3 Mar 2018

1-day life-painting workshop with Julie Jackson NEAC

We will be painting from the model in the same pose for one day. You will be encouraged to work with a family of limited colours. Choose colours you like and it can help to look at colours used by an artist you like. Compare two artist’s work, for instance Matisse and Coldstream, immediately you can see that colour choice is very unique to each individual artist.

Bring a sketchbook to make drawings which are often the foundation of a painting. Sketches are one of the best ways of looking at different elements in painting. It is a vocabulary which develops in paint to create phrases, sentences and poetry.

When is a painting finished? For us it will be the end of the day. There are no defining rules for finishing a painting. It will often come about as simply as the end of a session with a model or when the light disappears. A painting is a record of how much time you have spent making it. Even Constable was known to prefer his sketches to his ‘finished’ paintings. Dark and light resonate. Everything is darker than the canvas. Everything is related to the canvas which can be a source of light. Each statement you make within a canvas has an echo or resonance elsewhere within the same rectangle. Keep this active through the day and your painting will maintain a sense of unity through all its stages.

Painting is exploring something and we don’t know how to do it. It just happens every time and every time it presents a different challenge.

About your tutor:Julie Jackson lives and breathes painting. Indeed, she was brought up by painters and has gravitated towards other painters since she began painting. Her deep pictorial culture gives her a sure touch both as an artist and a teacher. She automatically becomes a role model in any group she is involved with.  As a figurative artist, she experiences depth in terms of light and dark, colour and tone. Watching her paint, I have been surprised by her immediacy of response. Perhaps I can sum up by saying she looks, responds, looks at her canvas and acts. As for me, I value her comments and when she isn’t around I tend to ask myself, ‘What would Julie say?’  She can be quite tough but is always kind.” A colleague, Francis Hoyland


Heatherley's School of Art
75 Lots Rd, Chelsea, London SW10 ORN


£55 for the day.

There is a 10% discount for Friends of the New English and students with an appropriate student number booking online. If you are a student you will be asked to provide your Student ID at the workshop. If you are eligible for a discount please email stating which discount you are eligible for and you will be emailed a special code to use when booking your tickets.

Dates & times

Saturday 3 March 2018

10:30 – 16:00


  • You will be painting in oils or acrylic, try to bring as many of the following as possible - Titanium White, Yellow Ochre, Light Red, Cadmium Yellow, Cadmium Red, Alizarin Crimson, Ultramarine Blue, Paynes Grey, Raw Umber. (Don't worry if you don't have all these colours). Please note - you can not use White Spirit, please use Zestit or similar. Any canvas should not exceed 30ins in its largest dimension, although you may work on any surface you prefer.
  • Brushes should be Small, Medium, Large, and one that can really make lines.
  • Palette Knife, Rags or Kitchen Roll, Linseed Oil and a suitable palette.
  • A sketchbook.

There are tea and coffee making facilities on site and cafes nearby - but you might want to bring a packed lunch.

Works for sale

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