ABOUT THIS WORKSHOP

Over the three days we will explore an approach to portraiture which tries to combine sensitivity of observation with an expressiveness and a freedom of approach to materials.

Day One:
We will have 3 poses (so produce 3 artworks, 2 in the morning 1 in the afternoon) working with drawing concentrating on the challenges of drawing and the handling of different materials.

•     Drawing concentrating on mass and tonality

•     A consideration of planes, structure and measuring

•     Drawing with oil paint

Day Two:
A full day pose for oil painting, exploring colour and taking forward the ideas from day one.

Day Three:
A full day pose for oil painting, considering the development of a personal approach.

Suitable for all levels.

Materials needed

Willow charcoal (assorted)

putty rubber

fixative

white conte pastel

Black/sepia oil pastel, white oil pastel

Surfaces:

2 x Neutral toned coloured paper (gray/buff) (A2)

2 x Canvases/ boards an appropriate size for 1 day paintings

For Oil Painting:

Brushes - assorted (a wide flat would also be useful 30/40 mm)

palette

odourless solvent

jar with lid (for solvent)

Suggested colors:

Yellow Ochre

Titanium White

Zinc White

Paynes Gray

Burnt Sienna

Prussian Blue

French Ultramarine

Yellow (Primary yellow or chrome yellow etc.)

Warm Red (Cadmium Red(hue) or Vermillion)

Alizarin Crimson

Raw Umber

Raw Sienna

Indian Red

Meet Alan

Alan McGowan is a figurative artist and teacher who has exhibited at the National Portrait Gallery in London, the Threadneedle Prize for Figurative Art and the Society of Portrait Sculptors exhibition.

He has taught at the Royal Academy of Arts in London, The National Portrait Gallery London, The Royal Hibernian Academy in Dublin, The Royal West of England Academy and Edinburgh College of Art and has exhibited widely in the UK, regularly at the Royal Scottish Academy, and in New York, Lisbon, Helsinki, South Korea and Prague, and his work appears in several public collections including that of the Royal Scottish Academy and Stirling University. 

In 2012 he published his first book of book of life drawings titled "The Language of the Body", which was followed in 2017 by his next book "Unstill Life”.

Alan believes that a good understanding of the technical processes and challenges in art can lead to greater confidence, and therefore a greater freedom of individual expression in representational work. Learning is not a restrictive but an enabling thing.
In his teaching he regularly makes use of visual reference material, slides and powerpoints, to reflect on how other artists - both historical and contemporary - have dealt with relevant issues in their own work. He also occasionally does short demonstrations to communicate a point. His intention is to organise the workshop so that each day's work will build upon the chosen focus and topics will lead on to, illuminate and reinforce one another.