This is a fairly recent innovation, after a suggestion by someone up in England, and one that I am really enjoying...
The question was "Do I run any residential courses?" The answer, at the time, was: "Hardly!"
But I began thinking.  Here we are, I thought, a spit from one of the most beautiful coastlines in the country, with several very nice "Bed and Breakfast" establishments in the village, plus a pub, a shop, a post office and a couple of mangy dogs, why not find a way - during the long summer - to combine the two? The upshot of all this painful thinking is that if you'd like a painting holiday in Cornwall , and you fancy some hands-on hints and tips while you're at it, then it's all possible! 

HOW IT WORKS SO FAR 

Well, so far there have not been that many. Last summer I arranged four such holidays.  One phone call fixed the accommodation and the rest we took on the hoof!   And a good time was had by all.

The "field work" was mostly camera-based, with one or two quite hairy moments thrown in for good measure!   "The Devil's Tooth" area at high tide, for example, was a hoot! The sea doesn't much care who you are or why you are looking at it; it hammers in off the Atlantic and wants to keep on going...Then there was Land's End...Kynance Cove, Sennen and several more highly paintable spots.  Normal tourists rarely find their way to the places I like to frequent. Certainly they never get to see the "Tooth" from my angle!  As a lad I played "chicken" there.  It's only now that I realise how stupid that was; barely less stupid than playing the same game with moving traffic. Anyway, all's well that ends well, I suppose.

ITINERARY

This is necessarily loose and informal... (And I'm talking present/future tense now)...You will do whatever notion and the weather dictates.  If there's any kind of a wind I will, should you wish, take you to places where the waves react best to outside influences. There, you may take photos or sketch.  You can paint if you wish but, of course, that not only means dragging the equipment with you, it also mean a fight with the very wind we need for good wave effects! I rarely do that, which is not to say it's a bad idea.  I think I'm just too idle.  I find that to soak up the atmosphere and grab a few snaps, is all I need. I then transfer that atmosphere to canvas back in the tranquillity of the studio. However, it's your choice completely. 
It's also your choice as to how much time you devote to creating paintings, and how much you devote to simply seeing the sights.  But there is more to paint in Cornwall than the sea!   One of the subjects people like to paint is the cliff top mine workings, and these are everywhere, in every state of repair and disrepair. It will be your holiday and all the choices will be yours. Besides which, I have to be in the studio most of the time, even when the sun is shining and the surf's up!

WHAT WILL IT COST?

The accommodation will be dependent upon how high on the hog you like to live.  B-and-B, or hotel/castle/tent?  You can either fix that up yourself, or ask me to do it for you.  Either way it'll get done. The nearest B-and-B is 30 yards from my studio.  My studio time runs at £30 per session (Call that an hour) and we generally manage to get 2 or 3 of those in per holiday, while the spouse is off doing his/her own thing. How many or how few sessions you take is entirely up to you. Out of studio time runs at the same rate. In any event, all costs are figured out before the whole thing gets off the ground. I am no-one's idea of an entrepreneur but I have enjoyed throwing these ventures together, and I hope it continues. At the very least it gets me out of the mineral spirit fumes while the sun's in the sky.

WHAT YOU MIGHT NEED

I don't keep acres of spare equipment and I don't own an easel.  I used to have one but it went missing some years ago. So, if you need to use one in the field, you might like to bring your own. The same applies to paint. I use a very limited palette as follows:

Alizarin Crimson
Phthalo Blue (Phthalocyanine)
Yellow Ochre
Titanium White
Cadmium Yellow
Cadmium Orange Hue
Sap Green
Burnt Sienna...

So there's always some of these to hand. If your palette includes other colours you'll need to bring these with you. I use tear-off oiled-paper palettes and there are always plenty of these. Most students have already invested in an artists' workbox of some kind. I suppose I really should have something like that - they seem really useful; especially the ones with built-in easels. There's one out there called the "Cornwall Wooden Box" ; This caught my attention for obvious reasons; but it seems too small to be of great practical use in the field. For me, anyway.

CANVAS

This can be expensive stuff! I do not advise practicing upon stretched canvasses. They make tear-off pads for this very purpose. Or, at the very least, try the relatively inexpensive canvas boards. Again, whichever method you prefer, you would have to bring these with you. Such can be bought here in Cornwall, however, should you feel like supporting the local economy.

WHAT YOU SHOULD HOPE TO ACHIEVE

Apart from gaining more perception of colour, shape, movement and perspective, your most important achievement should be the way you actually handle your brush. Scumbling, for example, requires a certain fluid wrist movement. Watch one of the late, great Bob Ross's programmes for example, and you should see what I mean. It's not exactly what you put where, it's more how put it there! You have to know your brush, and intimately. It's a bit like wearing a favourite pair of shoes, where you don't even know you have them on!  Something like that, anyway.  That kind of intimacy takes time.  What you have to do is paint, paint, and then paint some more!

If you are interested, there's a click-and-send form at the other end of THIS link that will take care of the details I would need clarifying in any case.