Walk, Draw, Connect: landscape drawing Scotland
- Rebecca Vincent
- 1 day ago
- 4 min read
I’ve just returned from a wonderful Scottish drawing experience, and I’m delighted to share some of the work I created in the landscape. I signed up for Walk Draw Connect at Bridge House Art in Ullapool with the lovely Christine Morrison.
If you’ve read my previous blog post, you’ll know this is the second art course I’ve attended this summer – I’ve been very self-indulgent! Having taught art for many years, I really value the chance to be a student again in these independent art schools. I’ve completed a degree in Fine Art, a Master’s in Fine Art, and have 30 years’ experience as a professional artist – yet I still feel there’s always more to learn.
My own art education was big on art theory but light on practical teaching. It reflected the prevailing trend for postmodernism in the contemporary art world, a movement that still dominates today. I often felt adrift in that environment, because I loved nature and wanted to create beautiful work that people would enjoy in their homes. That instinct was so strong that I couldn't really bend to the conceptual art scene!
This is why I find these short painting courses so valuable – they help me address gaps in my skills and experience. Oddly, as a landscape artist, I rarely draw en plein air. Partly this was due to 22 busy years of motherhood with little time to spare, but also because I wasn’t entirely sure how to do it.
Standing in front of a vast and beautiful landscape can be overwhelming – how do you possibly distill even a fraction of what you see? Add to that the discomfort of juggling art materials outdoors, and the challenge of selecting from a dizzying panorama what exactly to put down on paper. What is it in the scene that speaks to you? Inevitably, those first attempts look absolutely dreadful, which can be very demoralising. But, as with everything, persistence and practice gradually improves this unpromising situation.
All of which is a long preamble to say that this five-day course really helped me work outdoors, identify what was visually important to me, and simplify what I saw using the materials I had to hand.
Day One brought cold and wet weather – only to be expected in the northwest of Scotland. We followed the Ullapool River as it meandered towards Loch Broom, where the ferry departs for the Outer Hebrides. We managed a few quick sketches before the rain drove us on, but I left with a useful photographic record of the place.
Day Two was glorious – sunny but not too hot - perfect drawing conditions. We walked through the hills, pausing to make a quick charcoal sketch of the valley, before arriving at a hidden bay only accessible on foot or by boat. The rocks and distant hills were stunning, and I created a panoramic study by joining several sheets of paper together.
Day Three was hot, which brought its own challenges as the sun made it difficult to concentrate. Christine led us to a beautiful stretch of river near some waterfalls. The complexity of the view was overwhelming! Our instructions were to use coloured pastels – so there was a lot happening creatively - line, tone, colour and texture! I worked on a cotton sheet surface, which was new to me. On the way there, we sketched a copse of silver birch where bright sunlight streamed across mossy rocks, which I captured in lemon yellow, creating a striking contrast with the black charcoal and ink.
Day Four gave us good drawing conditions –  warm but not hot or windy. We followed another river landscape, stopping first to draw an abandoned farm building. The river itself offered spectacular views that felt impossible to capture fully in the time we had; just as I was hitting my stride, it was time to move on. Later in the day, I focused on the movement of water cascading over a natural rock shelf, which was both meditative and challenging to capture.
Day Five, our final day, was devoted to developing our work and reflecting on the week. I created a long piece that combined elements from our various journeys – see if you can spot them - shown towards the top of this post. This work flowed much more easily from the studies I’d made in situ, and I felt increasingly confident with the media. By chance, I found an old map of Scotland, and I incorporated fragments of it into the piece as a memento of my visit.
Overall, this course pushed me out of my comfort zone and showed me how even short periods of drawing in the landscape can yield rich rewards. Looking ahead, I want to integrate more outdoor drawing into my practice and build confidence in tackling the complexity of the natural world.
If you're interested in landscape drawing Scotland, you may like this limited edition print.
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