Tuesday, June 30, 2015

PINTAR RAPIDO 2015- It's Time to Register!

Hey, It's summer!! It's the best time of the year to paint in London!!!

ARE YOU GONNA BE THE 2015 Winner????

And that's why Pintar Rapido is one of the best painting events of the year!!

That's Me, painting my winning piece in 2013 SOLD

Over 300 artists (both amateurs and professionals) gather together at the Chelsea Town Hall to get their boards, papers and canvases stamped and ready to paint any place of their choice in London!

That's Peter Brown NEAC, one of the lead Judges in 2014, shaking hands with Ben Hope (The 2014 Winner )

Registration starts at approximately 9am on the day and by 9.30 am-10 am every artist would have been at their painting spot to paint for the day. Every artist needs to be back by 6pm and the work would be instantly hung for a selling exhibition the next day! You must have resitegistered and paid for your Artist Pass before or by the 6th July, 2015.

Ben Hope,  Looking West Along Queen's Gate Terrace 25x30cm. Oil on canvas
Winning Painting Pintar Rapido London 2014

Many artists look forward to this! I took part in 2013 and I won it! Many have sold their paintings at this event and it's also a great time to meet up with loads of other artists who love to paint outdoors in the summer!

That's Haidee-Jo painting at Duke of York Square in 2014

So what are you waiting for if  you love painting outdoors! you don't need to be an ardent plein air painter to take part, just get ready and enjoy the day!

 HAIDEE-JO SUMMERS, Duke of York square, 22 X 24, OIL ON CANVAS, SOLD

TO REGISTER before the deadline on the 6th of July please CLICK HERE

Rob Adams Painting his piece in 2014


David Pilgrim, Cadogan Pier, 12" x 16", Oils

How the Hall looks with mounted and hung paintings on the Sunday at the Chelsea Town Hall


Pintar Rapido London is the UK's biggest outdoor painting festival, competition and exhibition. A weekend celebration of art and the London cityscape. It is open to professional and non-professional artists of all skill levels and it inspires hundreds of them to create a picture from start to finish in a day. The following day the public can view and buy these unique visions of London at the Pintar Rapido exhibition.

John Walsom, Embankment, Oil.

Saturday July 11; Painting Day. After choosing a location to paint , each artist has a day to create their artwork. They use their own materials and work in any style, medium or size they wish. 

Tom Hughes, Kings Road Chelsea, Oils SOLD

Sunday July 12; Public exhibition and sale at Chelsea Old Town Hall on the King's Road London SW3 5EE. Visitors can view more than 400 paintings and meet the artists, including the winner of the £1,000 Pintar Prize. 

Mark Harrison, Chelsea Reach, Oils SOLD

Runner up 2014 Cristobal Perez-Garcia King's Road oil on canvas, 73 x 146cm awarded £500 cash prize donated by Bective Leslie Marsh

 Pintar Prize. We have £3,000 worth of prizes being awarded this year, including the top award of £1,000 sponsored by sofa.com. This year we are pleased to have the award winning artist Richard Pikesley as our lead judge.

Valerie Pirlot, Battersea Bridge in the morning  11 x 14  oil on board

If you enjoyed this post PLEASE SHARE, LIKE OR COMMENT and let anyone who is interested in painting outdoor or willing to sell their painting in an exhibition the next day or anyone who is just interested in meeting up with loads of other artists who work in a variety of media and paint outdoors -THIS IS THE EVENT for you!! JUST CLICK HERE for details

Thursday, May 07, 2015

The Prophet, 8" x 9", Oil on Mountboard.

I love faces and I really love interesting faces, especially the people I meet on the street who happen to be total strangers to me! What normally happens is, If I meet some who I really find interesting. I simply beg them for the opportunity to paint them. Sometimes they agree and sometimes they don't. But I'm always really pleased when they do!

This guy, Paul, agreed. I used a the "Inside-Out Technique" which means I start from somewhere inside the face and I gradually spread out, making sure I bring each shape to completion before moving to the next stage.

The Prophet (detail), 8" x 9", Oil on Mountboard, 2015

Wednesday, February 04, 2015

Alla Prima Techinque: Inside out-"Rain, Rain, Rain, Trafalgar Square"

Rain, Rain, Rain, Trafalgar Square, 10" x 8", Oil on Board, SOLD

In this post I would like to explain in full detail, my process of painting a typical Urban Rainy Day in London.
I love rainy days because of the reflections and subtle greys but most importantly, I love them because it gives me the opportunity to test my drawing skills while painting. 

Painting shape by shape in the "Inside Out" Technique can be very tricky if one has not constantly worked on one's drawing skills. I believe everything in painting in this representational manner comes down to great drawing skills.

So this is more of a drawing exercise than a painting, so to speak. If I can get every painting stroke right, then I am indirectly drawing with colour. Once I  mix the right colour, I just need to be sure that I can place it correctly in the right position on the  painting ground. This is exciting because, one is looking forward to how the painting is going to shape out. When I work this way, I  work with a lot of anticipation and it keeps me interested in the work till the very last stroke is laid on the surface.

 Stage 1- I love being organic and going into my painting  without any grids. But when I take on complicated scenes like this, I like to make sure everything is right where it is, especially when I am working from a particular photo reference. I  am using a 10" x 8" Masonite board, which I have primed with gesso. I use about 3 to 4 coats of gesso mixed with a particular acrylic base of colours that helps kill off the stark white feel of the original gesso. The colours  I like to add to it range form Burnt Sienna, to Cadmium red  with some Ultramarine Blue and Yellow Orche. The particular consistency/proportion is not really important, I just make sure that I have a warm, light mixture which is quite light brownish or pinkish or even peachy, depending on what I am painting. The grids are drawn on with a blue coloured pencil and I start a bit of the drawing with a very soft 2B pencil.

Stage 2- This is the most important stage. Here, I make sure that I nail the drawing down to the best of my ability. Accuracy is everything. Nothing is taken for granted. I don't care how long this takes, because form experience I  have learnt that if I rush through this stage, it will ruin the painting and the painting would not have a good base and strong drawing foundation. Once the drawing is faulty the painting will go wonky! You can also see that I have used different hatching for the shading in some areas. This is to help me in  understanding the kind of painting strokes I'll be laying on the surface later on. I do this because it's drawing that helps me to understand painting. We as painters are all different in the way we interpret our  skills and communicate our methods, and I have noticed that I understand everything about painting through drawing. At this point I have enough drawing on the board and I'm ready to take off with colour.

These are the colours on my palette. I use from left to right- Titanium White, Lemon yellow, Naples yellow, Cadmium Yellow pale, Cadmium Yellow Deep, Yellow Orche, Cadmium Red, Terra Rosa, Alizarin Crimson, Transparent Red Oxide, Cobalt Blue,  Dioxanzine Purple, Viridian Green and Ultramarine Blue.

Stage 3- Because this is alla prima, it's always best to start from the back of the painting and carefully and silently come forward, it's quite like walking from the distance into the foreground. So I always start with the sky first, then any other thing that comes after the sky goes first. It works easier for me this way, because it creates an easier sequence to work with. My best greys are mixtures of Alizarin and Viridian. I also love Transparent Red Oxide and Viridian, they are the most combined mixtures I used here. The sky was a mixture of White, Cobalt Blue and Alizarin Crimson. At this stage you can notice that everything in the background is given the uttermost attention. I make sure I complete the building ever before I attempt the tree, even though I leave some vague spaces where the outlines of the drawing lines have been. The key is to make sure the initial background passages are not thick but lean paint.
Stage 4- My main focus here was the intermediary road between the building and the pavements in the foreground. The addition of the cars too, add some spice to this area. This road is very important because its darker in value than the building but its cooler than the pavements which have reflections. For all my cool mixtures I add Alizarin Crimson and Cobalt Blue, I can never get enough of these. Looking at these stages makes you see how this technique can be really interesting as it just creeps up from distance.

Stage 5- This was the most enjoyable part of the painting, painting the reflections. The key is to make sure that the edges between the shapes are soft and lost. Nothing must be defined. Once the overall shapes are laid in. then come the shiny lines to depict pavement lines. The horizontal lines must come in last. You can see how I have left out the statues. This is purposely done to create a better feel of three dimension as they stand in front of most of the main shapes in the painting.
Stage 6-The main focus here was completing the middle statue . It looks trivial but putting it in, really helps the middle area of the painting to look perfectly complete. The only sore spot in the painting is the base of the front statue. You notice than the painting almost looks complete without even painting the base of the Statue in front.

Stage 7-final stage- Here the base is completed with the lone figure being the last thing I paint in front of the base of the Statue. It was Ken Howard, a master of painting reflections that said dark things appear lighter and light things appear darker in reflections.

I hope you enjoyed this process. It's the way I paint complicated scenes. I am very methodical in handling this kind of work and I have to be focused from the beginning to the end.
If you have gained from this post, please share with the social media buttons below

Tuesday, January 20, 2015


Do what I love most-Sketching and Sharing.

The Experience, The Fun, The Passion, The Desire-It's always a different ball game when we do what we were CREATED to do, when we do what we were WIRED to do.....
Let me explain, the week I did this learning session, I pulled my back muscle around my waist, it was so bad, I had to stay at home, I was wondering as the Sketching Workshop was approaching, "How am I going to cope?" 

Addressing the crew, ready to fly!!

I couldn't sit down for long....the pain was excruciating!

Then Saturday the 6th of September came and I managed to go to the Workshop. I'm not kidding.....immediately I saw the people all lined up waiting for the session....The back ache vanished and from 11.30 to 17.30- I searched for the pain, tried to touch where it was hurting but to no avail. The pain took its flight. I enjoyed the workshop-without any aches or pains. It was a fantastic day!

The Workshop in progress , answering questions.

Now, you won't believe it, I got home that evening and the back ache whispered to me....."I'm still here ooo, can you feel me?" I felt the pain again......

Showing a few tips, while sketching is in progress

But while in my element-SKETCHING and SHARING-I didn't feel a thing!

Picture of one of the demos taken by Gareth Jones

I can't explain it! Some call it Adrenaline, Some call it Inspiration.

All I would say is this, "May God help us all to have the courage and boldness to go out and live what we dreamed to be, without any fears or limitations! Because it is the pure work of the enemy to get us trapped in a life, in a job, in a box that was never ours to be in. God's design for us was to operate in our element....When in our element-we glorify God at the highest level and our lives are far more enjoyable"

Sitting o  the floor and doing the demo at Covent Garden

"For we are his workmanship, created in Christ Jesus unto good works, which God hath before ordained that we should walk in them."-Ephesians 2:10 KJV

"For we are God's handiwork, created in Christ Jesus to do good works, which God prepared in advance for us to do."-Ephesians 2:10 NIV

"For we are God's masterpiece. He has created us anew in Christ Jesus, so we can do the good things he planned for us long ago."-Ephesians 2:10 NLT

"For we are his creatures who are created in Yeshua The Messiah for good works, those things which God had from the first prepared that we should walk in them."-Aramic Bible in Plain English

So there must have been an INITIAL DESIGN PLANNED BY GOD, A DESIGN planned BEFORE, long BEFORE we were BORN.

It is my prayer that you never rest until you DISCOVER THAT MASTER PLAN, and when you discover it, TO HAVE THE COURAGE AND BOLDNESS TO LIVE IT!

Thanks Oh Lord for the way you made me!

A Dio sia la gloria

#Sketchingandsharing #Godsmasterpiece#purposedrivenlife #theoriginalplan

Wednesday, December 10, 2014

My paintings at the Royal Institute of Oil Painters Exhibition 2014

It's that time of the year again! The Annual Exhibition of the Royal Institute of Oil Painters is currently on and will run from the 10th of December to the 21st of December at the Mall Galleries, London.

This year I am really pleased to have had four paintings selected for the show.

All my paintings this year focus on the effect of light in urban spaces. I decided to explore the mystery of shadows and radiant light.

Rupert Street, Soho, 18" x 9", Oil on Board, 2014

 This is a scene from Rupert Street Soho at Night.  I was working on a commission when I got the idea for this painting. This is typical Soho at night. Rupert Street has many night clubs and the neon lights at night are just explosive. I exaggerated the colour to have a saturated warmth and included two main figures to balance the abstracted crowds in the background. I really love painting night scenes as they are mainly about tones and very little about temperature.

Summer Heat, Edinburgh, 16" x 20", Oil on canvas, 2014

This is a scene from an Edinburgh Street in the blazing afternoon in Summer. I tried my best to move totally from the normal local colours of a scene like this to a warm blazed colour scheme. I was drawn to the scene because of the reflective wall on the right. It almost seemed like a scene with in the scene. I thought it added a lot of drama to what would have been an ordinary street scene.

Morning Light, Sloane Square, 20" x 30", Oil on canvas, 2014

This is a scene from Sloane Square. For those of you conversant with my blog, you'll know I love Sloane Square! I can paint this area all year through. This time I was totally mesmerized by the powerful radiant morning light from the right side of  Sloane Square Station. It was the abstract shape and it's effect on the few figures emerging from the Station in the morning that made it irresistible for me!

Summer Shadows, Marylebone, 8" x 20", Oil on board, 2014

And the last painting I have in the show is a scene from Marylebone. The one thing that drew me in here was the back lighting! Everything was in pure silhouette apart from the sky and the effect of light on the foreground. I just love when light explodes in the background of an urban space in this fashion!

Adebanji with "Summer Heat, Edinburgh" at the ROI Annual Exhibition 2014

The whole exhibition is a visual feast! If you are in London or around London and you love oil paintings, take a trip down to the Mall Galleries for this great show, you'll enjoy it! But if you can't make it you can see some of the works online by clicking HERE.

Tuesday, October 07, 2014


After the success of "EVERYTHING I KNOW ABOUT SKETCHING" in August, I'm taking on a new workshop on the 29th of October, 2014 (WEDNESDAY) at Harris Academy, Falconwood. It is all about the URBAN LANDSCAPE, Some call it CITSCAPES, or TOWNSCAPES or URBANSCAPES or STREETSCENES!

This workshop is all about how to paint Convincing and Expressive Landscapes indoors!

St Pauls

After a Demonstration with Knockholt Art Group on a London street Scene
The Royal Academy in progress
Bank of England in progress

The video below gives you a quick run down of what we'll be covering.

I paint a lot outdoors, and I bring the knowledge of what I have gained outdoors, indoors. Both of these types of painting inform each other.

Adebanji capturing Morning Light, Chelsea Riverside, indoors

Morning Light, Chelsea Riverside (This is the painting Adebanji was working on, in the picture above)

"If you are able to understand how to approach the painting indoor, it will really help while you are outdoor."

Adebanji working outdoors. (there's nothing stopping you from achieving both effects. Outdoor and indoors)

Summerlight Chelsea World's End- the completed painting which Adebanji was painting in the picture above

Moreover winter is on its way and not everyone might like what you see below!

I had about 10 layers on......

Also had my Eskimo Ice breakers on......

If you are up for this, please register by clicking this link HERE

Or email me by clicking HERE, if you are interested and you can come with your payment on the day, if you don't use PayPal facilities.

Below are list of what you'll learn while painting on the day.

  • How to paint convincing and expressive Urban landscapes-indoors.
  • What to look for outdoors to give your indoor paintings that spark of the outdoors!
  • Making colour notes.
  • The importance of an abstract pattern with a very good value plan.
  • Approaching your painting with a layering and corrective process with the mind of a sketcher.
  • How to scale your pictures to suit the size of the ground you are going to be working on. Both the traditional way and with the Accurasee App.
  • How to put figures and cars into the painting through the silhouette method without getting bogged down with much detail.
  • How to simplify perspective in three simple steps.
  • The best times to take pictures.
  • Making your painting a personal statement and developing a painters shorthand that suggests rather than copies.
  • And most importantly, get direction and help from Adebanji while you work on your paintings after the break.
The Venue is:
Date: Wednesday 29th October 2014, 10am - 4pm
Venue: Harris Academy, Falconwood, DA16 2PE
Free parking available.
Tea and Coffee Provided. Pls bring your packed lunch

Please visit my website to see more of what I do, by clicking HERE

Tuesday, September 30, 2014



As part of the Buxton Spa Art Prize this year, there was a unique prize sponsored by Harold Riley to award £2,000 to any of the participants in the Buxton Art Prize. I am so  happy to announce I won the prize! It mean the world to me! Getting great recognition for my addictive habit!

He (Harold Riley) mentioned this about the Prize, "I am sponsoring a prize which I think may be unique in the UK. All artists have sketch/workbooks which grasp initial visionary thoughts which aid competitors and capture the essence of a yet to be painted work. Such books are rarely seen publicly although they offer an insight into the creative instincts of the artist. The prize offers the opportunity to allow others an insight into the mind of an artist." 

Adebanji With Prize, Certificate and The Sketchbook at The Greenman Gallery Buxton, Exhibition runs till October 12th, 2014

Adebanji sketching as the official Sketchographer at a Wedding in London, The sketches at this wedding were part of the sketches in the Winning Sketchbook.

One of the sketchspreads in the Winning Sketchbook- I sketched these on my way to submit the sketchbook at Buxton
Below (on the Video) is how the inside of the whole sketchbook looked, I recorded it myself at the Greenman Gallery, Buxton.


This took place on the 15th of August, 2014. There were about 13 in attendance and they all enjoyed the day with a real buzz.

This workshop was all about the Urban Landscape. I did a 90 minute demo on one of my favourite spots in London, Kensington Church Street! After the Demo they all got down to working out there urban Landscapes with assistance from me.

The Title of this workshop was the Urban Landscape, with the Fulham Society of Artists & Potters


This was held on the 27th of August, 2014 at Harris Academy. There were 5 in attendance and we had a model for the day too!

Adebanji and the participants at the Workshop, "Everything I know about Sketching"

Participants working on the Sketching techniques, especially BLIND CONTOUR!

Highlights of the Ghosting Technique with Charcoal Dust, water and Oil Base Pencil.

Here I shared all my tips, secrets and techniques on Everything I know about Sketching!

Highlights of a more detailed sketch from beginning to end-Just like I would do it on the Train or Tube. This was done with a Black BIC ball point Pen and N75 TOMBOW ABT Dual wash Pen

Highlights of  painting  in colour from black and white sketches-I painted this from a black and white sketch.


This took place on the 6th of September. I held two Learning sessions at the Moleskine Store at Covent Garden. All Workshops were Sold out and the whole day was great and wonderful!

On the way to the workshop with the full Arsenal ready to sketch!

One of the sketches I  did on the day at Covent Garden.

Sketching a figure and the surroundings at Moleskine Store, Covent Garden

Showing some examples of past sketches at Covent Garden after the demonstration.

Sketching a figure and the surroundings at Moleskine Store, Covent Garden

During a demonstration at Covent Garden

This was a workshop done in collaboration with UrbanSketchers and Moleskine. I tried out their new Sketch Album which is great for pen and pencil work.

That's me and Olha, we both did learning sessions at The Moleskine Store, Covent Garden.


This was a 2 hour demonstration that took place on the 18th of September with The Knockholt Art Group, Seveoaks. There were 31 people in attendance and I did a Demo on a "London Street Scene" explaining my techniques and thoughts as I painted in acrylic.

Adebanji after the 2 hour Demonstration with the Knockholt Art Group

Participants at the Knockholt Art Group Demo.

After the Demo with the Palette.


This took place on the 20th of September with the Sevenoaks Art Society. 12 people were in attendance. They were great and hosted a wonderful 5 star Lunch....I must go back there! It was exciting.

After the demonstration with my palette at the Sevenoaks art Society

For this Workshop I did a 90 minute demonstration on how I paint crowded scenes. After the break they produced some great work too!

After the Workshop at Sevenoaks with all participants

Watch out for my next Workshop which will be taking place on the 29th of October, 2014 (10am-4pm) at Harris Academy and it is going to be on the URBAN LANDSCAPE! Don't miss it
If you are in London or nearby in October please register now! Click HERE for details!

Please share, like and comment if you enjoyed this post with the social media buttons below.

PS-CLICK HERE for my WEBSITE and more about what I do.