Blue is a popular colour – 90% of the global population say it is their favourite colour. You probably use more blue shades in your palette than other colour. Do you have a favourite shade of blue?

Here is a video link that explains some interesting facts about blue pigment – A Story of Blue

Ultramarine has become a visual standard for sacred figures – especially the Virgin Mary.

The pigment was a rare and expensive extract of lapis lazuli.

Nowadays, it is made synthetically and is therefore much more affordable – it's hard

to imagine painting without it.

It's interesting to consider how pigments have evolved over time – from earth tones in early cave art, through new mineral discoveries and technological advances.

If you visit the Musee des Beaux Arts in Rennes, the main collection is arranged chronologically so you can clearly see the rise and fall in the use of various colours through time.

The cost of rare pigments added to the prestige of those commissioning great works of art. They would often insist on minimum amounts of the most expensive hues to demonstrate their wealth and devotion.

How do you see this reflected in the modern art world?

Your challenge for this third primary colour is to apply all the thought processes outlined previously for yellow and find your connection with blue.

And finally, here's a little research project for you – International Klein Blue is a deep blue first mixed by Avant Garde artist Yves Klein. Do a little research and see how a single hue can inspire so many things!

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Colour Field artists, there are a few, claim that the purity of the colour evokes spiritual, psychological or meditative states in its audience with no distraction from form or mark.

What do you think?

And, before you dismiss the work, consider how long you may have taken over choosing just the right shade of a given colour for décor or fashion – colour impacts our lives at every turn!

Red is a very strong colour symbolising passion, love, and danger. Think Valentine’s Day roses, stop signs, and fire trucks. It’s also used in religious contexts to represent the blood of Christ and martyrdom. In other cultures it has different associations for example - in China, red is the colour of luck, happiness, and prosperity. It's worn at weddings, used in New Year decorations, and gifted as red envelopes (hongbao) filled with money. In India red symbolises purity, fertility, and marital bliss. Brides traditionally wear red saris, and the colour is associated with the goddess Lakshmi. In Japan red is linked to heroism and sacredness. Shinto shrines often feature red torii gates, believed to ward off evil. In parts of Africa, red can represent mourning and death, prompting organizations like the Red Cross to change their logo colours in certain areas. For Central African, Ndembu people, red is a symbol of life and health - warriors and the sick are painted red during rituals. In Russia the word for red (krasny) is closely tied to the word for beautiful (krasivyy). Red is seen as a symbol of beauty, honour, and celebration, and is deeply embedded in folk traditions as well as representing communism.

As we celebrate Bastille Day here in France, it's apt to look at

Liberty Leading the People by Delacroix. Here's a video link for more info on the painting - Delacroix, Liberty Leading the People

As Liberty, wearing her Phrygian cap, (or as I like to call it – Smurf hat), defiantly waves her tricolore, red dominating the whole scene, we may remind ourselves of the meaning of the French flag - Liberté (blue), Égalité (white), Fraternité (red).

The flag emerged during the French Revolution in 1789, inspired by the cockade (a sort of rosette) worn by revolutionaries: blue and red for Paris, with white added to represent the monarchy. It was officially adopted in 1794, with the current vertical arrangement standardized under the First Republic.

The tricolore represents the unity between the people and the monarchy-a visual reconciliation during the early revolution. Over time, it became a symbol of republican values, replacing royal standards and inspiring other nations’ flags (like Italy and Ireland).

The French flag isn’t just a national symbol-it’s a visual manifesto of France’s revolutionary spirit and enduring ideals.

While considering famous red works of art for this weeks SBC, Yeo's controversial portrait of King Charles comes to mind. We did discuss this in class when it was unveiled and there were many ideas about the artists choice of colour.

I've contrasted it with a work from nearly 4o years earlier – consider the importance of the colour in these works.

What do you think?

Your task this week is to look out for the colour red in your daily life. You may consider ;

• Do you have any red clothes (or shoes Dorothy!) - if so why did you choose them and how do you feel wearing them?

• What about bright red lipstick?

• Where do you see red in advertising – find examples – tv adverts, magazines, shop signs and road signs etc - think about the impact the colour has on the product or message.

Make some colour notes in your sketchbooks and really interrogate your relationship with this colour.

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We'll look at some artists who have had obsessions with colour; sometimes a particular hue or combinations of colour repeated through their work, and look at colour placement and mixing strategies

We will focus on the colour yellow this week.

Yellow in art is a colour of contradictions—radiant and joyful, yet historically fraught with complexity. Today, we associate the colour with sunshine and cheerfulness but this has not always been the case. In the 1890's yellow was considered a symbol of immorality. Oscar Wilde was arrested carrying a yellow book which signified that it's content was, at the very least, questionable - the sort of publication bought at railway news stands often hidden in a brown paper bag!

Symbolism of Yellow

• Joy & Optimism: Often associated with sunlight, yellow evokes warmth, happiness, and hope.

• Intellect & Creativity: Psychologically, yellow stimulates mental activity, clarity, and imagination.

• Caution & Betrayal: In Western art history, yellow has also symbolized jealousy, cowardice, and deceit—think of Judas often being depicted in yellow robes.

• Divinity & Power: In many Asian cultures, yellow is sacred. In ancient China, it was the colour of emperors and spiritual authority.

Yellow Through Art History

• Ancient Civilizations: Yellow ochre was one of the first pigments used in cave paintings, dating back over 17,000 years.

• Egyptian Art: Gods were painted in yellow to resemble gold, symbolizing eternity and the divine.

• Van Gogh’s Obsession: Vincent van Gogh famously used yellow to express emotional intensity and spiritual light — his Sunflowers and The Yellow House are iconic examples.

• Toxic Beauty: Some yellow pigments, like orpiment and uranium yellow, were historically toxic—artists literally suffered for their art.

Consider where and how yellow is used in marketing and design – why do you think it has been chosen – what is it's impact.

Do you like yellow? Perhaps you have yellow clothes or furnishings in your home – how does it make you feel?

What yellow pigments do you have in your palette – why have you chosen them?

Some examples of strong use of yellow to consider...

Here are some exercises you might enjoy to help explore the colour yellow.

Sketchbook Challenge Options:

1. Mood Study: Use only yellows to convey five different emotions (e.g., joy, fear, envy, nostalgia, serenity).

2. Object Spotlight: Paint or sketch everyday objects—but only in yellows. Can you make a teacup, a city skyline, or a person glow with nothing but yellow?

3. Sunlight Stories: Capture different types of sunlight across 3 sketches: morning sun, evening sun, and artificial yellow light.

4. Texture Twist: Use mixed media (fabric, thread, found objects) all in yellow tones to create a tactile piece.

5. Van Gogh Reimagined: Pick a non-yellow painting by Van Gogh (or another artist) and recreate it (or a section of it) using only a yellow palette. It's difficult to adjust the tones!

Creative Constraint: Limit yourself to three yellow materials—like lemon yellow gouache, Naples yellow oil, and a mustard-tinted pencil. How far can you push variation and depth?

Learn about the fascinating stories of colour in The Secret Lives of Colour by Kassia St Clair – it's a fascinating read!

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You'll be well aware of the trend in recent years to have verbs or affirmations as wall art. Things like 'EAT', 'COOK', 'SLEEP', 'RELAX' (this one makes me think of Frankie Goes to Hollywood though!), or even worse – 'DREAM BIG' and other saccharine tropes.

I saw (or heard) a comedy sketch on this very subject recently (Ed Byrne I think) where he made fun of these sorts of things and suggested suitable verbs for other rooms in the house such as the toilet!

Don't get me wrong – I am a big fan of letter forms - just not things that state the bloomin' obvious or feel like an order!

I did inherit a set of Hornsea Pottery storage jars, I love them, but I make sure they contain something other than their stipulated contents!

For fun you might consider some ironic,( or nice) personal word-art for your house or another specific place – what would you suggest for the walls of the White House or No.10 Downing Street?

• What items would you label for practical or mischievous reasons?

• What are your thoughts on words as art?

Perhaps you enjoy word art? It's a personal choice..

Typography.

The style and format of lettering has a huge impact on how they convey their meaning. Choosing the right font is as important as composing the right sentence. When I was teaching Graphic Design I would compare the choice of font to the sound of a voice in a voice over. It gives character and authenticity to the text if chosen well.

For instance you would not send a formal note written in Comic Sans, or a child's party invitation in A Dripping Marker.... hmmm?

There are practical considerations, such as readability – people with dyslexia for example find certain fonts easier to read than others – colour for text and background play a part in this too.

There's a lot to unpack here but don't make a mountain out of a mole hill

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There's been a lot of chatter in the classes about this topic so I know your minds are working but what is needed now is - a little less conversation, a little more art please! All of our topics this year link up – some of you have already used text in work for other themes. A piece of work can include many starting points. There really are no rules.

Amongst the chatter, and from the sketchbooks I have seen, there is a splendid amount of invention and subversion going on with some of you are inventing new family proverbs and twisting others to your will!

• Are words necessary in art? Should the image speak for itself?

• How important is the style (font) and materials of the text?

• What would Tracey Emin's tent (Everyone I Have Ever Slept With 1963–1995 ,1995) be without the text?

This piece has featured many times in class. It reminds us that the painting is not a pipe but rather the artist's interpretation of a pipe.

'Asked to design a billboard for the Public Art Fund in New York, we welcomed the chance to do something that would appeal to a general audience. We went to the Metropolitan Museum of Art to count the number of women artists on exhibit compared to the number of naked female bodies in the art works. The results were very revealing. The Public Art Fund rejected it as a billboard, claiming it wasn’t “clear enough,” so we ran it as an ad in New York City buses instead. ' - from Guerrilla Girls, Naked through the Ages.

You can read more about it and them here - Guerrilla Girls

Taking the body from the La Grande Odalisque,1814, by de Jean-Auguste-Dominique Ingres, the Guerrilla Girls make an important statement about female representation in art galleries. Lack of equality within the art establishment has been a bone of contention (there's a nice phrase for you!) for many years. Recently, the National Gallery in London closed for a major re-hang in response to public opinion on this very subject.

• How many women artists can you think of?

• Of those, how many of them were born before 1900?

Not a test – just something for you to think about.

Well, there's some food for thought, something to chew over..... I look forward to seeing your ideas.

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Do you have a favourite saying, maybe a personal or family one? Perhaps a mis-spoken word or phrase that has entered your family vocabulary. It could be something funny or something that drives you crazy.

There are quite a few ways to describe sayings:

• Aphorisms: Short, witty statements that express a universal truth or wisdom. Example: Actions speak louder than words.

• Idioms: Expressions whose meaning isn't directly derived from the words themselves. Example: Spill the beans (meaning to reveal a secret).

• Proverbs: Traditional sayings that offer advice or insight. Example: A stitch in time saves nine.

• Maxims: Similar to aphorisms, but often more instructive or moralizing. Example: Honesty is the best policy.

• Adages: Old and well-known sayings. Example: Where there's smoke, there's fire.

• Platitudes: Overused expressions that have lost their impact. Example: Everything happens for a reason.

• Saw: An old-fashioned term for a proverb or maxim. Example: Measure twice, cut once.

Here are some creative techniques to integrate sayings into your artwork:

• Typography as Art: Use expressive lettering styles to make the words themselves a visual focal point—hand lettering, calligraphy, or even chaotic, overlapping text can add depth.

• Layering & Collage: Combine printed or handwritten sayings with images, textures, and colours, making the words part of a mixed-media composition.

• Symbolism & Metaphor: Represent the meaning of a saying through imagery instead of text. For example the Victorian language of flowers.

• Literal Interpretation: For example, spill the beans could feature scattered beans. Think 'Catch Phrase'!

• Negative Space & Cut-outs: Use stencils, cut-out letters, or negative space to highlight a phrase, creating an interplay between text and the background.

• Hidden Messages: Embed words subtly in patterns, textures, or even code (Morse, signing, semaphore) making them part of the visual intrigue.

• Watercolour & Ink Wash: Let text emerge subtly from transparent layers, or create a dreamy effect where words dissolve into the background, blending with the imagery.

• Acrylic & Gouache: Bold, opaque strokes can make typography a dominant element, while layering can allow sayings to peek through like hidden messages.

• Dripping & Splatter Techniques: Mimic the organic movement of language—whether chaotic like a rebellious proverb or soft like a whispered aphorism.

• Resist Techniques: Use masking fluid, wax, or tape to preserve text against the watercolour wash, revealing crisp words when removed.

• Ink Calligraphy & Brushwork: Express the energy of a saying through gestural marks, distorted lettering, or flowing script that merges with the imagery.

• Mixed Media on Wet Canvas: Let words bleed, distort, or merge unpredictably with watercolour or ink, capturing the fluidity of interpretation.

• Layering Transparencies: Overlay thin washes to subtly build meaning—words appearing and disappearing depending on the depth of layers.

• Paper Engineering: pop ups, interactive elements etc

If you fancy a bit of research for inspiration – here are some Artists who have used text in their work -

• Barbara Kruger

• Gillian Wearing

• Jenny Holzer

• Ed Ruscha

• Christopher Wool

• Bruce Nauman

• Steve Powers

• Mel Bochner

• Ben Eine

• Jasper Johns

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This project required the participants to take a motif and create a painting in an 'ism' of their choosing. Vikki chose surrealism which brought it to mind.

Time and the control of it, is a contemporary obsession, from the quest for eternal youth to the idea of 'saving' time – just look at the huge amount of self-help books available on time management (imagine how long it would take to read them all!).

I'm not sure if it is a particularly British thing to complain about 'not having time'? Many of us have moved to France for a slower pace of life but somehow our 'to do' lists remain just as full! Retirees often remark that they are busier in retirement than in their former working lives! Our relationship with time often sets the mood for the day – we may feel good when we meet or exceed targets, guilt if we fail, upbeat if we got up early and glum if we overslept and missed part of the day. A complicated relationship with a mental construct! How does time impact on you?

We cannot leave the topic of time without a nod to the memento mori genre – in class this is a common reference point but for those less familiar....

Memento mori is a Latin phrase meaning "remember you must die." In art, it refers to works designed to remind viewers of their mortality and the fleeting nature of life. This theme has been explored across centuries, particularly in vanitas paintings, which often feature symbols like skulls, hourglasses, extinguished candles, and decaying fruit to emphasize life's impermanence.

The philosophy behind it is not necessarily morbid — it reminds us to live meaningfully, appreciating the present while acknowledging life's inevitable end.

Consider the popularity of memento mori references in fashion. Skulls and gothic images are a universal badge of defiance for the young – why do you think these motifs are so popular and how do you think attitudes to life and death have changed through the years?

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Some time ago we looked at sensory maps in a class project-this is much the same but instead of describing a given space, you'll be focusing on a time line of your choice.

A visual sensory timeline is a creative way to map out sensory experiences over time using images, colours, textures, and symbols instead of words. It blends chronology with sensory perception, allowing you and/or your viewers to immerse themselves in different eras or experiences.

Here’s how it might look:

• Linear Format: A traditional timeline with key sensory elements illustrated—perhaps touch (textures), sound (waveforms), and smell (abstract representations).

• Circular or Flowing Layout: Instead of a straight line, the timeline could curve or spiral, representing evolving sensory experiences with interconnected visuals.

• Artistic Interpretation: An abstract, expressive representation where the timeline isn't just a chronological map but a mood board of sensory impressions.

Use your sketchbook to try out some ideas, consider appropriate media to bring your timeline to life.

Your time line does not have to be epic! It could be a trip to the shops, a night of dreams, a special night out, the thoughts that run through your head while relaxing in the garden...anything!

Really, it's just images that tell a story – your story. It does not have to make sense to anyone except you!

This exercise develops creative expression and could help you explore deeper and more meaningful emotions in your work. It will allow you to create your own personal visual shorthand that will feed into and enhance your work in general.

Where have you seen examples of sensory timelines? They are all around us – we will compare notes in class.

Some examples of sensory timelines and a sensory map.

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Well this topic is certainly stirring some grey matter! You've been coming up with lot's of ideas like – the time before time and the time after time( thanks Cheryl)!

Angela used origami and extreme perspective to develop an idea about a particular event with a seagull and an ice cream!

Dandelion clocks have been fun to work on – at home and in class.

This painting has come up in conversation more than once this week.

A classic example of surrealism but what do you think about this painting and the surrealist movement in general?

Surrealism – A type of 20^th century art in which impossible things are shown happening.

Consider how it fits with the culture of the time.

What and where do you think we could find modern examples in today's world?

If you made a surrealist painting what would it look like?

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Shadows trace the passing of time as they move across a scene in time with the movement of the sun. You may well have done an experiment at school where you place an upright stick on a sheet of paper outside in the sunshine so that you could plot the shadow positions at various times throughout the day?

Monet famously set up several canvases at his house so that he could work on the same scene at different hours of the day without losing the shadows at any given time.

Look at shadows and make some studies.

Consider how they distort and move (surprisingly quickly) and how they become stronger or fainter with the interplay between cloud and sun. You may have an object with contours that casts an interesting shadow.

Play with the idea of shadows; perhaps overlapping, abstracting and experimenting with colour.

Develop your ideas – what if you replaced a real shadow with another? Perhaps the figure of an old man casting a child's shadow...

Some of your ideas could work well for reflections too.

Suggested reading -

• The Art of Shadows - Journal of ART in SOCIETY

• The Art of the Shadow: How Painters Have Gotten It Wrong for Centuries | The MIT Press Reader

• Arthive.com encyclopedia Shadow_as_a_symbol_in_art

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“Time is what stops everything from happening at once” - John Archibald Wheeler.

Time is our subject for May.

This could be looking forward to a particular time or event, looking back at our younger lives or thinking about how our perception of the passage of time changes over the years. Do you remember how, as a child, time seemed to stand still waiting for Christmas or the school Summer holidays or how good-times seem to pass in an instant? How might we translate these thoughts and feelings creatively?

Artists and writers have always had a lot to say on this subject so it might be useful to do a little research for inspiration.

You might prefer to think about 'time' imagery – an heirloom clock or watch, an hour glass or Dandelion 'clock'.

You could document a sequence of events through time – a flower opening perhaps in several drawings/studies.

It's always good to start with some studies – any time related objects will get you thinking. The very act painting/drawing gives you 'time' to think. Consider different processes-how are they affected by time (drying time etc) and speed you work at – (brush) marks fast and slow.

Some art materials are permanent, some are ephemeral (chalk paintings on the pavement etc.) These are choices that can have a strong impact on your work so use your sketchbook to experiment.

We'll look at some existing time related artworks and discuss creative approaches in class.

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We'll use the Easter break to work on developing ideas into resolved pieces of work. If your creative mind takes you off on a tangent – so be it! It does not matter at all if your work doesn't fall exactly in line with the topics – they are simply starting points. What matters is your work

Here are my top tips for developing your ideas -

• Clarify Your Vision: Look at your sketches and identify the elements that inspire you most — this could be the mood, composition, or a particular detail. Use these as anchors to guide the final piece.

• Experiment with Materials: Before diving into the final painting, test out different tools, textures, and colours on a smaller scale. This can spark new ideas and refine your approach. What happens if you change your support, use mixed media, tear, burn or cut sections of paper – use your sketchbook for informal rough versions. Refine what works (and is appropriate to your piece) and rule out what is not working.

• Create a Value Study: Use your sketch to map out light and dark areas. A monochromatic value study can help you see the overall balance and make adjustments before adding colour. This is ALWAYS useful.

• Stay Flexible: Allow yourself room for improvisation. Paintings, especially watercolours often take on a life of their own during the process, so embrace unexpected changes.

• Step Back Frequently: Look at your work from a distance or take breaks. This helps you spot areas that need adjustment and keeps your perspective fresh.

• Finish with Fine Details: Take your time, consider the implications of each element. Save the intricate elements, like highlights or texture, for last. They add depth and polish to your finished piece.

Have a great Easter. In May we’ll have an art show!

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A familiar genre of art that we can all relate to – what a relief that must have been coming after the seemingly unfathomable work of the preceding Abstract Expressionist era.

Pop Art was championed by American artists like Andy Warhol, Roy Lichtenstein, James Ruscha and James Rosenquist and British artists like Peter Blake, Eduardo Paolozzi and Richard Hamilton. It became a 'thing' in the 1950's, a celebration of postwar prosperity and consumerism. Artists found aesthetic charm in common objects and elevated them through iconic images, rejecting traditional artistic ideals. Many of the key artists of the group, certainly Warhol, Ruscha and Rosenquist came from a commercial art background so their work reflects the economy and impact of advertising imagery. Challenging to the art establishment of the day, it directly confronted art snobbery by producing work that everyone understood and could afford (reproductions that is!).

Grayson Perry was on Radio 4 recently discussing art/culture snobbery and he recalled receiving his Turner prize in 2003 dressed as his alter ego Claire – he said no one was at all bothered about his female attire but that there was shock horror at the thought that pottery could win such a high honour!

We recently heard about the death of Jack Vettriano an artist who achieved huge commercial success in his lifetime but never won the respect of art critics.

What do you think about art snobbery?

Do you have something that you absolutely love but are a bit embarrassed about – a guilty pleasure perhaps?

Do you think art should be for everyone or do you think the elitist aspect adds to it's appeal?

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Food and recipes often feature in novels – Joanna Harris, Patricia Cornwell even Tolkien have used food to give a sense of domestic security in their stories. In class, we've mostly discussed pleasant food associations but food, and the lack of it can also symbolise oppression and control

The portrayal of food in art has evolved significantly over the centuries, reflecting cultural, social, and artistic trends:

• Ancient Art: Food appeared in murals, carvings, and pottery, often symbolizing abundance, rituals, or offerings to gods. For example, ancient Egyptian tomb paintings depicted banquets and food items to accompany the deceased in the afterlife.

• Medieval Period: Art often emphasized religious themes. Food was portrayed in the context of biblical stories or morality lessons, such as "The Last Supper" scenes.

• Renaissance: Artists embraced realism and the beauty of everyday life. Elaborate still-life paintings emerged, showcasing luxurious feasts or symbolic arrangements of food, representing wealth, mortality, or the transience of life.

• Dutch Golden Age: Still-life paintings became highly detailed and symbolic. Simple items like bread or fruit often reflected humility or the fleeting nature of material pleasures (Memento Mori).

• Modern Era: With movements like Pop Art, food became a cultural icon. Think of Andy Warhol's Campbell's soup cans, which blurred the lines between commercialism and art.

• Contemporary Art: Food is now often explored through multimedia, performance art, or installations. It's a medium to comment on sustainability, culture, or social issues. For example, artists like Marina Abramović have incorporated food into thought-provoking pieces.

In essence, food in art has transitioned from practical depictions and religious symbolism to bold statements about society, culture, and identity.

Which era’s portrayal resonates most with you?

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Apart from jolly recollections of comfort food and sweets from years ago. There are also some more uncomfortable associations with food and eating – both of which have strong connections with roles and ideals of womanhood. The Dinner Party by Judy Chicago was an epic work (installation) about how women were overlooked and often constrained to domestic roles.

The Dinner Party comprises a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honoured. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table..... I bet her sketchbook was interesting!

From your sketchbooks...

This is a concept sketch from Ang H. a fascinating idea which kicked off much debate in class.

A delightful sardine tin by Cazzie. This is most inspiring.

I think we can all relate to this drawing from Sue's sketchbook.

Food does seem to be an emotive topic and I am excited to see where we go with it. Lot's of work in progress at the moment so lot's to look forward to.

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Our theme for March is food - interpret this as you will. Although we've painted food in class many times over the years; eggs, cake, cookies etc. – this is your opportunity to explore your own relationship with food. You may have a particular food that brings you comfort or an important food related memory.

Perhaps you have a treasured recipe that you would like to illustrate for future generations or maybe you want to make a political statement about the food industry.

Studies of food are a great place to start – the wide range of textures and colours of food and its vessels are a challenge.

We live in a country famous for its cuisine – how do you think food and culture are linked? Are your 'comfort foods' linked to your earlier life/culture?

Lot's to think about but don't just think – draw, paint, record, evaluate and plan future projects!

This study of a Marmite jar is by Diane – from an earlier project (the photo is wonky – not Diane's work!).

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What an exciting week for your sketchbooks! It’s fascinating to see the patterns emerging in the way you’re all thinking and exploring ideas.

Scents and sunshine drifting through an open window seem to be a theme many of you are drawn to, so I’ve gathered some inspiring artwork featuring windows by different artists. Take some time to really look — how do these pieces make you feel? Do they successfully capture a sense of place, time, or mood?

For those of you with more experience, it’s great to see you confidently sketching out ideas for future projects. If recording ideas still feels unfamiliar, that’s completely okay! Maybe it feels a little self-indulgent, or even vulnerable — wondering what others are doing and if you're "getting it right." But these thoughts are a good sign! They mean you’re pushing yourself, and that’s where the magic happens. Art doesn’t always have to be comfortable… or maybe, for you, it does? That’s something worth exploring!

Keep going—you’re doing a great job!

This piece certainly describes someone in their comfort zone.

It's flat and more concerned with pattern than perspective but what is your reaction to it – where does it take you?

This painting can be read in many ways –

• is the girl absorbed or bored?

• Deep shadow and natural light – what does that say to you?

• Does the image evoke a memory for you?

• Is there a story that goes beyond the captured moment?

• what are your thoughts?

Hopper's work is easily recognised by it's crisp, clean slightly stylised realism. This piece is a complex composition using strong shapes and tones.

How does this painting resonate with you?

• Is it too sanitised?

• Is it dreamlike?

Manet is one of my all-time favourite artists, and I love how he often plays with the contrast between indoor and outdoor spaces in his work. This particular piece has a loose, expressive painting style—do you think that adds to its impact or takes away from it?

There’s no doubt it has that unmistakable French charm, but what exactly gives it that feeling? Take a closer look—what details stand out to you?

I really like this image. It shows a figure absorbed in a crossword puzzle, maybe even enjoying a nice cup of tea. It feels very fitting for our project! But then, there are also sketched figures in various poses, hinting at movement and activity.

Is our figure taking a well- earned break after a busy day, or are they feeling a little guilty about unfinished tasks?

That’s up to you to decide… What story do you see?

Here’s another one of my favourite artists—one we’ve revisited a few times in class! But this piece feels especially relevant to our window theme. It’s all about the movement of the curtain, capturing the breeze and the sounds and scents it carries.

It’s such a familiar moment—haven’t we all experienced something like this? Maybe you have your own version just waiting to be painted!

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'The British Tea Ceremony', from Joan's sketchbook.

Love this image which offers a view of British culture that we can all recognise. We've all done it haven't we - offered or been offered a comforting cuppa in times of need? I'm imagining a cupboard shelf full of mugs with slogans for a range of crises – just in case!

I fear there will be some who would argue that the milk goes in first though!

This is a page from the sketchbook of Cheryl which got us all thinking in class. Birdsong and the smell of cut grass is a tricky thing to portray in an art piece and worth some consideration – an open window perhaps, with objects and lighting to suggest those qualities?

PJ's and clothes generally are an interesting subject. Do you remember those cardboard dolls on a stand that came with paper outfits which fitted with paper tags? A personalised version of that could be great fun!

Here we see sketchbook pages from the January challenge by Diane. She has experimented with colour mixing and application and noted her findings. There are some natural samples in there too. I can imagine Diane producing her own version of 'The Country Diary of an Edwardian Lady' by Edith Holden – some of you may remember that from several decades ago. It was an illustrated nature diary that became very popular with images from it appearing on a vast range of merchandise from bedding to jigsaw puzzles.

The piece below is from Sue's sketchbook and was painted using actual coffee – that's authenticity for you!

Already, lot's of ideas are taking shape and it is a pleasure to see your ideas come to light.

More next week.

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I recently came across the work of contemporary, Tokyo based, artist Kaoru Yamada. Her imagery has many elements that appeal to me such as; strong contrast, indoor/outdoor compositions, good draughtsmanship, aerial perspective and atmosphere. There are a great many similarly delightful images of her work on the internet. The subject matter of this piece is in keeping with our current theme and I invite you to think about creating your own version of this featuring your table, cups, view etc – include any items that help to describe the moment.

Take a closer look at the image above... what do you see? Consider the scale of the objects and what is in the bowl on the right?

After scrutinising the painting you may not be surprised to learn that Yamada is a digital artist, the image above is one of many generative AI images that she has created. If you haven't tried this yourself, have a go. Simply Google a free AI image generator and type in a description of the image you'd like to create, the more detail the better, including style points like 'watercolour', palette etc.

This work is created digitally following instructions from an artist's original concept - is it art? What do you think?

Use your sketchbook to list the thing you feel define art from craft, design or other media. BIG STUFF!

Keep drawing, painting and experimenting with imagery and technique.

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Your challenge for this month is to find ways to represent the notion of comfort, safety, domesticity and home. 'A Nice cup of tea' might well symbolise all of those things but I encourage you to dig a little deeper and see what comes to the surface.

Stage 1. Consider. Use your sketchbook to record your thoughts through words and images as appropriate – you have time to expand on these thoughts later.

There is the obvious option to paint a lovely hot drink and many of you have already done this in class projects and workshops – cups, mugs and vessels in general present the challenge of finding correct proportions and ovals in perspective.

That is a great starting point.

But where do your thoughts take you when you are settled in a comfy chair with your hands cupping a warm mug? What do you see, smell, hear.... how can those feelings be transferred to the page?

Maybe there are other key elements; a book, crossword puzzle, your diary, a favourite blanket...Consider the small, everyday things that make up this part of your day.

Perhaps you have a cat purring on your lap, the radio playing, you hear birds singing or the crackle of a wood fire. What is your personal soundtrack to this gentle distraction?

I have a piece of music that plays in my head for that first (epic) hot drink of the day - it is the Spartacus Adagio by Khachaturian. Since that music was used as the theme to the Onedin Line, I picture tea clippers on the high seas, very apt you must agree! What is your hot drink music?

George Orwell wrote an essay on the eleven (golden) rules to making tea, A Nice Cup of Tea, 1946. You might consider your own rules/rituals and produce a Maslow style diagram as an art piece.

Celia Imrie wrote her Nice series of novels about ex-pats in the South of France, titling the third , A Nice Cup of Tea.

Tea (or coffee, chocolate etc) represent many cultural and political agendas. So, already we are, mentally at least, off the sofa and skipping along a maze of thought directions!

Over to you.....

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