Maria starts off using a hog brush, but then switches to softer Pro Arte acrylic brushes. After roughly drawing in guidelines,  she put on watered down paint (using an eco friendly thinner), placing the darks first in blocks of tone, and quickly covering the surface with paint. At this initial stage she feels that tone and temperature are more important than colour.
Maria advised not getting too fiddly too quickly by using a large brush , and gradually making the paint thicker by using less thinner. It’s necessary to slow down at this point and stand back from the work, to consider the soft and hard edges and to redefine some parts of the drawing. One tip she gave us is to use a big soft dry brush to soften sky marks.
Using all her blues for the sky and sea, sometimes mixed with viridian and Naples yellow for the foreground, and mixing oxide of chromium with magenta for the subtle headland colours, particularly in the distance, Maria was able to convey the feeling of the scene on a spring morning.

I think her demonstration inspired many of us to dust off our brushes and get back out in the environment to paint again!
Penny