1. Still life

Painting with a limited palette: yellow ochre, cad. red, ultramarine, white.

Mixing these colours to find complimentaries. Applying thick paint as impasto brushstrokes.                                                                               

Quality 25x35 cm canvas panel or canvas

inspiration: Lovis Corinth, Joaquin Sorolla, Anders Zorn

2. Still life with fruit, drapes and patterns using a full palette

Looking into the relationship of shapes and colour. Painting in stages.

Inspiration: Postimpressionists: Cezanne, Gauguin

Working on composition in preliminary sketches.

30x40 cm canvas panel or canvas with imprimatura (toned ground) in burnt siena, ochre red, ultramarine

3. Fruit, drapes and patterns: second session

Using glazing and scumbling to deepen the colours, soften the edges of the objects or emphasising brightness where needed.

4. Winter colours

Painting landscape using reference.

Choosing the temperature of your grays. Limited palette advised.

25x35 cm canvas panel or canvas

5. Painting in layers: two/three sessions on still life using Flemish method of oil painting

Toned in burned siena good quality canvas, 35x45cm

Soft medium and small brushes (synthetic) and hog brushes. Good quality media for painting.

It is advisable to pay a visit to the National Gallery to see the old masters.

6. Painting in layers: second session on still life using Flemish method of oil painting

Continue working in layers, defining smaller details.

Soft medium and small brush (synthetic) and hog brushes.

7. Possibly third session on still life using Flemish method of oil painting

Alternatively – painting flowers alla prima.

25x30 cm canvas panel or canvas

8. Colour study

Painting everything in cadmium red

Students have to bring 1-2 objects in red colour to assemble them for the study.

Additionally using white, a bit of brown and other different reds.

9. Painting glass and metal  in a bright electric light

How to see tone on a transparent object. Reflections and highlights.

Looking into traditions of the Renaissance painters. Learning how and when to create soft and sharp edges.

30x40 cm or bigger canvas panel or canvas

10. Second session of painting glass

11. Painting interior or self portrait in the studio

Inspiration – Johannes Vermeer,  Eduard Vuillard for interior.

30X40cm canvas panel or canvas

12. Students’ own projects

Painting  landscape on the grounds of Chiswick house or near the Barnes bridge or from the reference. Have a two 30x40 or 25x30 well primed canvases or canvas boards.

Sketch book, pencils, paint box or light easel, light foldable stool if needed and the rest of art materials. Additionally bring a rubber band to keep canvases together.

The tutor has the right to change the programme due to weather conditions or other circumstances.