In Full Bloom: Garden Painting Techniques
- Rebecca Vincent
- Aug 6
- 4 min read
Every summer for the past few years, I’ve booked myself a couple of short painting courses in the UK. I think of this as CPD (Continuing Personal Development), and it’s been key to my return to painting after 30 years as a professional artist specialising in printmaking. It’s not about copying the tutor’s style, but about opening my mind—not just to new methods and materials, but to new ways of interpreting the natural world.
At the beginning of my artistic journey, I would draw or paint a scene from observation—more or less in perspective and in the colours as they appear—an attempt at realism. But as I’ve learned and experimented more, I’ve discovered that there are many other ways to approach a subject.
What I love about Tessa Pearson’s work is how she takes a complex subject, like a garden, and simplifies and exaggerates what she sees with deft brush marks. The results are lively and vibrant, without the fussiness that can sometimes accompany more realistic floral paintings.
I attended her three-day course, Garden Landscapes in Mixed Media on Paper: Exploring Colour and Pattern, at the wonderful Lund Studios, a place I’ve returned to many times. Tessa had an inspiring display of her work, along with some enviable sketchbooks we were able to leaf through. She was generous with her knowledge, demonstrating both indoors and outdoors her approach using watercolour, gouache, water-soluble crayons, and oil pastels.
It rained on the first day, so after an initial demonstration we worked either from vases of flowers or the view through the window. Happily, my table was next to a window overlooking Debbie and Steve’s charming courtyard garden, which featured some lovely agapanthus flowers and a variety of structural shapes. The details above show two different approaches to capturing these striking blue flowers. I’ve been wrestling for a couple of years with how to handle the interface between a flower and its background, so it was eye-opening to see Tessa’s method: capture the bright colours first, then paint around them, leaving a white margin. It keeps the colours fresh and luminous.
The second day was fine and dry, and we were able to work outside in the farmhouse grounds. There were lots of great views, but I focused on a beautiful border right outside the studio—tall golden grasses, verbena, helenium, globe thistle, and echinacea. The open space of the drive and fields beyond also played a key role in the composition.
I made a number of studies, but the one below is the most complete. I followed Tessa’s advice not to get bogged down painting things that don’t interest you (like doors and windows). Instead, I exaggerated the colour and scale of the flowers, contrasting them with the open space of the driveway and a hint of the gateway beyond, using a soft wet-in-wet approach. It was a challenge to manage all the materials outdoors, but I felt I was making progress. It’s quite common to feel frustrated at this stage!
On the third day, we returned to the spacious studio and were treated to another demonstration by Tessa, showing how she works from her outdoor studies in a more considered, layered way. She builds her paintings in transparent watercolour washes, keeping colours clear and brush marks distinct—reminding me of my own monotype technique with translucent inks. She also incorporates gouache for opaque marks, adding variety, and uses wax resist techniques with candle wax and oil pastels. Watching her paint—surrounded by her vibrant work and materials—was truly inspiring. She has a speed and fluency developed through years of dedicated practice. It’s not something easily emulated without putting in the hours.
I admire the energy and economy of a finished painting like this one (below). It may have diverged quite a bit from its starting point, but she’s created something new and exciting, brimming with joie de vivre.
I made my own attempt to develop the study from the previous day (below). It feels a bit stilted, and the large flowers ended up too regimented, but I now understand the core principle and am keen to explore it further in my own way. The work I did outdoors feels more spontaneous and alive, so I may continue with that approach.
Tessa gave each of us individual attention, offering patient guidance and helpful mini-demonstrations for those who were struggling. Watercolour is an unforgiving medium—it can be incredibly frustrating at times!
It was a real pleasure to meet Tessa in person after following her for years on Instagram. I’ve come away inspired, and I’m curious to see how this experience will influence my own work. I’ve taken many courses over recent years, and I know they’re helping to build my skills and give me the confidence to try new and daring things. I can’t wait to get back into the garden and studio and put these painting techniques into practice.
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