For this online painting demonstration, Kyle Ma will paint a scene from Venice (from his own reference photo) starting with a strong drawing. Kyle explains his process of painting from a photograph and the overlaps it can have with Plein Air painting. Kyle explains how to create an artistic focus to your painting from a photograph, working more on the area you want people to look at. Kyle is always thinking how can he can use his brush work to emphasize the atmosphere in the painting.
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Kyle Ma was born in the year 2000, he developed a love for art at an early age after being exposed to the works of the old masters through museums and art history books. Kyle says that painting allows him to express his viewpoint of our world. In 2010, Kyle moved with his family to Austin, Texas where he began seriously study oil painting under Elizabeth Locke. Here, Kyle learned the importance of having a solid foundation in the fundamentals to be a successful representational artist. Kyle also took workshops around the country with master artists to further his art education. He enjoys painting En plein air since it allows him to be immersed in the landscape during the process of creating. In 2016, Kyle held his first solo show with Wilcox Gallery. The show was successful and encouraged Kyle to consider art as a full time career after graduating. Kyle holds a BS in Geology from the University of Texas at Austin but chose to pursue art as a career. Kyle believes it reinforces the idea of making careful observations and seeking to understand these observations, a skill Kyle feels is extremely important in art.
Kyle’s work has been exhibited in numerous solo and group exhibitions around the country, and has received several awards including the gold medal in the 30th annual Oil Painters of America National Show. Additionally, Kyle is a Master Signature Member of Oil Painters of America, Plein Air Painters of America and member of Salmagundi Club. Kyle’s work has appeared on the cover of American Art Collector and PleinAir Magazine, and his work has been featured in Southwest Art Magazine, Art of the West Magazine, Fine Art Connoisseur, Western Art Collector Magazine, and American Art Collector Magazine. Kyle teaches workshops around the world and has presented at Plein Air Convention and Portrait Society of America’s conference. “Painting, to me, is an extremely passionate experience. I paint as much as I can, and hope that I can communicate with the viewer what I saw and how I felt each time that I pick up a brush."
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Medium: Oils.
Skill level: All levels welcome.
Duration: 2 h 40 min.
Included: Live demonstration video, downloadable reference image photograph, materials list.
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Kyle Ma’s Live Stream
Kyle Ma’s Materials List
Kyle Ma’s Reference Image
Kyle Ma’s final painting (image)
If you need us to re-send this to you, please contact us.
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Translate a photo reference into a vibrant, painterly composition.
Simplify complex scenes and organise shapes and values for clarity and impact.
Confident brushwork to suggest detail without overworking your strokes.
Balance realism and impressionism - painting what you feel, not just what you see.
Create a convincing sense of light and atmosphere.
A deeper understanding of how to approach cityscapes and Plein Air style paintings in the studio.
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This video will be available to re-watch at your leisure until 29th of August 2027
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Yes! As soon as you purchase, you will have access to Kyle’s materials list, so you can paint along from home.
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We do sell some of them, yes! We have listed them below.
*Worldwide shipping is available, please email us if your country is not available at the checkout.
Kyle Ma’s materials, available from our online store…
Ⓥ VEGAN
Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
Organic, Natural Earth – An impure, amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burnt ivory scraps but from charred animal bones. It is denser in shade and cooler than Lamp Black, with stronger tint power. Ivory Black, the blackest of the blacks, is the most frequently used black in the range.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
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Michael Harding’s Warm White is my solution for the UK and EU artists who want a lead-like paint without the lead content, which is banned unless you are a certified restorer in the UK and EU. This warm white is opaque, has outstanding brushing qualities, and mixes well with every colour on the artist’s palette. Warm White is available worldwide.
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Inorganic and Organic – Amethyst is a mixture of three well-known colours that come together to create an extraordinary shade of violet, particularly for the exotic artist’s palette or artists who regard themselves as ‘colourists’. This colour has been known to evoke warmth and pleasure. Artists use Amethyst in portraits, landscapes, and non-figurative works. For years, artists have wanted more from their violets, so I’ve developed and offer this potent, vivid, transparent shade!
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Inorganic – Cadmium Sulphide is a ‘tangy’, bright, high-tint power yellow. It’s an inorganic pigment that lightens and increases the opacity of warm mixes without overthrowing them. The Cadmium range of pigments was introduced into production between 1840 and 1890, as costs permitted, and it has proved the most artistically reliable of all the metal compounds discovered in the 19th-century.
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Another of our versatile, high-coverage, natural colours, Lavender (No. 243) is useful in myriad applications.
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Inorganic – This oil paint is a warmer version of Cadmium Yellow Golden, giving a transitional colour more powerful, vivid colour than those obtained by mixing Cadmium Reds and Yellows. Cadmium Yellow Deep is often used to warm the mid-tones and lights of some flesh painting.
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Inorganic – This Iron Oxide has been used as a wood dye, and I realised that its capacity to enrich the grain of hardwood made it a wonderful candidate for paint making. Michael’s Transparent Red Oxide is an Iron Oxide manufactured to such a small pigment particle size that like its yellow counterpart, it possesses Lake-like characteristics. No. 220 has terrific tint power that produces wonderful results in mixes with yellows and brings gravity to mid-red tones. Mix it with phthalocyanine blue for an interesting surprise!
Ⓥ VEGAN
Inorganic – This oil paint is a warmer version of Cadmium Yellow Golden, giving a transitional colour more powerful, vivid colour than those obtained by mixing Cadmium Reds and Yellows. Cadmium Yellow Deep is often used to warm the mid-tones and lights of some flesh painting.