Aine Divine’s Summer School in Edinburgh
I'm back from Aine Divine's summer school and still “paint-struck” after five intensive days of painting.
The experience was just quite something I can’t put into words and its definitely got me thinking on my approach to watercolor.
Hosted in the charming Willow Room of Cockenzie House, the week-long workshop was full of insights, techniques, and the sheer joy of artistic exploration. I even had the privilege of chatting with my idol, Aine herself (and yes, I couldn't resist taking a photo of her flat brush that she allowed me to use during the workshop!).
Flat brush of the Master!!! You can get her flat brush set at Rosemary and Co here.
During the first four days, I hit against a familiar struggle, something I've come across before during workshop of Kelogsloop’s. It's a phase I recognize—a discomfort that comes from letting go of how I paint and embracing the new styles and techniques of the teacher/artist. I anticipated this challenge and was determined to push through the inevitable "it looks terrible" phase that comes with any learning curve, especially as obvious in a painting….
Aine Divine’s beautiful paintings of Augustus, Pete and Lake
Aine Divine's approach to painting, which totally skips underlying sketches, was particularly challenging for me as I usually start with pencil outlines. Her method demands close observation and decisive brushwork—once the paint is on the paper, there's no turning back. I also embraced her use of the flat brush, although mastering its delicate touch and creating those soft, small shapes remains a work in progress. What inspired me the most was Aine’s flow in her movements while painting—from her body to the model to the paper. There seems to be a triangular relationship where she dances and transfers this flow onto the painting. You should see her youtube videos; she literally looks like she is performing a beautiful martial dance.
Day 5. Watercolor Portrait of Helena by me.
On day 5 the last day, I was mindful in each brushstroke and tried not to blend or touch it like I normally do. Most importantly, I imagined being in the mind of Aine Divine, and it turned out quite interesting. I’m pretty happy with it. I’ll have to scan it once it arrives from Edinburgh as I couldn’t roll it up into my tube to bring it back home;)
Reflecting on my learnings from the summer school, these are what I want to continue practicing:
Painting from Live Models: When I relocate to the States, where language is more straightforward (currently in Germany), I would like to paint from live models at least once a month. There's an unexplainable beauty and energy in this practice.
Use Flat Brush More!: Using flat brush for the first few layers for loosening and spontaneity. Try flicking and splattering with the flat brush to introduce a sense of play and freedom. (I loved hearing Aines flicks and splatters, sounded like rain on car windows)
Building Layers Gradually: Being mindful of each brushstroke, leave to dry once laid down and build layers slowly for depth and complexity.
Flow of Movement: Develop a fluid approach to painting, stepping back time to time for better perspective.
Paper: Choose cold press 535 gsm paper for live paintings or when layering multiple washes. I still love using hot press but for layering AND working vertically, I felt the heavier weight definitely helps.
FINALLY, I am thankful to everyone who made this experience possible.
To Aine's sister, Eileen Ahern, for enriching our mornings with Tai Chi and sharing her wisdom during lunchtime tarot readings.
To my incredibly supportive in-laws in Edinburgh who provided a nurturing home, making sure I was fed;).
To my partner for taking time off work to care for our little one,
and to our little creature for understanding (or accepting) my absence during the day.
Aine Divine’s Summer School at Cockenzie House Willow Room July 2024
And of course, to all the fellow students whose creativity and insights made this summer school even more fulfilling.
A special mention goes to Aine, not only for her exceptional artistry and mastery but also for her humble and beautiful spirit. Thanks to her for an unforgettable experience that I’ll never forget!
If interested in her workshops, I highly recommend to subscribe to her newsletter here.
