Hi, I'm Dalerie Patterson.

Long ago… about thirty nine years ago … I was successfully making a living painting, sculpturing, exhibiting etc. When I became a single Mum, teaching from my studio at home gave me the flexibility to be there for my little boy. Over these many years, guiding probably hundreds of budding artists to achieve their potential and realise the joy of creation has been more fulfilling to me than a solo career as an artist. Before we continue I'd like to mention the question I am most asked over this period of time.

“Do I need talent to become an artist?”

My answer is “No!” Natural talent is a special gift… a wonderful bonus that sometimes manifests itself from an early age. Natural talent can raise the ordinary to the extraordinary. However, in some people it lies dormant until guidance and participation allows it to emerge. That ‘flowering' has occurred countless times over the years and never ceases to delight both student and teacher. Having said that, I have to state that those in my classes that give me the greatest satisfaction are the ‘diligent absorbers'. These folk love their painting, they are keen to learn, and they work hard and absorb information like a sponge. Best of all they end up producing paintings that they never thought possible.

 

"What makes it work? "

My initial training: I studied privately under a Dutch Artist and I remain grateful for his comprehensive grounding in the techniques of the Old Masters. During this time we students attended workshops by prominent artists. Some of these artists found it difficult to explain the construction and thought processes that resulted in the fine works they produced. Consequently, as a teacher I have really tried to keep explanations simple and easy to understand.

Learn by example: In the past many of our Classic Artists trained as apprentices in the Master's studios. They learned on the job. Here at Art Studio 91 beginners work alongside progressing and advanced artists. This way they absorb not only from their tutor but others as well.

Small classes: I do some individual classes and limit groups to no more than six. This allows me maximum time with each artist. Time is precious.

 

Varied techniques . It is crucial to physically demonstrate the different methods of achieving the desired result. The techniques available are what I call The Arrows in your Quiver. It's important that an artist is able to reach for the applicable ‘arrow' and have the ability to execute each method or technique (i.e. washes --wet or dry -- scumbles, impasto, knife, glazing etc). This gives them the scope to achieve the full potential of the finished painting.

 

Individuality. Under this heading these next two categories are the most difficult for potential artist and tutor. Coming in at number one: “The importance of discovering your own individual style” . At the commencement of the learning process neither of us knows what that is. My job, as tutor, is to convey the information and skills to enable each person to develop their painting in their own unique way. The voyage of discovery should continue to be exciting and rewarding.

 

The last is probably the most crucial of all. As a tutor I need to encourage the student to allow their personal ‘Joy of Creation' to shine from the painting. Achieving this feat can turn a painting from an illustration to a pleasure to behold.

 

In conclusion, each time one of the artists from the studio proudly tells me of the delight of the person acquiring one of their paintings, it means more to me than selling one of my own works.

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