Paul Weaver demonstrates how to paint reflections on water, in watercolour

The sunlit bridge against the dark trees made a great focal point, casting sharp-edged reflections in the slow-moving river

STAGE ONE ►

After wetting the entire sheet with clear water, the sky and its reflection were quickly painted top to bottom, using raw sienna, a touch of permanent rose and cobalt blue. Allowing colours to mix and blend on the paper, I suggested the ripples in the water with a warm grey and slightly thicker pigment to retain definition. This was then allowed to dry completely

STAGE TWO ◀

The background building was kept simple to help recession, painted with raw sienna, the darker notes using cobalt blue and light red. The middle distance foliage is an important feature, defining the sunlit bridge and tower. The trees were blocked in with Winsor yellow, French ultramarine and burnt sienna, connecting shapes and creating soft edges within the shadows

FINISHED PAINTING ►

Paul Weaver Reflections, Bradford-on-Avon, watercolour on Bockingford Rough 140lb (300gsm), 14310in (35.5325.5cm). Finally I added the reflections, with a mix of raw umber and a little French ultramarine on dry paper, using loose brush calligraphy to create bold shapes with sharp, wriggling edges. While this was still wet, I added the soft, darker reflections within, using a stronger mix of the brown and blue, carefully lifting out highlights with a damp brush

STAGE THREE ◀

The shadows and dark archways of the bridge were added next, using a mix of light red, cobalt blue and raw sienna to suggest the Cotswold stone. I combined dry brush and wet-in-wet techniques to create texture and soft shadows where required. I darkened the shadows within the archways further with burnt sienna and French ultramarine. I also darkened the foreground water with a wash of cobalt blue and light red to bring it forward

▲ Paul Weaver Sparkling Light, Cumbria, watercolour on Bockingford Rough 140lb (300gsm), 10314in (25.5335.5cm). This is a classic case of less is more. The sparkling sun on the lake was suggested with just a few dry brushstrokes, enhancing the dramatic effect of the sunburst above

◀ Paul Weaver Feeding the Swans, Wells, watercolour on Saunders Waterford Rough 140lb (300gsm), 13318in (33345.5cm). The combination of soft- and sharp-edged shapes took some careful planning and calligraphy with the brush

▲ Paul Weaver Rushing River, Cumbria, watercolour on Saunders Waterford Rough 140lb (300gsm), 13318in (33345.5cm). The tumbling water was painted with energy and a light touch to create broken shapes and maximise the white of the paper

▼ Robert Brindley Boats at Low Tide, Staithes, gouache on canvas-covered board, 83113/4in (20330cm). This was a demonstration painting for a course I was running in Staithes, North Yorkshire. To create texture and introduce a few brushmarks to the finished painting, I prepared the board with one coat of texture paste, using random marks with a 10mm flat, stiff brush. When dry, a warm acrylic ground was applied using yellow ochre and burnt sienna

▲ Lizzie Black Golden Syrup and Crumpets in the Garden, oil on canvas panel, 16320in (40.5351cm). For this scene I introduced a crumpet with golden syrup and blackberries. There are cupboard items that have packaging that hasn’t changed for many years and they are a welcome addition to my studies – golden syrup is one of them. The antique bottle of lemonade is a regular and came from my mother-in-law. It is a good, strong vertical in the background and I particularly like the aged label and light that is reflected through it. The scissors are often a late addition and can lead the eye back into the painting

▲ Lizzie Black Rhubarb Cake in the Garden, oil on canvas panel, 12316in (30.5340.5cm). I particularly enjoy painting glasses and jugs of water with lemon and mint floating in them. They create beautiful reflections and appear like sparkling jewels in the light. It is fun cutting up fruit and arranging it on a plate – peaches were a favourite. Sometimes, towards the end of the session, I place a flower on the table to improve the composition, as I did in the bottom left of this painting

◀ Barry Herniman Towards Mikros Aselinos, Skiathos, pen, ink and watercolour, 101/438in (26320cm). Last year my wife and I filled in all the Covid forms, did the tests and took flight to the lovely Greek island of Skiathos – and we were so glad we did ! Having rented a car we set off on a tour of the quiet and rugged north coast and came across this view down into the bay of Mikros Aselinos, which I just had to sketch

▲ David Curtis Little Barrington, watercolour, 10314in (25.5335.5cm)

▲ Felicity House The Jubilee Cake Tin, pastel on mountboard, 223271/2in (56370cm)

◀ Bill Jacklin Duet, pen and ink on paper, 18318in (45.5345.5cm). ‘This is in the Collection of the Arts Council of Great Britain. In my early tonal pattern work I expressed observations in nature along with the effects of light. The pieces are often referred to as non-representational but are simply reflections of the structures I was observing. Invariably, my interests revolved around light and shadow, be it visually or emotionally. It is all part of the same continuum now.’

▲ Bill Jacklin Out of the Wood 1, oil on canvas, 60378in (76356cm). ‘I spent much time making watercolours of the shadows of the trees in the surrounding paths of Central Park. I intended to find an equivalence of the fluctuating and repetitive patterns of the shadows; until it solidified into a structure. The constant overlaying of washes of colour, greens and purples and greys was to create an ephemeral experience.’