WORKSHOP, SUNDAY 23RD MARCH 2025. Landscape: Structures and Composition.

In this workshop we're going to look at the structures in a landscape, particularly foreground reference. Above are three examples of well known paintings with very strong foreground references.

We'll begin by experimenting with foreground reference on a landscape image. Everyone will make a 'working' drawing from a landscape image, to which they'll add a strong foreground reference. Then by completing the drawing with the new foreground reference they'll have a drawing from which they can make a painting. Above you can see the stages of my drawing and thinking through of my composition.

·        You’ll need drawing things to start with, good pencils, eraser, A4 sketch book and scissors.

·        You can bring a landscape image of your choice (or a selection!) and perhaps some pictures of trees that you’re prepared to cut up.

·        I will have enough of both of these kinds of images for those who don’t have any.

To start:

·        Look for the simplest strongest shapes of your landscape image and make a sketch in your sketch books. Find some of the details, mid and darker tones and any strong verticals and horizontals.

·        Cut out a picture of one of the trees and move it about on your drawing. Make a decision about where it fits best. Think about where your tree can enter the earth (ie. Not over a river!) and what might be around the foot of the tree. If its close-up grasses, find an image among my collection of books and images which gives you the information you need.

·        Draw around the tree in its chosen place and melt it into the whole drawing – make it a more complete drawing – this is your working drawing.

The painting:

·        I had envisaged you working in acrylics, of which I’ll have many with me for general use and can be painted on good cartridge paper or oil/acrylic paper of which I have lots of sheets! However, I’m very happy if you choose to work in a different medium or even mix your media. Don’t hesitate to email me if you need advice or would like help with your choice of medium. Whatever you choose, I can help you with in the workshop.

·        Squeeze some blue, some brown and some white onto your palette. At this stage the white is more of a correctional colour – like giant tippex.

·        Mix the blue and brown to a neutral colour and with a medium sized brush draw out the main structures of your composition onto your canvas/page. Any that you feel you’ve placed wrongly can be corrected (negotiated) with the white paint.

·        Gradually mix white into the neutral colour and start to look for tones, lights and darks. Details are NOT important at this stage as you’re building up the layer on which the details will eventually sit!

·        Remember our old motto ‘Tone is more important than colour’. This means that as long as you get your tonal (lights, darks and middle tones) diversity right you can use any colours that you want to use. So, it means that there’s not a problem if you’re working from black and white images…it might even be a help by freeing you from what you feel are the ‘right’ colours. Matisse said ‘paint the colours you feel and not the colours you see’.

·        As your first layers of paint begin to dry you can think about the details which might sit upon those shapes.

·        Paint, layer, negotiate. Use a hairdryer (in the kitchen) if you need to dry any layer rapidly.

Next workshop: Sunday 18th May