Mollington Oil Painting Morning: Interiors and Light

What a fantastic four-week course we enjoyed at the Five Village Hall in Mollington, Chester. This course focused on Interiors & Light—a theme deeply rooted in art history, often used to place the viewer within a space or to draw attention to a specific figure or focal point through careful control of light and tone.

I would like to thank the eleven students who attended for their commitment, effort, and noticeable progress throughout what is undoubtedly a challenging subject. Interior scenes demand patience, accuracy, and a strong understanding of tonal relationships, and the dedication shown across the group was excellent.

We spent the first two sessions focusing on producing a traditional grisaille underpainting. Due to the complexity of the architectural scene, this stage required time—not only to carefully draw the image onto the canvas, but also to establish a full range of tonal values across the composition. Understanding light within an interior relies heavily on value, and this foundation was essential.

The first step of the course was to apply an imprimatura in burnt sienna. This warm ground helps oil paint sit on the surface of the canvas rather than sinking into the gesso primer, preserving luminosity and long-lasting brightness in the early layers. Because of the scale and complexity of the image, time was spent carefully transferring the drawing, ensuring enough tonal information was mapped out to capture the essence of the interior space.

The painting was then developed as a traditional grisaille, using a controlled value scale of approximately ten tones—from titanium white through to raw umber. Raw umber has been used for centuries in underpainting due to its affordability, excellent coverage, and ability to create a balanced range of greys with warmth that supports later colour layers.

The grisaille stage took two full sessions, and while many students found this process challenging, it proved invaluable. Working without colour allows the image to be understood in its simplest form, strengthening structure, light, and composition before colour is introduced.

Colour was then approached with flexibility, allowing students to decide how much of the grisaille remained visible. This underlayer can create a beautiful softness when allowed to show through. We began applying colour through thin glazes—approximately 50:50 paint to medium—maintaining a lean structure while preserving the underlying values. This method is particularly important when working with tints and directing the viewer’s attention toward specific focal points.

The final two sessions focused on colour development, beginning with the teal shutters and sunflower before introducing warmer hues on the walls. These warm tones created an exciting glow around the window, enhancing the sense of light entering the space and giving the painting its atmosphere.

I am extremely pleased with the work produced throughout this course. Each painting demonstrates growing confidence, thoughtful observation, and a strong understanding of tonal structure and colour application. The results are a real testament to the students’ focus and willingness to engage with a demanding but rewarding process.

Thank you all for attending and for the enthusiasm, focus, and commitment you brought to this course. I look forward to welcoming you back in the New Year, where we will be focusing on the human form—creating a close-up study of the figure and exploring structure, proportion, and expressive detail.

Figure Study Course