Expressive Landscape Painting - Lewis Noble

Expressive Landscape Painting.......

28th July - 1st August 2019

4 nights residential art workshop holiday

3 days tutorial with Lewis Noble 

Course Details  

Lewis’s painting focuses on the physical and emotional impact of the landscape. Students will be drawing and painting direct from the landscape, learning a working method that stimulates creativity, produces exciting work and develops an open attitude towards painting.  Making vigorous, atmospheric drawings removes preciousness and allows a spontaneity of mark making that helps you to achieve more interesting paintings..

Class Schedule - The workshop

Day 1 - 

AM

Sketching in charcoal from the landscape.

The idea with this first session is to work quickly and loosely. The emphasis should be on mark marking and spontaneity. Try to react to what you see rather than closely scrutinise.

See how many different types of mark you can make using the simple tools of charcoal on paper.

Simplifying the materials you work with helps you to loosen up and work quickly. Through this process you will find things in the landscape that you might not have noticed if you were only working on one drawing.

PM

Working with the morning’s drawings in sketch books.

In the studio. Take the drawings you made in the morning and edit them by tearing/cutting and recomposing them into your sketchbook. This way you will rapidly build up a large collection of drawings with interesting compositions. This helps you to find new and unexpected arrangements of shape, line and marks. Working in the landscape can be overwhelming at times and this studio process helps to bring focus to drawings that may seem chaotic when you are outside.

Day 2 - 

AM

Sketching / Painting in colour from the landscape

Using a similar approach to Day 1 but widening the scope of the materials you are using to include paint/ink/pastel or what ever your preferred medium. Try to allow yourself the same freedom when using colour that you did in charcoal. Just because you are using paint it doesn’t mean that you have to produce finished paintings. The colour is there to help you express what you see. In the same way as with the charcoal drawings, react to what you see rather than analyse.

PM

Studio - Editing Morning’s work / developing ideas from sketches

By now you’ll be comfortable tearing your work up! So work with your colour sketches like you did the charcoal ones. By the end of this afternoon you’ll have nearly filled that sketch book. No really!

In the studio, look over the work you have and see what ideas are starting to develop which may be worth taking further. I like to think of sketching as a way of looking. The more you draw, the more you see. You can begin to work your ideas up into finished paintings. You’ll probably find that themes are starting to come out in your sketches about which you’ll want to make more involved work.

Days 3 -

AM / PM

Studio

Working up the first two day’s sketching into finished paintings

Once you’ve found something with which you want to work, you can spend the day developing these ideas in the studio. I find it useful to work from an idea rather than ‘scaling up’ one individual drawing or sketch. Look through your work and find a theme to work with. This might be something as simple as an arrangement of colours or shapes or the movement of clouds. You might be drawn towards the light hitting a hill or the shape of a field. It can be anything as long as it’s something you saw or experienced, found interesting and made a drawing about.

Thoughts on studio practice.

When working in the studio, I find it useful to be working on more than one piece at a time. You may have two or three on the go, a bigger piece and a couple of smaller ones. This way, if you are unsure of where to go next with the one you are working on, you can leave it for a while and work on one of the others. (This helps for drying too).

In my own work, I like to build the paint surface by using many layers of paint laid over one another rather than in one thick layer. It adds interest to the surface, gives you more to work with and creates a satisfying result.

Try experimenting with different types of paint and ways of applying it. You can use a brush or painting knife or dripping and splashing the paint onto the paper/canvas.

You could take off cuts from your sketches and collage them together to find new and interesting arrangements.

Creativity comes from experimentation, sometimes they work and sometimes they don’t. Whichever it is, you need to try it to find out.

This workshop includes

Students supply their own materials 

Student supply list (more details will be provided upon registration)

Suggested materials required for the course

Paper for sketching.

Sketchbook A3 in addition to paper.

PVA Glue or other for paper.

I like to get you doing lots of quick sketches on a small scale will help get going.

For sketching, you will need to bring COMPRESSED Charcoal.

Acrylics for studio work if you have them and want to work with something with more body. 

Very cheap paint can seem like a good idea but you can spend a lot of time fighting against poor materials so get decent ones but don’t go crazy!  You would be better off buying a limited palette of good quality paints.

Brushes.

Black Ink

Ruler 

Cartridge Paper 

A painting / palette knife. PVA Glue and brush, Med size, spirel bound sketch book.

Primed boards or if you want to bring canvas or canvas board you can. Although I would suggest that you are more likely to be precious about your expensive canvas and it may inhibit your painting, so don’t go mad in the art shop!       

Student info 

When starting your work, try to have a simple idea that you can keep in your mind while working. You can also return to this one idea whenever you feel the painting or drawing is getting lost or losing focus.

When starting your work, try to have a simple idea that you can keep in your mind while working. You can also return to this one idea whenever you feel the painting or drawing is getting lost or losing focus.

If you have a personal attachment to the subject, a favourite place maybe or memory associated with it, it can help you to keep a clear view of where you want to take your work.

Having a simple idea you can come back to will help you to be more free with your work as it is the idea that is important, rather than the individual painting you are working with.

Working on a series of drawings or paintings on the same subject can also be helpful in making you more creative with your subject. If you start one piece and then move quickly on to the next, you will find that the second and subsequent pieces gain a momentum and become more interesting and far less precious than if you labour over a single picture.

Once you can review four or five quick sketches there will be a very clear progression in them. Through your sketches you will start to find out what it is that interests you in your chosen subject.

In this way, you remove the preciousness from your work, and begin to see each thing you are working on as part of a progression of rather than a single painting.

Acommodation - The Lookout

During your stay you will be in a private en-suite bedroom located within the space. You will be welcomed on arrival with a two course home cooked evening meal. Each afternoon you will have a choice of cake and biscuits, coffee and tea. Following on for this the course is based on self catering where you will have full use of the kitchen facilities within the accommodation.

We also have a variety of alternative accommodation ranging from camping to five start holiday properties, if you would like to upgrade or extend your stay please contact us direct to proceed with a booking enquiries@springhill-farm.co.uk

Price:

4 nights / 3 day Course

£575 Painter

Of course, non painter i.e. partner, friends or family members are welcome to join you during your experience with us. During their stay we would be happy for them to come join us for tea and cake on arival

£275 Non Painter

We take a £150 per person non refundable deposit when you book a art holiday and the final balance is due 6 weeks prior to you stay. Please see our terms and conditions for cancellation policies.

The Artist

Lewis Noble is a professional artist who has lived and worked in Derbyshire since 1996. His focus lies in the physical and emotional impact of the landscape on the senses and how it the experience of being in landscape affects us as human beings.

The result is a body of work that speaks to the heart of what it means to be part of the environment around us.

Lewis Noble’s is represented primarily by Thackery Gallery, London & The Campden Gallery in Gloucestershire.

Website

http://lewisnoble.co.uk    

Facebook Page 

Facebook.com/lewisnobleartist

Art courses group

Search Facebook “Lewis Noble Painting Courses “ to join workshops discussion grou

 

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Course:
Expressive Landscape Painting
Artist:
Lewis Noble
Dates:
28/07/2019 - 4 nights
Cost:
575
Availability:
Only 1 place left