Workshop

Drawing into Painting

23 Aug 2019 – 27 Aug 2019

Regular hours

Friday
09:30 – 17:00
Saturday
09:30 – 17:00
Sunday
09:30 – 17:00
Monday
09:30 – 17:00
Tuesday
09:30 – 17:00

Cost of entry

£!25 per day. Includes all materials and lunch. Accommodation: FREE camping within the grounds or there are some lovely places to stay near by.

Bullclough Art School

Leek
England, United Kingdom

Address

Travel Information

  • Macclesfield

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In this intensive five day course we will examine one of the more difficult transitions for the aspiring artist: how do I translate my drawing practice into paint. 

About

(TUTOR - Mark Thompson) - 23rd August - 27th August

In this intensive five day course we will examine one of the more difficult transitions for the aspiring artist: how do I translate my drawing practice into paint. 
Quite often, our drawing tools are sharp pointed pencils, our lines a simulation or stand in for touch. As we learn to draw we initially work with outlines, then slowly develop our communication of form. When we then go on to approach painting, be it watercolour, acrylic or oil, how do we then retranslate line into form, tonal value into colour, light into temperature?


Moving through graphite into the more painterly medium of charcoal, and from there into paint, I will address these issues through the lens of art history, demonstrating techniques that enable the aspiring artist to move from making ‘coloured in’ drawings, to convincing, descriptive paintings. During the course I will cover many aspects of artistic practice, from observational skills to setting up a palette.

 

Day one: intensive observation refresher. 

We will cover the core skills of drawing through line and tone, to create our individual dictionaries of mark making. We will discuss ways of seeing and the technical challenges of translating line into form.

Day two: moving beyond the pencil. By transitioning away from the sharpness of graphite, and into the more painterly medium of charcoal, we will start to uncover different ways to shape the tonal world. Working with different tools and methods of application, our drawings become more solid and volumetric.

Day three: studio practice. Beginning with a limited palette - often referred to as the Zorn palette - we will explore the different mark making potential of various brushes, knives and more unusual tools, before moving on to see how these marks fit together to describe form. 

Day four: the full palette. We will consider the basics of colour theory, before learning how to set out a full palette; converting our understanding of tone into hue, value, temperature and chroma. From there we take our skills outside, setting our understanding against the real world situation of the landscape. 

What to expect? Toggle

Curators

Nellie Shepherd

Exhibiting artists

Mark Thompson

Taking part

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