Class 12

Final class:

I worked from a set-up, but interpreted it in my own way.  Limited palette, again: venetian red, yellow ochre, titanium, ultramarine.

Classes 10 and 11: Italy

When I signed up for my class at MassArt, I had already been scheduled to take some of my students on an expedition to bella Italia.  Unfortunately, I was forced to miss two painting classes.  I was able to draw a little, but not very much.  What was beneficial in terms of my current creative endeavor was that, as anyone who has traveled to Italy knows, upon entering the country a person's left brain functions succumb to the the right hemisphere.  Emotions and imagination dominate.  Whether one is observing the art, architecture, landscape, or the citizens of Italy, one is enveloped in beauty.  I photographed many scenes, but I still haven't had too much time figuring out how a digital camera works.  I read the beginning of a book recommended to me by my cousin to help me figure out some of the functions of my camera, but I didn't study it much or practice at all.  I cropped a few images, made a few black and white, and played with some photoshop actions, but I despise working on the computer.  I would rather be covered in paint.  I did have a little help with a few images in photoshop: the blue nuns, SPQR, the man playing the violin.  I did not need to alter the image for the few better photographs: mystical Venice. the oculus at the Pantheon, and the pink house in Torcello.

I wish I had taken my fathers 38 year old film camera instead.  I like the quality of film better than digital.

Click HERE for my photographs from Italy

I apologize for my obsession with cane and religious icons.

Mexican Doorway

          At Edwina's studio, I worked on Mexican Doorway (above).  I am pleased with the result.  There is mystery conveyed in the subject.  Even though no physical activity is represented in the painting, the open door with light gleaming through gives the impression of activity beyond what is depicted on the canvas.  I stylized the doorway to provide more life and I like the overall effect.
          When I first began painting this piece, I attacked it alla prima.  Edwina admonished me that this method might make my painting muddy, and she recommended that I work in layers.  Although all the previous paintings I had accomplished up to this point with a palette knife were completed alla prima, I decided to heed her suggestion.  Since I am please with the outcome, I am glad I did!  What I thought would take only a class or two to accomplish was actually not completed for a couple of months due to the various layers I had to build up.  The drawing was simple, but each layer proved time consuming.  I learned patience through this technique.

For this painting I worked from a photograph, which I found in a stock photo book Edwina has in her studio:

Photograph

In a previous post I explained issues I have with working from a photograph.  (See Kaela's Commission)

Class 9

More limited palette, more figure painting, less frustration:

Limited palette: venetian red, yellow ochre, ultramarine, titanium

Class 8: An Atrosity

          On Saturday, we had an extra hour to paint from the model.  Instead of our usual 3, we had nearly 4 hours. As I am fascinated by the various shapes, patterns, contours, and line relationships in the figure, I was excited about this.  We started class by drawing thumbnails of 6 different poses.  We then voted as a class as to which pose we wanted to use for the entire session.  I moved around the model to try to find an acceptable view to paint from.  I discovered one view where no other student was already set up that was decent.  Serendipitously, this is the position the class voted for.  I complete a hasty black and white study, but was eager to add color.  My teacher had recommended a limited palette of white, venetian red, yellow ochre, and ultramarine.  I was able to mix some believable flesh tones from this classic palette.
         Unfortunately, I struggled the entire class session to find the form of the model's position.  It was a real exercise in foreshortening, and I enjoyed this challenge immensely.  My failure, however, was caused by the fact that the position I was attempting to capture needed to be exact or the composition looked childish and unskilled.  The problem was that each time the model returned to her pose following a break, she was slightly off for me.  I kept having to correct the drawing each time she returned.  With some models, it is easy to ask them politely to move an arm up or down a little, a leg to the left, etc.  This model, however, was, well, a little temperamental.  When students asked for a slight repositioning, she was irritated and a bit testy.  I did not want to anger her, so I left her alone, and did not ask her to return to the precise previous position.  Since each negative space needed to be exact, I continually had to fix the drawing to make it correct, and never had a chance to bring the flesh to life.  Furthermore, the head is obviously off, but I didn't have time to fix that either.  I have the terrible habit of focusing on the figure, and working on the head last.  My instructor has warned me against this.  I really need to be more cognizant when I begin a figure study, and follow her advice.    
         Below are my black and white and first attempt at a color rendition of the human form:

      




        





        




           Molly encouraged me by reminding me that it was just an exercise, and indicating that it was good practice to continuing to observe the model and make corrections.  I was far less frustrated henceforth.

Class 7

Class 7 painting is a continuation of my attempt to search for values in the figure:

First Figure Painting: A Focus on Values

          From this point on my painting class will have a model.  Although I have now drawn from the model numerously and relatively consistently since last summer (a life drawing course last summer and Quincy Art Association on Tuesday nights), I still had some reservations about painting it.  I expressed my concern to my instructor as well as to my extremely talented artist friend, Molly, who attends figure drawing with me at QAA.  My instructor told me to focus in on only a small section of the figure and limit my palette to yellow ochre, venetian red, ultramarine, and perhaps a little white.  Molly said that I might try just painting the values with Payne's Grey and white.  She and I painted last night at QAA. This is my result, using Molly's technique:

           Molly indicated that attempting to find value on a figure as well as being concerned with color can be overwhelming, daunting, and laborious.  She said that determining values first and then adding color later is a great method for beginners.  Molly likened painting the figure to being left in a trackless forest, no path in sight.  Limiting the palette to Payne's Grey and white would clear away the trees and lead me out of the forest.  She was correct!  I enjoyed this exercise and tonight I will do the same during my class.