There are seven essential approaches that guide my work in oils and for that matter other media. I hope that they will do the same for you, especially if you want to create credible and attractive landscapes and seascapes.

Atmosphere, viewpoint, composition, tone, and colour are the priorities in order. They should be your watchwords and complemented by two others concerning brush marks and paint handling skills. We will develop these approaches and skills over the week to ensure the production of lastingly attractive work.

DAY 1 - BASIC APPROACHES

We will begin by reacquainting ourselves with the materials we use, what and why, and with reference to original paintings on show and my oil painting notes, identify tone and its variations as the most important foundation of a painting.

A demonstration for all to take part in will lead to an outdoor session (depending on the weather), to make a tonal sketch on which to base painting.

Demonstrations may follow illustrating how, stage by stage, and in close up, other paintings have been made.

DAY 2 - THE IMPORTANCE OF TONAL UNDERPAINTING

After reviewing yesterday's progress we will complete our seven essentials with the last two. These involve how we use paints and brushes to generate an underpainting that reflects the tonal range-that pattern of dark to light areas-of the subject. Hopefully this will be based on the sketch of yesterday, or another landscape subject. It also incorporates our aims for atmosphere, viewpoint, and composition together with hints of the colours to come.

DAY 3 - REALISING YOUR PAINTING

After exploring the variety of brush marks you can make, yesterday's painting will be worked on to completion, and another started.

This will be a seascape subject based on photos or an original painting on show.

Similar photographs and demonstrations will also be available.

DAY 4 - THE CHALLENGE OF SEASCAPES

We explore the brush marks that can contribute to a portrayal of a variety of sea moods, from wave break to the mirror of ebb tide sands, and how to use this variety of brush strokes in your painting. Demonstrations, original paintings and photos will support all of this so you will not be all at sea on your own!

DAY 5 - COMPLETION OF WORK AND OVERVIEW

There will be a critique of our work so far with demonstrations for revision to help you with completion or near completion of your work.

Guidance on the presentation of paintings, such as varnishing and framing for exhibition, will lead to our own show for summer school guests to enjoy on this last day.

ADDITIONAL MATERIALS

Essential materials will be provided by Summer School or myself but you might consider bringing the following:

Some clean rags (worn out pillow cases /bed sheets are best)

Cotton buds

Tissues/kitchen roll

Sketch book

Pencil 2B or 4B)

A comfortable picnic chair if we go outdoors or for your comfort indoors especially if you have back problems.

If you have a favourite upright easel I'd encourage you to bring it.

I will be happy to advise on what equipment you have especially if you foresee buying materials in the future. If you need any advice please give me a call.

The course will be supported by reference to original paintings, location photos, demonstrations, and notes for you to keep,

About the tutor:

After a long career producing wildlife films for the BBC in Bristol he now makes images with brushes not cameras. As senior painting tutor for activity holiday company AUTHENTIC ADVENTURES (formerly Andalucian Adventures), Roger paints with his guests on these holidays throughout Europe and Morocco, and in the Cotswolds.

He also tutors at the Adult Learning Centre at Farncombe Estate in Worcestershire and during the autumn and winter runs workshops at his home studio near Stroud. He demonstrates and runs workshops for art societies countrywide and contributes to the national annual exhibitions of the RSMA and ROI at the Mall Galleries in London.

Roger Jones

Tel (01453) 763210 info@roger-jones.co.uk

website and gallery at http://www.roger-jones.co.uk/