The Brown County Art Gallery Artists Association hosts several art workshops throughout the year. You can sign up for the workshops by calling the Brown County Art Gallery - 812.988.4609.


This class talks about the science of drawing. It is based on a class in observational drawing that I taught at Indiana University for almost 40 years. The class stressed important concepts in observing and how to use them together to strengthen our abilities to draw representational work.

This class is an introductory class. None of the concepts introduced require prior experience in drawing. Having said that, it’s also a class that people of different skill levels will be able to appreciate in different ways. Even if you have been exposed to all these ideas before, for instance, you could benefit from taking this course because it is such a thorough review. Each exercise in the class focusses on strengthening a unique skill. Over the years, for instance, I became a far better drawer simply because I repeated the exercises along with my students.

June 17-20, 2021 | 9 am - 4 pm | $450

The class takes place over 4 days and is broken into 2 sessions each day. Here is the outline of the concepts covered:

Day 1
Morning – Learning to measure angles, compare distances and use several different measuring techniques to check your work.
Afternoon – Learning to see the world as a picture puzzle of shapes and how to use shape drawing to record the world in a systematic way.

Day 2
Morning – Learning the principles of cylinder construction and how to tackle many objects that are based on cylinders.
Afternoon – Learning the principles of two-paint perspective and how free-hand drawers utilize them to correct their work.

Day 3
Morning – Learning how to use gesture drawing to gather information and coordinate it into a successful drawing strategy.
Afternoon – Learning object-based value structures (Chiaroscurol). How should we expect cylinders, cubes and spheres to be modeled in simple lighting situations?

Day 4
Morning – Using gesture drawing as the basis for complex still life drawing in value.
Afternoon – Using subtractive drawing techniques the student is asked to do a complex still life involving a reflective objects and patterned cloth, the ultimate shape drawing exercise.

All exercises build on one another sequentially, though each exercise is a discreet topic in drawing. It’s possible to struggle with a concept on one day, but still benefit from the new information on following days.

This is a challenging class, but it can be extremely rewarding. Students who grasp the substance of the exercises are empowers and, seeing the utility of the information can immediately import their new knowledge into any kind of work that they do.

Required Materials
The beginning set of exercises use a specific set of tools, compressed charcoal, rough newsprint and white plastic erasers. Since later exercises can result in more finished works that can often be very fine, I also suggest buying a pad of charcoal papers.
• Prang Compressed charcoal pencils – 2 medium & 1 soft
• Staedtler Mars plastic eraser
• Staedtler Mars plastic pencil
• Rough newsprint – 18” x 24”
• Charcoal paper – 18” x 24” only 6 sheets required. Sometimes the pads are a good economic option


This class will focus on using plein-air sketches, drawings or photographs to create large studio pieces. While maintaining the freshness and mood of your plein-air paintings, you will discover the advantages that the time, and the use of techniques when painting in the studio provide. Roger will share some of his techniques, as well as focus on tonality, value, simplifying, how to use color correctly, and compositions.

Friday, October 29 | 9 am-5 pm, 45-minute lunch, inside studio
Saturday, October 30 | 9 am – 5 pm, 45-minute lunch
Sunday, October 31 | 9 am – 5 pm, 45-minute lunch
Cost: $600 per student

Roger Dale Brown grew up in Tennessee, exploring the woods, creeks and fields around his Nashville home, a passionate observer of every aspect of nature since early childhood. He has made it his life’s work to connect deeply to places around the world, incorporating knowledge of their nature, history, architecture and culture in his creative process, and reflecting that knowledge in his painting and writing.

Not having the advantage of a formal art education, Roger educated himself. He spent countless hours studying historical artists such as John Carlson, Arthur Streeton, Isaac Levitan and John Singer Sargent and concentrated his study with master teachers over the years. Roger has developed his own style, which draws deeply from the Impressionist view that painting from life is essential.

Roger has a deep commitment to passing on his knowledge of the artistic process to his students. His self-directed education has given Roger a unique ability to recognize a student’s struggles and an ability to guide the learning process in clear and understandable ways. A celebrated teacher, he has led close to 100 workshops from Maine to Montana in the United States, and abroad in Ecuador, Italy and Scotland. His teaching includes live demonstrations as well as on-location, figurative, studio and still-life classes.

Roger has been honored to serve as juror for art and plein air competitions for Oil Painters of America, the American Impressionist Society and others across the country. When not traveling to paint or teach, he lives with his artist wife and two dogs in Franklin, Tennessee, and teaches in his home studio. “To capture the essence of a scene and make viewers feel they can step
into a different day and understand its mood and beauty is my goal.”

Workshops…My goal as an artist is to enable a viewer to feel the emotion and sensation that I felt when I first laid my eyes on the scene. I want the viewer to step into my paintings and enjoy, not only the story and the scene itself, but the subtle nuances, color harmonies, expressive brush strokes and lyrical edge work. Being on location and studying nature often is the channel that has helped me to advance my work. It is where I learned to see as an artist. When I take a sketch or painting I did on location, into the studio, I enjoy the time to further develop my ideas from the field into a developed painting. The studio gives me time to create, accentuate and develop techniques that takes the scene to another level. It is very gratifying when I teach students this concept and see them grow in their journey as an artist and advance their own work.