Light, Movement and Colour (Online Workshop Webinar) Spring 2026 w/ Daniel Shadbolt

May 27 to June 10 (Wednesdays), 10:00 AM to 1:00 PM, Eastern Time

**All sessions are live and will be recorded. All recordings will be available to students for 6 months after the final session, after 6 months the recording will be deleted.

Please check your email spam/junk folder for your Zoom invite. Our business hours are 10:00 AM through 5:00 PM. All course information and email correspondence will be sent during business hours. If students purchase a course, workshop, demo or recording outside business hours or during the weekend the course information or recording will be sent the following business day.

DEMO: https://youtu.be/qg7jiPe_Rr8

**Note: there is no Padlet component to this webinar for participant feedback. The webinar is held via Zoom Webinar format.

Workshop Webinar Description

Taking each of these words from this three-week webinar title; light, movement and colour, I will show images and speak about their importance to my painting. Combining technical advice with historical and contemporary references, the aim will be to both share my approach to painting still life and to encourage other artists in their use of oil paint.

The three painting demonstrations will be made live, from life with a combination of natural and artificial light. Every brushstroke of every painted study will be visible from start to finish.

Workshop Webinar Outline

Each week will consist of a slide show, based on each heading or theme. Following this there will be a painting demonstration with an accompanying monologue.

Week 1 – Light (values)

Week 2 – Movement (spontaneity)

Week 3 – Colour (chromatic palette)

During the sessions I will cover the following; returning to a painting, transparency/glazing, impact of perspective or viewpoint on composition, scale shifts, structuring the still life composition, suppressing contrast, control of saturation, softening and disrupting the mark.

Workshop Webinar Materials

Subject matter – for your painting you may wish to paint flowers or fruit or both. Consider the options for something to put the flowers into – a glass jar, a jug, a ceramic vase. Container for the fruit – bowl, plate. Drapery. Background setting. Pattern or colour.

Set-up – high table if you’d like to paint while standing. Table if you paint while sitting. The impact of perspective on your viewpoint and composition.

Painting -

Easel

Table for palette and solvents

Canvases or boards, various shapes and sizes, prepared for oil painting

Palette

Palette knife

Brushes – I use a mixture of hog, synthetic and sable. I like long flats and rounds mainly but will also use filberts and sometimes use the fan brush for softening.

Paints -I advocate a gradual collecting of oil colours rather than having to purchase every tube. It is good to experiment but you need time with the pigment to get to know it a little.

My minimum palette consists of the following;

Titanium White

Cadmium Yellow Pale

Alizarin Crimson

Cobalt Blue

Paints cont. In the demonstration I will likely use some of the following but I do not think you will need to use exactly what I will be using.

Example of an extended palette; In addition to my minimum palette (see above)

Titanium white, Genuine Naples Yellow Light, Aureolin Yellow (Cobalt Yellow), Indian Yellow, Cadmium red, Rose Dore, Ultramarine, Cerulean Blue, Cobalt Green Deep, Viridian Green, Emerald Green.

Rags/Kitchen Towel (for cleaning and ‘disrupting’ the mark)