apply a highlight in opaque white gouache - this can be simply done by dipping the wrong end of a brush into the paint and ‘dotting’ on each eye.

Step 6. Add detail to the eyes and eyebrows - use a fine pen if you wish. Be mindful of the direction of lash and brow hairs, and consider the tone of the eyebrows.

Step 7. Now we can start on the hair. Sketch out the main shapes and paint in the whole hair area, think ‘Lego hair’, while wet drop in some shadow tones using your choice of colour - I used Raw Umber (pics. 1 &2). Allow to dry and paint a layer of the same wash over the whole area omitting a few highlighted strands (pic. 3). Because watercolour is transparent, layering it will deepen the shade.

Step 8. Continue adding layers to the hair area, with each layer leave a few more strands unpainted. You will see that the most painted areas become darker with each layer. If you wish, introduce other darker, harmonious shades to your layers - I’ve used Burnt Umber. At this stage you can also add shadow to the neck under the chin.

Step 9. Continue layering, this is called ‘negative painting’, where you paint the spaces between things (in this case between tresses of hair). You can work back into each tress to break it up as much or as little as you like. It’s a great technique - have a go and develop your own version of it.

The Project

For this piece I used a small animal skull (I have quite a collection now!) with some ivy strands. I’ve used negative painting, wet-in-wet and traditional watercolour techniques.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 35 x 25 cms

• Winsor & Newton pigments - Payne’s Grey, Vandyke Brown, New Gamboge, Sap Green, Oxide of Chrome, Potter’s Pink, Caput Mortem, .

• Rosemary’s Brushes - Golden Synthetic No 8 round, Short Flat Shader, fine liner/rigger.

My reference image.

Step 1. Sketch out the main composition. You don’t need all the detail - just the main shapes and feel free to ‘edit’ the image, perhaps omitting some of the leaves etc

Step 2. I began by adding shadows under the leaves and behind the skull - I used Vandyke Brown and Payne’s Grey, using plain water to soften the outer edges.

Step 3. The next step is to block in the leaves and stems - here I have used a New Gamboge and Sap Green mix, most of this will be covered in darker layers so it does not need to be too even.

Step 4. The leaves are next - each section of leaf is painted leaving fine veins where the base coat shows through. The greens should be nuanced so that shadow and form are described through tone. Below - I’ve started with the lighter leaves (and base coated a leaf I had missed!). The stems painted wet-in-wet with deeper shadow to the lower edge.

Continue working on the leaves - you may wish to exaggerate colour or tonal differences for clarity.

Complete the leaves using increasingly darker greens - deepen them by adding colours already used like Vandyke Brown and Payne’s Grey.

Step 5. The skull is next - I’ve used Potter’s Pink and Caput Mortem to create layers of detail. I’ve tried to use runbacks to suggest texture in the eye socket.

Finally, adjust shadows, remove any visible pencil marks and crop.

The Project

Architecture can be daunting to paint, but this piece, really a colour sketch, demonstrates that intricate detail is not always necessary to convey the sense of a building. This is a pared back painting made with a limited palette in less than an hour.

Materials I used -

• Fabriano Acid free NOT surface 280gsm (130lb) watercolour paper 35 x 25 cms

• Winsor & Newton pigments - Prussian Blue, Raw Umber, Burnt Umber, Caput Mortem, Vandyke Brown and a touch of Winsor Red..

• Rosemary’s Brushes - Golden Synthetic No 8 round, Short Flat Shader, fine liner/rigger.

Step 1. Sketch out the main composition. Take care to maintain verticals above and below the water line and remember to employ the rules of visual perspective for the diagonals. Keep your pencil marks minimal; just as much as you need to plot out the main shapes.

Step 2. Add some sky. I wet the whole sky area and dropped in some Prussian Blue. I put a very light wash of the same colour over the larger windows to take the whiteness off.

Step 3. Block in the walls of building with a wash of Raw Umber, deepen shadow areas with Burnt Umber.

Step 4. Apply grey washes to the roof areas and the large church window - I mixed Burnt Umber and Prussian Blue to make this grey.

Step 5. Using the same grey apply small brush marks to describe the small panes of glass in the large windows. Use a stronger mix to deepen the shadows under the eaves.

Step 6. Lay down some pale ‘golden’ washes to all of the trees. Add darker warm browns to suggest form - pay attention to tonal changes. Green washes for the grass and hedges are mixed from Prussian Blue and Raw Umber - use these in a stronger mix to add detail to the trees. Apply blue/grey washes to shadow areas and details to the stone work.

Step 7. Reflections. Wet the whole area of water and apply washes of Raw Umber under the buildings and light Prussian Blue on the lower left section. While wet, drop in darker tones form your already mixed colours, place the colour under the bank and allow them to run down, (you can tip your board to aid this process). Remember that your work will dry lighter so be bold! When you have enough colour in the water, use a rigger brush to pull up tiny strokes suggesting reeds at the waters edge.

Step 8. Continue using your fine rigger brush to add detail and tone to the bushes and grasses. Add blue and red to the flag.

Step 9. To finish, you can add definition with a fine pen,as much or as little as you like, if you have accurately placed tone and colour blocks your work is done. Remember that we are creating an impression of our subject rather than copying brick by brick. Look at your work next day with ‘fresh eyes’ to evaluate and decide if you want to tweak. Remove pencil marks (always when completely dry) and then decide on how to crop your image for best balance.

A Wednesday Workshop with Elizabeth Tomkins
Wednesday, 26 November 2025 · 10am – 4.30pm · 1 day
Elizabeth Tomkins · Art in Brittany Studio, 5 Le Valide, Mauron, 56430

About the Workshop

A festive and creative day exploring watercolour and design!

In this workshop, you’ll:

• Paint a watercolour design suitable for a greetings card

• Learn how to digitise your artwork

• Add text and simple edits to create a polished design

• Take home your original painting, a printed card, and a JPEG file to print from at home

By the end of the day, you’ll have both a piece of art and a professionally finished card design ready to share or gift.

What’s Included

• All specialist materials, sundries, and paper

• Use of class paints and brushes (or bring your own if you prefer)

• Complimentary light lunch, tea, and coffee

• Step-by-step guidance in a relaxed, supportive setting

Venue & Access

Elizabeth Tomkins · Art in Brittany
5 Le Validee, Mauron, 56430

• Parking available on the gravel drive

• Two steps to the front door

• Studio and toilets all on the ground floor, on one level

Tickets

€60.00
Includes full-day workshop, lunch, materials, and your printed card.

More info | Book Now

At a Glance

• 📅 Date: Wednesday, 26 November 2025

• ⏰ Time: 10am – 4.30pm

• 📍 Location: Art in Brittany Studio, Mauron

• 🎟️ Cost: €60.00

More info | Book Now

A Wednesday Workshop with Elizabeth Tomkins
Wednesday, 19 November 2025 · 10am – 4.30pm · 1 day
Elizabeth Tomkins · Art in Brittany Studio, 5 Le Validee, Mauron, 56430

About the Workshop

Spend a day exploring the art of portraiture in watercolour. This workshop focuses on techniques for creating expressive portraits using photographs as your starting point.

• First-time portrait painters will work from high-quality reference images provided.

• Returning students who have already completed a portrait workshop are welcome to bring their own image.

You’ll practice and develop essential skills, including:

• 🎨 Effective use of contrast

• 🎨 Colour mixing (with a focus on flesh tones)

• 🎨 Wet-in-wet techniques (for smooth transitions in skin)

• 🎨 Negative painting (for depth and texture in hair)

• 🎨 Detail work (facial features)

💡 Please note: this workshop focuses on watercolour painting techniques, not drawing.

What’s Included

• All specialist materials, sundries, and paper

• Use of class paints and brushes (or bring your own if you prefer)

• Complimentary light lunch, tea, and coffee

• Supportive, step-by-step tuition in a relaxed studio setting

Venue & Access

Elizabeth Tomkins · Art in Brittany
5 Le Valide, Mauron, 56430

• Parking available on the gravel drive

• Two steps to the front door

• Studio and toilets all on the ground floor, on one level

Tickets

€60.00
Includes full-day workshop, lunch, and materials (bring your own brushes/paints if you wish).

At a Glance

• 📅 Date: Wednesday, 19 November 2025

• ⏰ Time: 10am – 4.30pm

• 📍 Location: Art in Brittany Studio, Mauron

• 🎟️ Cost: €60.00

About the Workshop

Petal and Bone is a one-day watercolour workshop exploring the contrasts and connections between skulls and seasonal flowers/foliage.

We’ll work from found skulls and freshly gathered flora on the day, but you’re also welcome to bring your own props, photos, or favourite quotes to inspire your piece. By the end of the day, you’ll create a unique watercolour study (approx. 28 × 38 cm).

What’s Included

• All specialist materials, sundries, and paper

• Use of class paints and brushes (or bring your own if you prefer)

• Complimentary light lunch, tea, and coffee

• Friendly, supportive guidance throughout the day

💡 Tip: If you’re in the mood for inspiration beforehand, take a look at the work of Georgia O’Keeffe.

More info | Book Now

Venue & Access

Elizabeth Tomkins · Art in Brittany
5 Le Valide, Mauron, 56430

• Parking available on the gravel drive

• Two steps to the front door

• Studio and toilets all on the ground floor, on one level

Tickets

€60.00
Includes full day workshop, lunch, and materials (bring your own brushes/paints if you wish).

More info | Book Now

At a Glance

• 📅 Date: Wednesday, 24 September 2025

• ⏰ Time: 10am – 4.30pm

• 📍 Location: Art in Brittany Studio, 5 Le Valide, Mauron, 56430

• 🎟️ Cost: €60.00

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Upcoming In-person Classes and Workshops

Since 2012, I've been teaching workshops and courses in Brittany, offering a welcoming and inspiring space for artists of all levels. Whether you're a beginner looking to build confidence or an experienced painter wanting to develop your skills, there’s a place for you here!

I run several in-person courses and workshops from my home near Mauron 56430

Choose from a day workshop, 10-week group course or single session private class . Learning is delivered through projects. Be part of a friendly, creative group where learning is hands-on and engaging.

Spring Term 2026 Courses resume week beginning January 19th.

Tuesday and Thursday mornings and afternoons - group class (10 x 2.5hour sessions)

Day workshops -

Full-day workshops with guided tuition, materials provided, and a complimentary lunch included usually 10am – 4.30pm.

2026 dates tba

Private Sessions

Wednesday Afternoon Watercolour Private Classes are ideal for individuals or private groups who cannot attend a full course, require private tuition or want a taster session before committing to a full course. Ideal for holidaymakers! Wednesday afternoons (2.5 hours) in February.

Why Watercolour?

'I love watercolour! It’s a dynamic and accessible medium that doesn’t require lots of specialist equipment. Whether you’re at a table, in a field, or working on an easel, it’s easy to take with you and offers endless creative possibilities.' – Elizabeth Tomkins