The shadowy world of tonal values offers a particular way of interacting with our subject - suggestive, ambiguous, atmospheric and has a crucial role to play in figure drawing, especially as drawing relates to painting.

Over three days working from the life model we will bring tonal values to the fore; focusing on being sensitive to values, thinking about how and when we might bring them in, using different materials and techniques, and how tones can be manipulated or emphasised and to what ends.

We will work mainly in monochrome using charcoal, pastels and oil paint, also thinking about the wider historical role of shadows, reflecting on the practice of artists including Rembrandt, Gwen John and Eugene Carriere.
Drawing and painting will be from life, with no use of photography.

This workshop would not be suitable for complete beginners.

material list

Assorted Willow Charcoal
A2 white cartridge paper (x5)
Putty rubber
Spray fixative (or hairspray)
1 white conte pastel
1 white oil pastel
A2 black paper x 2 (Canford paper is good);
Oil paints - Zinc White, Titanium White, Raw Umber, Ivory Black; solvent (i.e. Zest-it etc)
brushes, palette, a surface (canvas or board) for 1 day painting

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.