Mashiul Chowdhury

Abstracting Landscape by Construction and Deconstruction

 

In this two-day workshop, we will explore how to interpret nature, landscapes, and images by simplifying their complexities. Through a focus on shape and values, I will demonstrate and guide participants in developing forms using unconventional and intuitive processes.

 

We will begin with charcoal drawings, using expressive mark-making techniques to establish composition and depth. Then, transitioning to paint, we will explore abstraction through texture, color relationships, and the balance of architectural and organic shapes. As the layers build, an interplay of structure and spontaneity will emerge.

 

This workshop is designed for artists of all levels. Beginners will gain a strong foundation in observing and translating imagery, while experienced artists will have the opportunity to loosen up and experiment with new approaches. Emphasis will be placed on drawing as a fundamental tool not just for representation but for mark-making, improvisation, and dynamic composition.

 

Key aspects of the process will include:

Selecting and simplifying images from photo references or plein air

Using underpainting techniques to create depth and harmony

Layering and refining forms through addition and elimination

Experimenting with color relationships to enhance abstraction

Through guided exercises and demonstrations, participants will gain confidence in abstracting images while developing a more personal and expressive approach to painting.

 

Workshop Outline

Day 1 -

Start with slide presentation: Introduction to abstraction, semi-abstraction and make understanding of the background of the process. Practice drawing and laying down ideas and composition in sketchbooks.

Practice drawing from reference photos or plein air.

Demonstration of painting process.

Day-2 -

Demonstration of painting process.

Review of evolution of landscape in western art.

Practice painting and drawing from photo references or plein air.

Review of my favorite paintings and drawings. Discussion on their influence on abstracting images.

Group critique.

Q&A

Notes:

1. I will share photo references with students in advance.

2. Students are welcome to bring their own photo reference of landscapes.

3. Students can use oil or acrylics.

 

Course Materials

• Pigments: (you don’t have to follow these colors but I personally use them)

• Yellow Ochre (Utrecht or W&N or Gamblin)

• Chrome Titanium Yellow (Grumbacher)

• Transparent Earth Orange (Gamblin artist’s oil)

• Transparent Brown Oxide (W & N artist’s oil)

• Blue Black (W&N artist’s oil)

• Raw Umber (W&N artist’s oil)

• Brown Pink (W&N artist’s oil)

• Transparent Red Oxide (Grumbacher)

• Any brand of Ultramarine Blue

• Large tube of Titanium White (any brand)

• I use Sennelier Titanium White and Gamblin Flake White replacement

• Charcoal pencils : Generals 557-2B med (cut with knife , not by electric sharpener)

• Charcoal sticks: medium and hard. I use W&N artists’ charcoal.

• Medium

• Original Liquin.

• I do not use linseed oil.

• Palette knife and brushes

• Any brushes - Filbert 8-12 oil/acrylic paint brushes are good.

• Bring some palette knives.

• Rags or paper towels.

• Easel/Table top

• Sand paper: 120 grit

Surfaces and preparation

1. Arches Oil, 12x16 in or smaller. 140 lbs.

2. Masonite board. 6x6 in or larger. I usually ground it with orange, yellow or blue-black paint as underpaint on a gessoed surface.

3. Sketchbooks. I use 10x7 in size SKETCHBOOK available in Barnes & Noble and Amazon.

4. Strathmore or other brands Newsprint and drawing pads