October 2026 Live Art Demonstration 

Artist: Anil Patel ..............  Subject: Perspective .................  Medium: Acrylic

The golden rule of perspective is the vanishing point. Anil started by creating a rectangle dissected by lines from top right to bottom left and top left to bottom right, the centre being the vanishing point. He then drew the horizon line and told us that the vanishing point could be placed anywhere along that horizon line. Anything below the horizon line will always go up, anything above will come down. He showed us how to handle elements such as doors and windows within a room or buildings on a street. Some people were added. With the vanishing point centre, it is from a viewpoint of someone standing front and centre but if you take it over to one side, this changes the point of view and the angles of the lines will be steeper on the side where the vanishing point is closer to the edge of painting and shallower where it is further away. 

We looked at some of Anil’s paintings to examine where he had used perspective, where the vanishing point was in each, as well as where he had distorted perspective to achieve a more interesting result. 

When we copy something and don’t get it right, we get frustrated, but if we give ourselves more leeway, we might be surprised by what we can create. 

Anil started on his demo piece where he had done a very light sketch, drawing in the lines for his perspective, showing where the vanishing point is. This was to be a scene of Venice, similar to one that he had already painted in acrylic. The sketch was passed around. 

The horizon needs to be determined before the vanishing point can be. This is more challenging where it cannot be seen, for example from inside a building or behind a hill. 

For paints, Anil uses Seawhite brand, available from Brighton. He also recommends a water-mixable oil called Cobra. Anil blocked in the colours, starting with the sky. He adds a little water to acrylic paint. You can mix colour on a palette or on the canvas itself. For looser work, with more expressive movements, hold the brush near the top of the handle, for detail, move your hand closer to the bristles. Twisting and turning your brush also gives different effects. Anil experimented with the colours, saying you can always cover it up if you are not happy with it:

“You are the author of your creation”. 

Anything in the distance should look more indistinct and lighter. In general Anil tries to put warmer colours in the foreground.

A flat brush allows you to get a good straight line. Tonight Anil was using a size 12. Anil started with a board that had been painted pale grey. Sometimes he starts with an orange ground. 

Anil starts with a sketch, comparing it to creating a story board, to decide on where his focal points will be and see what works. He flicks around his painting rather than concentrating on one section at a time. He leaves a border and says if you want to test out colours it is useful to see them next the actual picture. 

Anil featured twice in Landscape Artist of the Year. The first time was at Westfield Reservoir in London, two years later it was Liverpool. The picture produced in Liverpool was passed around.  Being on the show takes you out of your comfort zone, with the time pressure, the cameras, being interviewed and Anil said it was hard to decide exactly what to paint, as you were not told in advance whereyou would be. 

Anil says shadows are really important to a painting. Many of his works are quite dark and with a feeling of drama. He doesn’t use black, but mixes it to a dark grey. 

We were advised to copy from a photo if we want to, but once the main subject is down, ignore it, as continuing to copy can kill your painting. 

Anil enjoys painting in plein air. He said we should let him know next time we’re doing it and he’ll come and join us. We look forward to seeing him again! 

​

Pictures to follow....