Graphic Design Student Artwork

Post by Vanessa Weaver Graphic Design Art Course.

I have three pieces of work from different students on my Graphic Design Art Course, which I felt would be perfect to showcase on the college’s blog. They are all from the same study unit, the final task in the illustration part of the course. Students can choose to design the illustration for a travel poster, for a country of their choice. These three responses focus upon Japan, Hawaii and France and show a diverse range of illustration styles. I think they are worth sharing with other students and celebrating their individuality and attractiveness.

The students who have completed the illustrations are as follows: Rachel Malpass, Millie Broome and Rosie Marnan.

Vanessa Weaver
Graphic Design

Veronica Makarein

My name is Veronica Makarein. I’m currently a student with London Art College, completing my Diploma of Illustration. Here’s a few pieces that I’ve worked on, all entirely painted with watercolours except for the logo which was digital. Please enjoy. The course so far has been amazing. I am thoroughly enjoying it and with Spencer’s valuable feedback along the way, I’ve never been more inspired to pursue illustration. It’s homework I actually love doing! This course has rekindled my flame for illustration in ways I never thought possible, and I can’t recommend London Art College highly enough for that. I can’t wait to start my next assignment!

Portfolio link:

Veronica Makarein

Irina Ushakova

My name is Irina Ushakova from Russia. I’m happy to study at London Art College. And happy to be a student. I’m not an artist. And have no experience in drawing  (a little – in coloring). But I am trying to be a good student. What I hope to gain from the course? New experience and pleasure!

Paper – Canson (A4, 120g/m2);
Graphite pensil – Derwent;
Сolored pencils – Prismacolor. I like Derwent pencils! Prismarcolor is more difficult to use.

Irina Ushakova
Coloured Pencil Drawing Course

Ronald Kockler

Student Ronald Kockler is studying with tutor Monika Cilmi on our Beginner Drawing Online Art Course. Ronald has produced two stunning graphite pencil drawings whilst working on the course which Monika thought would be fantastic to showcase here on our blog. Ronald explains the materials he used for his still life drawing below…

I used HB, H, 2B, 4B and 6B pencils. The HB’s are a standard school pencils (Papermate, Homeroom, etc). The others are a mixture: Nobel, Hardtmuth, Derwent, and one Staedtler. The drawing took about 6-8 hours and the paper I used was Strathmore Drawing Series 200. (9×12). Medium surface.

We hope Ronald continues to create stunning drawings for his course and we look forward to seeing them soon!

Sonia Utting

Sonia Utting, who is completing the Botanical Painting Diploma Course,  chose some interesting and challenging subjects for her final diploma pieces. Her Showy Slipper Orchid was found in a local garden centre, and she was immediately inspired to paint the exotic looking blooms. She has done a fantastic job in capturing the form and delicate colours of the flowers, using some good green mixes on the leaves.

Her second painting, Cornus canadensis or Bunchberry, was equally challenging. Despite the simple shape of the four petal-like bracts, the centre is actually a mass of tiny flowers. Sonia used a magnifier to paint the tiny details.

The final piece is a study of a Gala apple and Bartlett Pear. This lovely piece shows her creativity and skill by using a combination of fine ink dissections with meticulous watercolour paintings.

It has been wonderful to watch Sonia develop and improve her skills on the course, and the results are delightful!

Written by Tutor Shevaun Doherty


Charlotte Harsini

London Art College student Charlotte Harsini is currently studying our Beginners Drawing Online Art Course with tutor Ida Mitrani. Ida has sent us three beautiful pieces of artwork to showcase on our blog. Ida said…

Charlotte Harsini has produced some amazing work using permanent black pen and for her 2nd assignment on the Beginners Drawing Course. Perfect to show on the blog. Ida

We are thrilled to see Charlottes artwork, so much time has been put into each drawing with much thought and care into the composition of each piece. Beautiful rendering using black pen too. Well done Charlotte, we hope to see more of your work in the coming months!

Julie Wardrop

I thought the response below merited inclusion on the blog. It is an assignment from Julie Wardrop to Constable’s ‘Hay Wain’ which is often seen as a ‘chocolate box’ image. Julie had asked what she could do to improve her responses and I suggested that a more personal response would take it beyond the obvious internet information. She responded to the challenge with an excellent response!
Stewart Roberts
History of Art Course

The Hay Wain; chocolate box cliché or game-changer?

Written by student Julie Wardrop studying with Stewart Roberts on the History of Art Course
ASSIGNMENT 6 – The Hay Wain, John Constable
Oil on canvas, 130.2 x 185.4cm

Everyone knows this painting, particularly if you are English. Such is it’s British-ness, a reference to it is rumoured to appear on the questionnaire for naturalisation post-Brexit! Constable’s The Hay Wain is renowned as being a cliché in the history of art. It has been over-saturated with reproductions, in the form of ceramics, headscarves, cushions and wallpaper. As such, when one stands in front of the original painting, one immediately feels a sense of déjà vu. Why did such an ordinary view become such an extraordinary English icon?….Although, it is said The Hay Wain came only second in a poll conducted to find what was Britain’s favourite painting. First place went to Turner’s The Fighting Temeraire.

For me, looking at it, The Hay Wain straddles a fine line between Romanticism in its naturalistic sense, and Impressionism in terms of its coarseness. The painting has a sense of stillness. It evokes a homely, beautiful, pastoral scene and gives an impression of nostalgia and the halcyon days of a time gone by. There is a sense of fondness; the dog seemingly barking at the cart in the water, the woman in the background washing clothes, and the land-workers in the far background, gathering hay and appearing at one with nature. If one were to ‘listen’ to the painting, only the sounds of the gently rushing water and the barking dog ….and birds in song, would be ‘heard’. In terms of its apparent tranquillity and sense of idyll, however, Constable chose to omit any sign of what was actually taking place in Britain (and in that Suffolk scene) at the time, namely the Industrial Revolution – wherein its machinery was seen as taking work away from the people, who suffered great economic hardship. In the painting he is expressing beauty in a fraught and lowly time. Here there is no inference of the noise of the mill which is nearby (we are told, actually, a small section of the mill brickwork can be seen at the far right – foreground – of the painting). Instead, it recalls his boyhood life – a happy, rural life, as the son of a wealthy landowner.

Immediately one may get the sense that the main focus of the image is the cart, the hay wain, as it takes centre stage in the foreground. The reflection it casts on the glass-like surface of the water evokes, again, that sense of stillness and tranquillity; a snap-shot of the quintessential English idyll. Equally, for me, as much consideration should be attributed to the clouds, a subject, apparently, he observed and studied over a long period. For Constable, clouds best expressed the mood of the landscape – hence this painting’s original title; ‘Landscape Noon’. Here, as in most of his works, Constable’s interpretation of cloud formation deserves a round of applause. It is often remarked about how a particular sunset appears ‘Turner-esque’, yet it was Constable who was the weatherman’s favourite artist, as he always ‘got it right’. In terms of the ‘billow factor’, these clouds are off the scale! Applause?…..nay, standing ovation, surely!
And perhaps because he ‘got it right’ in the sky, then all the more does it benefit the quality of the green(s) on the ground. Home in on the patch of land in the background, and admire the light and shade created by (we are informed) underpainting in light green, allowing it to dry and then half loading a brush with yellow for light – then blue for shade – and drag (scumble) it across the green to achieve what has come to be known as ‘sparkle’. His green underpins, therefore, our understanding of English landscape.

Traditionally, the art world had always turned to Italy, mostly Rome, for the landscape ideal. It’s paintings would include mythical creatures, heroes and nymphs, and the tones used would be on the brown spectrum.

Constable wanted to turn the lens back on Britain. He was determined not to paint like other artists – he wanted to paint things as they were, not from imagination, nor in a way that was ‘in fashion’….“Paintings should have the tonality of an old Cremona fiddle” was Sir George Beaumont’s (one of the original founders of the National Gallery) argument with his friend, Constable. During an afternoon’s painting en plein air, Constable fetched from the house a Cremona fiddle and placed it on the ground next to a puzzled Sir Beaumont….to show that a fiddle is brown and the grass is green.

Constable was indifferent to public popularity, unlike his contemporary, Turner who craved it, and this stubbornness meant his acceptance into the Royal Academy as a full member didn’t come until he was 53 years old (Turner was in his teens when he himself became a member). “Take away that green thing!” (referring to Constable’s work) was one of the rebukes from a Royal Academy jury member in selecting pieces for exhibiting.

Furthermore, traditionally, the dimensions of British landscape paintings were relatively small, compared to that of historical or religious subject matter…….which makes the six-footer that is The Hay Wain a bit of a maverick.

Whilst the Academy was criticising Constable’s work for its ‘unfinished-ness’ (Constable’s retort was “I do not see any finish in nature”), it was another contemporary, Theodore Gericault, who saw The Hay Wain, loved it….so much, that Constable’s paintings were invited to be exhibited (and were awarded a Gold Medal) at the Paris Salon. Another painter of the era, Delacroix, saw the exhibition and it is said that, afterwards, he returned to his studio and repainted all his own works incorporating the techniques used by Constable to achieve that must-have ‘sparkle’.

What ensued, it is said, is that, after Paris, many other artists adopted this technique, including Monet and Pissarro…….hello Impressionism.
It is perhaps an oxymoron that, politically, Constable is very conservative, but artistically he is a radical. With regard The Hay Wain – whilst the subject seems mundane – Constable is actually being very ambitious.

So, The Hay Wain; chocolate box cliché or gamechanger?
Answer: Game-changer….. and a symbol of England.

Julie Wardrop
History of Art Course

Parijoy Saha

Parijoy Saha is a student currently taking our Watercolour Diploma and has emailed us a link to a press release all about his paintings. Parijoy holds many records for the fastest paintings in the world and you can see more of his work on his website  Read the full story about Parijoy on the press release here –  You can also view one of his paintings and a video about his achievements below. We are proud to have Parijoy as one of our students!

Amanda Cumming

My name is Amanda Cumming and I am currently taking the Oil Painting Certificate course with tutor Alan Dedman. I am very new to painting, photography has been my hobby for many years. I decided on oils after being inspired by some local artists here in the New Forest who use that medium. The oils course is teaching me some of the ‘technicalities’ of using this medium which I desperately needed. Some of the assignments have taken me outside my comfort zone a little, for example, the still life. I love the online course though as I can progress at my own pace. One of my latest paintings is below.