DAY 1 - INTO THE LIGHT

Looking for, or being able to introduce the drama of moody, atmospheric effects should be the first priority of the seven essentials I recommend you use in approaching the subjects you paint. Paintings with ‘atmosphere' and mood get noticed.

I will show you what these seven essentials are and how they contribute to worthwhile, attractive, even compelling work. A background sky can set the mood for the rest of a painting; it can also be the main subject. We will tackle a variety of sky dramas where control of water is just as important as delivering the paint.

DAY 2 - LANDSCAPES AND LIGHT

When the foreground landscape from your chosen viewpoint is the most dominant subject, it is the direction of light and the contrasting patterns of light and shade, colours and silhouettes that add their ‘magic'. We will hope to spend some time outdoors making tonal sketches to anticipate these qualities.

DAY 3 - LANDSCAPES AND COLOURS

At dawn or dusk the sun like a projector shines through a prism of branches, twigs and leaves. Long shadows contrast with sunbeams that spear through the mist.

Early and late in the day are when the countryside is at its three dimensional best - and autumn especially is the time of year when mists and colourful mellowness prevail.

DAY 4 - LAKES, LIGHT AND WATERFALLS

Placid lakes mirroring the sky of a misty morning convey a mood of calm. Break that same water as it tumbles amid a welter of spray over a waterfall and the same light bounces off its broken surface; water on the move. Mimicking the flow of water with similarly energetic and fluent brush strokes will do the job, just as much as more careful brushwork and control of water on the paper conjures up the atmospheric tranquillity of a misty lake at dawn.

DAY 5 - SEASIDES

A backlit sea with the sun high and with waves building and breaking becomes a kaleidoscope of flickering spangles of reflected sunlight. As the waves retreat, the tide on the ebb leaves a glistening mirror of sand reflecting sky, sea and land, and beachcombers tempted to paddle, as well as the flotsam and jetsam the tide leaves behind.

ADDITIONAL MATERIALS TO BRING TO THIS WATERCOLOUR COURSE

While all essential materials will be provided by Summer School or myself you might consider bringing the following:

Kitchen roll

Cotton buds

Small hand held spray (from Boots Chemist Travel counter)

2B and 4B drawing pencils

Pencil sharpener/craft blade

Eraser

Desk top easel if you have one and prefer to use it

Masking fluid (I use the yellow variety) and applicator, (I recommend using a old, thin, fine tipped rigger type of brush).

You may have your own favourite materials that you prefer to use so do bring them; I may be able to suggest improvements or future ‘best buys'. Maybe bring along a painting or two for us to both have a look at.

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

TUTOR RESUME

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 www.roger-jones.co.uk