Angela: 60 Hour Pose

Angela:

This year we had a model for one 30 hour term, where I competed a decent construct. This model, however, quit modeling at the end of the term.

Angela stepped in and was able to model for approximately 60 hours during the course of two terms. I missed one session and she missed one or two. I felt the time was sufficient to create a cartoon and to begin to render a portion of the figure. What my drawing lacks is subtle transitions. This seems to be the struggle as there is only a certain amount of time in front of the model. I find it much too challenging to work on anything other than filling in values when the model is not in front of me. Even stretching out a value to achieve a transition is useless for me when I am not looking at something. I have attempted this, but I am always wrong! I found Angela to be a great model. She stayed in position well, though her tilt was off by the last few pose sessions. No one complained, and I was able to work around it. I found her head to be very difficult, because, first, it is small, and secondly, her head was almost completely in the dark. My binoculars were not helpful. I have been searching for a decent set, but to no avail. Thanks to Emmy for another great year!

Value Study #2

Here is my second attempt at a value study in Emmy's Color Study Class at the Academy of Realist Art-Boston. I do not think I achieved the fall of light as well as I did on my first value study in the class. Emmy helped much with the plane changes on the pectoral muscles.
The most successful part, I believe, is the light reflecting from the floor back onto the model's legs.

This was a two class study. Ivory black, raw umber, lead white on oil primed linen. Neutral imprimatura (ivory black, raw umber, turpentine).

A Commission & A Value Study

Sometime ago, a colleague of mine asked me to paint a picture of her kids. She wanted it Sorolla-style, and, also similar to much of Sorolla's work, the setting was to be on the beach. She is a Spanish teacher, so no surprises here. She provided me with a dark 4x6 glossy photograph. I experienced some trials as I attempted this: a.) I am not accustomed to working from photographs, never mind small ones with dark figures, b.) I haven't painted in over a year, and c.) I have been painting indirectly the majority of the times I have painted over the last 4 years. Sorolla obviously requires more of a direct style. So here is what I came up with:

I also began a value/color study course at ARA with Emmy. We have had three classes thus far. The first was dedicated to a lecture and a demo, and the second two classes were for a value study of the figure with the same model, same pose both classes. We used raw umber, ivory black, and lead white; the goal was to achieve the fall of light. We worked small segments at a time, considering value relationships. We did not worry about the drawing, which was such a strange feeling while working at ARA, where the entire time I've been a student there, we have been pushed to render a likeness. I believe this first attempt was quite successful. My fear now is that I won't be able to do it again.

Constructs, Constructs, Constructs

Fall term at ARA:

One term with this lovely model. I was disappointed she decided to quit modeling.

Winter term at ARA:

One term and I completed an articulated construct. The fastest yet! Though, I observe now that I do not like her left hand. Since I have but one more term with this fantastic model, I will work on her top half. Charcoal on Roma paper.

One day with this model:

I am working on the eye cast. I completed the construct, and am now working on a value study. I am taking a term break from this cast so that I can paint!

Color Wheel:

Julie at ARA taught a one day introduction to painting workshop, where time was limited and ARA supplied the materials. I took what I learned from her and started the exercises with my own paints in order to become more familiar with how far I am able to push them.

Last Bargue

I finished my 4th and final Bargue at the end in September. Finally! Belvedere Torso, called "The School of Michelangelo", because of his admiration for this contorted torso. And here is a picture of me drawing from the actual statue in the Vatican for the 30 seconds I had in front of him, during a school trip in April:

Ernesto

I completed a second year at ARA with a very long Saturday long pose. The model was gracious enough to pose for 30 Saturdays from September - June. I used Nitram charcoal on Roma paper. Even with such an extended pose, I still could not "finish", so I focused on the chest. I had to make sure the half tones were not too dark and then I worked on the convexity and conclaves of the chest. Also, I wanted to make sure I rounded the form with big form modeling. I also concentrated on differentiating between sharp and soft edges on both the contour and the shadows. Emmy is the BEST instructor! Other than the chest, I had to work hard making the model's right leg turn front. I wish I had the time to render it more! I struggled greatly during the construct phase, which is something I am disappointed in. I should have been able to work more quickly on that. I have been unable to take a decent picture of the drawing. The true hue of the paper is somewhere between the next two images.

Portia.1 Hour and a Half at QAA

Quick sketch. Great model. I used charcoal paper, and I was unable to maneuver the Conte as well as on the drawing paper I used with Ilya. She is distorted, but I had no room to step back, and I did not measure at all.