Realistic landscapes
Language: ENGLISH
Online art marathon
with Joe Dowden

About art marathon

The autumn began and brought various fantastic landscapes with it. Those magical views with bright contrasting colors on the trees, dark mysterious rivers, birds migrating to the south, magical sunsets...

How can we better live it, than reflect on paper?
Each detail of it! As we are going into the world of realistic landscapes.

This time we will fully immerse ourselves in a creative meditative state, and unleash the full potential of watercolor with a true master of watercolor!
Your guide on this journey is
Joe Dowden (UK)
@dowdenjoe 15k followers
"My workshops show you how to create a real three-dimensional place, on a flat piece of paper, and make it so real and beautiful that you want to be there. It puts yourself and your viewers in that place. I have used every medium, I have sold many drawings, watercolors, and oil paintings internationally. Watercolor is by far the best medium for creating a place and putting you in it"

  • A member of the expert group of the British Society of Artists (SAA)
  • An author of many books and publications, host of TV programs, various seminars, and master classes around the world.
  • A participant of numerous exhibitions whose paintings are sold at the UK Art Gallery
Who is this for?
For those who already have basic skills in watercolor and want to learn to transmit mood and atmosphere,
to do light, texture and realism.
It is a 2-day Marathon
In this marathon, you will learn the critical techniques that bring power and realism to a painting, will create an incredible watercolor landscape, and plunge into the bright colors of autumn, going from a pencil drawing to a full-fledged painting!
What will you learn?
  • Author's style
    You will learn watercolor techniques for realistic paintings, which can enable you to paint many different subjects. It is an absolutely unique and impressive style
  • Understanding value
    The most important area of watercolor, the least understood and the most problematic is tonal values.
  • Effective techniques
    Techniques for painting foreground texture, autumn leaves, water, and reflections.
  • Secrets of colors
    Joe will share with you, how to mix realistic colors which will distinguish your painting from others
  • Bright and sunny painting
    Painting bright light: getting detailed light without having to use white paint.
  • The story of the place
    Understanding what a place is about, knowing the people leaving there, and the history in a landscape help you to be more observant and accurate
Day-2 Zoom Session will start in:
Our Plans
How does it work?
Chose the plan (Basic, Standard, or Maximum). Enter your name and email address. Make a payment (if you chose Standard or Maximum plan) Register here
Get access link
Receive an email (please check spam folders) with all the details on how to access the master classes. In case of any questions, please contact us at
Enter online classes
On the day of the master class, simply go through the link you received via email, enter the marathon program and watch the live sessions and recordings
Special contest for you
€30 for the winner
The participants of Day 2 (live Zoom session with an artist) will have a chance to compete for the prize. You will need to post your painting on Instagram with the hashtag #paint_with_artefacto. The winner will be the one, who gets more likes on that post.
Take part

Feedback from our students

Works of Joe Dowden

Photo by Jacob
Photo by Kolya
Photo by Oliver
Photo by Paul
Photo by Lea
Photo by Fabrice
The story of the place by Joe Dowden
(to the reference photo for Day 2)
"Understanding what a place is about, knowing the people working in the area, and the history in a landscape, allows me to be more observant and accurate. Truth is beauty."
"There are many lakes and ponds like this in England. They are referred to as ponds.
This is one of many created in the ancient rural Weald of Southern England after much of the great forest was felled. They were created as Mill ponds centuries ago, in the early medieval era, before the birth of modern technology. In some places, such as the Tillingbourne Valley, battles were fought in the fields by workers for competing estates over water rights.

The local people in the Countryside are often direct descendants of the people in these events. This pond is in the water catchment area for the very beautiful people River Arun, whose lower reaches form the longest tidal river in England. 500 years ago, some of these pounds were used for iron making forges, (hammers), and furnaces, and many local place names feature the words "hammer" and "furnace", and also "fold" (German "Feld"), for the clearings in the forest from which the English word field originates. The ponds, fields, and forests are all connected with one another, and with the culture and landscape of this region.

Now the Mills have gone, or are no longer working, but the ponds remain.

Understanding what a place is about, knowing the people working in the area, and the history in a landscape, allows me to be more observant and accurate. Truth is beauty. For example, to paint the far shore of a pond or river, where it's difficult to see it, understanding what the shoreline is doing enables me to paint it authentically, so the painting speaks with authority. On a lakeside shore, the trees are slowly falling in. An urban park lake or a lake in a public garden is manicured and tended, so this is not happening. That is why a wild lake like this is always going to be far more beautiful than a well-maintained lake in a controlled setting. It is why the more chaotic, slowly degrading landscape of Southern England is so beautiful. It is no longer maintained to a great extent. Knowing this enables me to paint it more effectively. A painting has to do this to put the viewer's feet on the ground - to put them in the scene. A good landscape painting does not tell you how to feel, any more than a real landscape dictates to you what your emotions should be. A painting allows you to generate your own response, by putting you in that place.

I was working in this region when I stopped for a break at this pond, and I had not intended to paint it. Many amazing views are stumbled across by accident. The most challenging part of watercolor is finding great material. My main concern is not simply finding locations, but finding good light conditions. I spend my time looking for the ideal light and working out the best time of day to visit a location.
Day 2 Program (ZOOM session)
Wednesday, September 8
5 min
5 min
Workshop opening
20 min
20 min
Joe's drawing will be pre-prepared. The maximum size should be no more than 15 inches wide, ideally 12 inches - A4 size. Drawings can be provided a few days before. You can trace the drawing or use tracedown
20 min
20 min
Masking detail
You need to keep the painting small, otherwise there is too much work
20 min
20 min
First washes
30 min
30 min
Mid tone washes
15 min
15 min
Short break
30 min
30 min
Strong value and detail
20 min
20 min
Water reflections
10 min
10 min
Finishing details
Removing masking fluid
30 min
30 min
Feedback session
5 min
5 min
Closing and contest details
Tilda Publishing
© Online Art School "Artefacto"