Chris' demonstration was about the struggle some artists have to – LOOSEN UP their paintings to look effortless, more painterly and impressionistic. She shows some concepts on how to use a simplified approach of focusing on large shapes of dark medium and light tones, to create and design a dynamic composition. Benefits of simplification mean you get translation from complex to simple. 

Tricia did this portrait of her father worked on a collaged surface. 

Penny used a very quick somewhat unfocussed snap taken from a moving train of a lady and 2 children waiting for a train as her reference photo. She did a thumbnail sketch, transferred that to the paper, did a watercolour underpainting, then added pastel on top, adjusting the tone and colour, light and shadow.

Tricia give a very clear description of how shadows have colour, and how that colour is affected by the temperature of the light. After a demonstration of both cool and warm light on a subject, Tricia starts the painting of a little girl in a rainbow dress at the beach.

Maxine Thompson from NZ talks about her travels and her paintings. Note there is some background noise, the sound is a bit echoey as the room has not great acoustics and there is minimal editing - you are getting a 'live recording' noises and all

Anne Yang paints a spacious cultivated garden (Fishermans Bay Garden NZ) with a watercolour underpainting on white Art Spectrum paper. Anne discusses how she is attracted to the light in a scene, how to get the viewers eye move around a painting and the importance of good composition from the beginning. A writeup of this demo can be found in the August 2023 edition of the PSA newsletter.