TAKING A LINE FOR A WALK ROUND SLAPTON

BY BRENDA HOWLEY

Although I’ve written about art for years and looked at more pictures than you could shake a Kolinsky brush at, I hadn’t actually used one since the mid-eighties when I had a brief flirtation with pen and wash work. A painting and drawing course for beginners was just what I needed. But I have to confess, as a fully paid up wimp, I had mixed feelings about going to Slapton Ley field centre in South Devon.

Mention the need for waterproofs and appropriate footwear, and you wouldn’t normally see my patent heels for dust. Never had a need for a Thermos flask or a lunch box either. My natural habitat is a tea shop.

Contrary to preconceptions, I wasn’t expected to eat lentil bake for supper, wash up afterwards – or sleep in a dormitory. If you haven’t been to a field centre since school days, you’ll be amazed how they’ve changed. They do have dormitories for visiting student groups and school parties, but adult prices are based on twin rooms, with singles available for a supplement.

Slapton Ley is one of 12 Field Studies Council centres in wonderful locations around England and Wales where they run courses in painting and drawing for beginners and improvers in all media throughout the year.

The accommodation annexe adjoining the Slapton centre was once a working farm, but as anyone who listens to The Archers knows, farmers are being forced to diversify. Owners Jim and Di swapped from farming to B & B for students some years ago.

“It’s a more reliable income,” said Di. “And they don’t need to go to the vet so often!”

She turned out to be one of the friendly and good-humoured group of six, led by painter, print-maker and illustrator Hilary Jean Gibson.

Like all the visiting tutors at Field Studies Council centres she is well qualified. She trained at St Martin’s School of Art, and now teaches at Cornwall College. She’s had a couple of paintings hung at the Royal Academy Summer Exhibition. She was far too modest to tell us that, but it was in the very comprehensive information pack, sent out in advance.

The first day, we filled our flasks, packed our lunch boxes, put our knapsacks on our backs and went happy wandering on a four-mile stroll’ n sketch around the Slapton nature reserve. The views (and some of the hills) are breathtaking, with rolling fields and woodland, a sweeping stretch of protected coastline, and the largest freshwater lake in the South West.

When we stopped to rest, Hilary suggested we “took a line for a walk.” No toning or twiddly bits allowed. Now sketch the view again, she said, using only seven lines this time. Tricky one, that.

Then draw it in more detail, with colour notes. Now hold the pencil in your other hand. That turned out to be my best effort, which made me wonder if I’d been using the wrong one all these years, without realising.

Lastly, turn round and do it again from memory…. Who moved that lake while I wasn’t looking?

Weather permitting (and sometimes when it wasn’t) the days were spent out and about. I don’t know if you’ve ever tried erecting an easel on a headland in the teeth of a gale blowing from all four directions. Take it from me it’s not easy. It would have needed Araldite to hold it down, and that was about the only thing I didn’t have with me.

The others were already onto their second seascape by the time I’d given up the unequal struggle and resorted to Plan B. This involved wedging the canvas into a gorse bush on the cliff edge, and sitting on the ground in front of it with legs outstretched so I could clamp it between my feet. It does tend to cause cramp after the first hour or so, but we all have to suffer for our art!

“Your choice of colours matches your mood,” said Hilary, casting a critical eye over my mud-browns and drab greens. “Why don’t you add some orange and purple? They’ll lift it – and you.” I’d never have thought of that, but it worked - on both counts.

The programme is varied, and organised to fit in with the wishes of the group, and the vagaries of the British weather. One pouring wet morning was spent finding out how artists’ brushes are made on a tour of Daler-Rowney’s brush factory in nearby Dartmouth. The afternoon offered an opportunity to paint wet into wet – quite literally…

Supper was always at 6.30pm, followed by a further session inside to go over what everyone had done during the day, with constructive comments and encouragement from Hilary.

Her art history slide shows were fascinating - and the evening she introduced us to mono-printing with single colour and blends, everyone became so engrossed the Centre staff had to wait to lock up the room.

Liz, an administrator in an old people’s home, was there with her architect husband Robert. They’d already done a bit of drawing and painting – unlike John, a hybrid Brit-Australian who hadn’t picked up a brush since he was at school.

“I decided it was time to be brave, and try my hand at something I know I’m no good at,” he explained. “I’d never been to a field centre before, but I liked what I saw in the brochure - and I love this part of the world so I booked. I didn’t expect it to be the Taj Mahal, not at the price. But it’s very good. The instruction is excellent, and I can see a definite improvement compared with my first efforts.”

Penny was a former geography teacher, so no stranger to field centres. She’d come to Slapton with her husband, who’d joined the rambling group.

“It’s a nice way to holiday together, and do our own thing. I took up pastel drawing by accident while I was convalescing from a major op. There was a box on the table, I had nothing better to do so I tried them. Now I’m hooked.”

We acquired another member along the way. Steve, a Cambridge geography professor, had been on the art course the week before, and had stayed on for a few extra days’ holiday.

He was so fired with enthusiasm he joined us until it was time for him to leave. Seeing how much his watercolours had come on proved an inspiration to us all.

It was an experimental week for everyone. We tried our hand with new ways of working and new mediums. Robert, who had a very delicate and conservative approach to watercolour, was persuaded to paint a red background. Gouache, which most of us hadn’t used before, was greeted with huge enthusiasm - and I discovered that I loved using acrylics in oil technique on a canvas panel. (Preferably without the gale force wind).

To keep up with the group all day every day - and make it down to the pub in the evening - you need stamina. The teaching is quite structured, but it’s not a rigid regime.

Said Hilary: “It’s very rewarding to see absolute beginners improving as the week goes on. People are often full of self-doubts when they arrive. I try to help them loosen up, gain confidence and use colour more creatively.”

The people who run the centres, and those who go there are some of the nicest and most interesting you’ll meet anywhere. If you’re looking for a few cushy days of dabbling in the lap of luxury, it’s not for you. If on the other hand you want a physical, spiritual and artistic work-out in a wholesome and invigorating environment, it’s great value at around £250 - £300 for a week. That includes full board and tuition.

For more information on the programme and prices this year, contact the Field Studies Council Head Office, Preston Montford, Montford Bridge, Shrewsbury SY4 1HW. Tel: 01743 850674

DO REMEMBER TO:-

Take a rucksack for art materials, packed lunch, a flask and waterproof.
Remember you may have to carry it all day, so limit the amount of materials you put in.
Consider going by train. They meet you at the nearest station.
Take stout shoes. Walking boots aren’t essential, and you can borrow wellies if you need them.
Take all art materials with you, including rags and water jar, easel and folding stool if you use them. There’s none to beg, buy or borrow.

DON’T:-

Expect the lap of luxury. Field centres offer comfortable but basic rooms, most with basin, but not usually with en suite facilities.
Miss out on the local village pub, or the chance to chat with people on other courses.
Expect artists’ studio facilities. A lab is set aside for use by the art course.

This article published courtesty of The Artist Magazine

www.theartistmagazine.com

See the previous stories 'up, up, & away' and 'Writing Holiday in the Sun'

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