Landscape Painting in Watercolours with Jem Bowden (Mar 2026)

Landscape Painting in Watercolours with Jem Bowden

This entirely studio-based course opens with some ‘back to basics’ on materials and paint mixing, but will move quickly, continually integrating further concepts. Jem stresses how all aspects of painting are interconnected, relative, and equally important to the ‘whole’. The whole painting, whole approach and a whole understanding.  Fundamentals of observation and technique are continually emphasised within this.

Expectations about progress in this challenging medium over just four days need to be realistic.  Drawing skills are also fundamental to representational watercolour; however, the course is designed to keep drawing to a minimum, to focus on the paint.  Likewise, a limited palette of colours is used so that other, equally important, aspects of painting are well covered.

‘Beginners’ are welcome, but previous watercolour experience would be helpful, along with a sunny disposition and full willingness to try - and try again!  

The ‘direct’ approach to watercolour

In this method, fewer layers (or ‘glazes’) of paint are used than in the other main approach to watercolour.  

Ideally, the paper is covered no more than twice, meaning that what goes onto the paper is often the final mark, tone, colour, edge, texture (etc). Effectively aiming for the end result straight away, resulting in a fresh and immediate look. These paintings will contain ‘errors’ in the eyes of the painter, and learning requires taking chances and trying again, without fear or expectation. A bold ongoing attitude of adventure and experimentation is essential to enjoying this process.

What will I learn?

Over four days, we will touch on all fundamental aspects of painting landscape in watercolour, including:

• Paint mixing and understanding of all materials
• Brush control & mark-making
• All traditional ‘techniques’ of the medium (on wet, on dry, ‘edge’ control, etc.)
• Subject selection and composition
• Colour and tone/value
• How to see, interpret, analyse and reflect
• Planning, strategy, and even the best psychological approaches

We will work from a range of provided subject references, including skies, trees, water, whole coastal and landscape scenes, with buildings, boats and the odd figure. Bringing your own photo references is optional and may be used towards the end of the course if appropriate. There is no right and wrong in terms of how to apply technique, because all depends on the painter’s intended outcome, whether or not they want a particular effect, convention or surprise.  Jem’s teaching shows the aspects of interaction with the visual world that a painter interprets, and a range of ways that the medium can be directed or (eventually!) controlled, to achieve your aims. With an emphasis on the importance of process over results, much paper and paint will be used, so please bring plenty (see provided Materials List for full details).  Jem loves to help people progress, and there will be plenty of individual guidance. Ultimately, it takes ongoing practice, and he expects you to leave not with fully accomplished masterpieces but many ideas to work on and hopefully a lot of inspiration.

Who is the tutor?

Jem Bowden is a watercolour painter of the ‘direct’ method or approach, resulting in landscapes that have vitality, energy and a degree of impressionism. Jem is predominantly a plein air painter (i.e. working outdoors from life) and this will be his only entirely studio-based course this year. 

For more information on Jem’s work, ethos, credentials, etc, please visit his website: www.jembowdenwatercolour.co.uk

How many students will there be?

There is a maximum of 12 participants, and the tutor will customise the course according to your individual needs.

If you have any questions, please see our frequently asked questions or contact us , or Jem directly at: [email protected]

Materials list

If you are already a watercolour painter, then feel free to bring whatever things you like that are additional to the following:

Brushes: Made for watercolour, not other mediums

• At least one ‘Wash’ brush, medium/large (I use a squirrel hair ‘mop’ type.)
• A least one medium/large size synthetic ‘Round’ brush with a good point (size 12 - 18 approximately, but sizes can vary a lot between brands, which makes it difficult for me to describe this to you exactly)
• This is the minimum requirement in terms of brushes.  More/other watercolour brushes could be useful in addition.  Bring all you have if that’s easy, though SMALL brushes will be less useful.  

Watercolour paper: These can vary HUGELY in terms of the results they bring about.  Unless you are already well accustomed to a particular other, please try to obtain the following paper:

• Bockingford, 200lb/425g (or a minimum of 140lb/300g) (not/cold-pressed, ‘A4’ size* minimum, and a few larger sizes, enough for several sheets per day)
• Watercolour paper in pads can be okay for some small exercises if you'd like, but almost always it is better to remove sheets and tape them down to a board.
• You may also wish to bring a few sheets of basic drawing paper or a sketch pad, which may be useful occasionally
• Bits of ‘scrap’ watercolour paper, for testing paint colour/tone on.  I use the backs of failed works torn up! 
• IMPORTANT: Cheap, so-called ‘practice’ watercolour paper is a relatively new marketing development.  It is often a total hindrance to successful results, so I do not recommend it at all, even for ‘exercises’, but it may be used as ‘scrap’ as described here - if you already have some. Paper does not need to be ‘stretched’ (a book could be written about this alone).  For this course, using tape as described below is the better option, particularly as we will be getting through sheets quickly, at times. 

Paint: Tube paints, not pans. Much of the time, we will be using a ‘limited palette’ of colours. If possible, please obtain (as tubes):

• Winsor & Newton Professional range
• Indian Red
• Raw Umber
• Winsor Blue (Red shade), be careful not to accidentally buy the Green Shade!  

Additional colours that I may use as the course progresses: Light Red, Winsor Lemon, French Ultramarine (also in the W&N Professional range). These are different versions again of a red, yellow & blue.  There is then a ‘cool’ and a ‘warm’ of each primary on the palette, enabling a wide range of available mixes.  It is not essential that you buy these.

For beginners: Note that a change of brand, and/or a change from ‘Professional’ ranges to ‘Student’ ranges does make a difference, and other paints, even of these same *names* will be different and may not work well together!  

And lastly:

• A Desk easel, if you use one and a board (* Raw Umber Studios does have plywood boards you are welcome to use, please see extra notes below)
• Palette, preferably with four or more decent-sized mixing areas.  A watercolour palette must be white. This commonly found shape is a good option (yet also cheap) https://www.pullingers.com/p/JK6606/artists-palettes/jakar/jakar-white-plastic-palette-23-well  
• Absorbent rag:  For drying brushes quickly, during a painting. Important!
• Toilet or kitchen roll
• Masking tape, or brown ‘Self-adhesive Framer’s tape’ - which is what I use.  A wide roll is better than a narrow one
• Water pot or jar - Again, a large better than a small.  Having two is also good.
• Soft pencil (I always use 8B, but anything from 2B upwards is fine).
• Soft eraser
• A small water spray bottle for keeping your paints moist on the palette is also helpful in a warm studio.
• A bag and folder or similar, to contain your papers/board and other things you might want with you.

* If no easel, then bring something to prop up your board on.  A thick roll of masking tape (see below) can do the job, since the angle does not want to be steep, but definitely there.  Corrugated plastic board (available online, and very occasionally at art shops) is ideal, being lightweight, easily wiped clean and also takes masking tape very well.  Plywood (etc) is also okay, but less ideal in these ways. (& if you happen to have two boards, then an extra one can sometimes be useful too!)