Gesture Portraits 2015

My post-workshop brain is spinning! Always after a workshop I find that I have painting setbacks. I am not sure why, I think it is my brain fighting itself- the whole analytical verses creative as I try to process what I learned! Art is not easy - I have found that it is quite like college where you have to learn, apply, read, process and interact to glean essential information.

Above are my quick gestures from my workshop last week. None are "finished" and none would go in any galleries, but I did learn something from each and every one. Not only did we study gesture portraits we also dabbled in palettes.

This is a portrait painted with black white and grey (oh value)! And, I always find limited palettes challenging. I learned that I need to spend more time working on value - most especially once one adds color. I struggled with this, but there is a model likeness.

I didn't really have time to perfect or attain exact likenesses but there are some pleasing effects. The man in the green hat is a success, but not because it matches the real life colors. I find it successful because I was able to mix colors using a limited palette. I think this palette was ultramarine blue, cad yellow, rose madder and white. My struggle here was to get darks - the hat was  darker in real life. Another struggle was not adding any white to the grey beard on the shadow side - it is very warm brown and red-ish.

Also important to note is the lack of details. There are no eyeballs, no little details and they are not needed to interpret the face. I do love the painterly style and looseness. I think I will study and pursue this further - quick values and portrait gestures and maybe even limited palettes...

RE-Energizing Creativity - Art Workshops

Maintaining An Active Art Brain

Quick Gesture, limited palette

Now that I have a wonderful group of artist friends, I have learned much about the artist mind. One thing I have noticed is that those whom I consider the best artists are constantly learning and striving to improve their art. One such way to improve is to take an art workshop which is often intense instruction with an art professional and in this case a live model.

Quick Gesture, limited palette

Years ago I took a wonderful Gesture Portrait Workshop and it is what it sounds like - a workshop that focuses on quick portrait gestures done with paint. At the time, my only issue was that I had not yet learned to paint people. And yet, due to my Still Life painting experience, I was able to grasp the light, shadow and shape concepts. And, I was very pleased with some of the results which are posted here. Frankly, these profile gestures are better than some of my recent profile paintings (after more experience and taking more time). All of these Gestures were very limited in time, I think we had 10 and 15 minute (and less) sessions! Impressive, right?

Quick Gesture, one color/tone

After much writing and pleading, I have been able to convince my Art Instructor that she needs to offer the Gesture Portraits Workshop again. Why? Well, for the last year I have painted portraits and figures from life. However, lately I am unsatisfied with my portrait results - I think I need to get back to the basics. What is more basic than light and shadow and limited palette? What will help me the most? Perhaps having to paint quickly with an Instructor under the pressure of limited time. In the way we pencil sketch the figure in one and five minute "gesture" sessions, I believe we need to sketch our portrait and figure paintings (with paint of course)! Isn't the concept for this workshop so wonderful? A resounding "YES!" from me, and the class is full. After the workshop, I will post my new "Gesture Portraits."


Lookout Gesture Portrait Workshop here I come! Now where is that supply list?

The Faces of Sara

Yellow Dress

One model, many styles 

 I am starting to understand better why artists have muses. There are some models from whom I always feel that I get a "good" painting (some models I cannot get a likeness or struggle with features). Sara is one of my muses as I typically like my painting results with her.

Sparkle

The yellow dress is her gown from Pakistan and it was gorgeous with grey edging and diamond-like sparkle. And, wonderfully, she had the large drop rhinestone earrings to match. This day I loved the calm that she projected from the modeling chair. I was happy with the results as I can tell where the light is coming from (left) and I like the bright dress and facial features. Next time I would move the head further down from the top of the canvas, it is a tad too close.

Standing Sparkle

I painted the Sparkle Portrait (right) with my art group. I love the sparkle and shine at the top of the dress and reflected in the earrings. I remember the light was odd, coming from bottom right (creating that under chin shadow). Initially I enjoyed this painting and thought it very successful. Yet when I keep looking at it, the shadow bothers me and I someday will repaint her I think. There are some artists who would rework/fix this piece, but I sometimes do not have success reworking a painting. I am not willing to risk losing this one, I would start with a new canvas.

First Topaz Painting

The standing pose is one that I painted at home, the photo  is from the same session (different View) as the portrait. We all agreed that all women should have clothes like these - just beautiful. Love the coral dress color, the sparkle, even the grey accent. And, I really worked hard to accurately reflect facial features. This face probably looks the most like our Sara model.

I love complementary colors in paintings. The first Topaz portrait (right) is from a session with the art group. I was happy with the head and the diagonal of the scarf. Keep in mind that art sessions lasts perhaps 2.5 hours so it is little time to record a lot of information. I was going to enter this into a show but decided I needed something with more interest (but I had already submitted the Title of the painting)! 

So, I reviewed my art session photos and chose another view to paint. 

The portrait on the left is taken from the right of the model as she faces left into the light. I liked the strong diagonals - hair, scarf, line of eyes, tip of nose and mouth. I intentionally tried to make this work loose and with visible brushwork. I love the background on this as I was reading about Robert Henri and noticing his background brushstrokes. The strokes aren't as strong as I would like,  background is baseline orange topped with big strokes of pink and blues. The three-quarter view of the face is hard to capture as there is a harder edge to the background side of the face (at least that is how it seems to me). I believe that the eyes and ear are successful. If I were to redo this I would work a little more on mouth and tip of nose. 

Eduring Grace

Lastly is my most recent Sara painting, by now you know that I love color! Wow! Loved this outfit of bright so very much! The flowers and background were easy to get in, the figure proportions and dress took more time. Again, I wanted to have loose brushwork. I completed everything but the hands and teacup at the art session. I have found that I often need to study the hands at home. Someday, I want to easily gesture in hands. Ah someday. This painting I am hoping to get juried into the Detroit Society of Women Painters and Sculptors May Show. In the last few months I've come to believe that my loose and less "finished"works may (just might) have more appeal than those which I overwork...

So Much To Do!

Paintings That Needed Finishing (JUST FINISHED!)

My last post was about deciding when a painting is finished. This post is about finishing some paintings that needed to be finished! It often takes much much longer than I thought it would to get a piece to completion...

I love the graphic color blocking of this work, aren't the colors wonderful? I really want you to notice the colors and shapes first!

I was unable to finish this in one session. I had the background down, and the major color blocks and even the face and cap, but I had to go back in to finish painting the hands and the light that hits the top and skirt. Adding the light to the green and purple was fun and not too complex. Of all the items in the painting the hands were the hardest to paint, probably because they are so small. The size of the painting is 12 x16 inches, so the hands are teeny. The painting on the left is now finished.
As a prep for this painting, I painted a large hand (almost the size of the entire figure painting)just to understand how I would incorporate the nuances of the hands.

Next, I had a small almost finished dark painting that I needed to work on. This painting was very dark - lots of black against neutrals with loose brushwork. I love the large black hat and the profile of the face. There are so many layers of fabrics. The model was wearing a nearly see through black dress which I wanted to imply but not draw attention to. Also, there are so many striped patterns here, since I was painting quickly I did not want to spend too much time perfecting each stripe - just implying. When I went to finish the painting I added in the red pattern in the lower right corner and added some red/purple next to the red stripe pillow. I also deepened the red lip color so that there is more red color patterning throughout. The last step was highlights to the hair - the model has blonde highlighted hair but the black hat created shadows so the hair really looked greenish! I am very pleased with this little gem. This finished painting is a small 9 x 12 inches.

BEFORE

AFTER

Lastly, I had a painting that I considered finished until I went to Art Critique. Art Critique suggested that I add more to the left arm so that it felt less "cut off". And, asked that I convey more of the legs so that it is easier to read how the model is sitting. What is funny is I thought there would be more discussion about the model's hair. She has dark black hair that she "Hombre'd" to reddish from the ear point down - but that really wasn't the issue with this painting.  So, following critique advice, I redid the white dress adding more light hitting the knee, belly and bust and more shadows along the leg area (this I repainted with the photo in black and white) so that I could see the values. Hard to tell in this photograph, but I also updated the head piece to coordinate more with the flowers to the left of her head. I really love this little piece, the pose and style are interesting and sweet. While I will take it back to art critique, I won't do any more work on it, it is finished now.

When Is a Painting Finished?

Alla Prima, Loose Painting, Unfinished?

Listen to Your Heart 12x16

In painting, especially painting portraits, composition and skin color are often hard to achieve. And, artists don't always have good days. Some paintings just don't work, some features or compositions or even models may not work for the artist. One of my favorite models is above- I love her orange skin tone and expressive eyes - she is a muse model for me - I can usually get a good painting when I paint her. This painting is loose and looks unfinished and yet I decided it was complete. For me, this painting is finished as it is. I love the colors in the painting, the red pops with the blue and purples. I love the expressive big eyes of the model; I used blue and purple to set off the fiery brown eyes and achieved a likeness in the model and her strength of character.

Girl Chat 12x16

It is unusual for us to have two models in the studio, but I really loved the pose of these two friends. They looked at each other and chatted in their bright fun costumes. I especially love the girl on the left, perhaps it is her pose, perhaps the fun colors - it appealed to me. However, I did not want to be too meticulous with this painting. I wanted fresh and loose and not too tight or serious. I think I accomplished my goal and am happy with the results. In the future, I think I will paint a portrait of the girl on the left.

I know many artists and some are very meticulous and detailed, finishing their works beautifully. I respect and love their style. I am however, not that artist right now. I spent a long time trying to get my still lifes to look like photos and I was very frustrated and didn't love the results (my paintings looked overworked). I relish brushstrokes and find joy in painting in an expressive and loose style. Maybe someday I will have the discipline to get the details and really make a painting that looks "finished" but for now I work to enhance my composition and color.

The Art of Shows

Art Shows: Heartbreak and Joy

BBAC Art Show 2015

Something that I have learned is that most art shows allow artists to submit work as long as the artist pays an entry fee. Although paying an entry fee is no guarantee that your artwork will be accepted into the show.

Last year I payed entry fees to two local juried art shows (different judges, different venues). I was rejected from both shows (heartbreak). However, in talking to other artists who have different styles and mediums than I, many were rejected from the show (ah, a relief to know that I am not alone).

The Dowager, BBAC Student Show

Joy! I just learned that one of my works was juried into a student show (a victory as this is a difficult show to get into). In the past, I have tried and failed to get work into this student show. 

Additionally, my fellow artists also encouraged me to join a member show (guaranteed to have one artwork in the show). This means that for February 2015, I will be in two shows!  Art Shows are very exciting and are wonderful for an Art Resume.

The Dowager : Birmingham Bloomfield Art Center from Jan 24^th to Mar 27^th! 

Topaz Blue: Northville Art House from Feb 6^th  to Feb 27^th! 

Topaz Blue, Northville Art House

There is so much that goes into whether or not you should try to get into a show. A key takeaway is to ensure that you have a good understanding of what the show and or juror are looking for so that you don’t waste your entry fee money. Another important art show detail is organization. To get into a show an artist has  to get  applications in on time, drop off art work and eventually pick up artwork on the slated dates (drop offs and pick ups are usually restricted hours).

Hope to see you at the Art Shows!

A Stack of Unfinished Works

AKA The Busy December

Kate 18 x 24", Unfinished

December was a month of events and to-dos which led to a stack of unfinished artworks. I continued to attend art group and paint, but did not have time to work on paintings at home—so now I have a stack of paintings waiting to be finished and that is a little overwhelming. 

Dana, Unfinished

I am unfinished and unhappy with the Dana portrait. I loved her hair and the green wreath setting on her hair, although the greenery needs a bit of a punch. Also, her face looks too long and her frown makes her look like a witch. I have some "maker her happier" work to do.

There are those who would say, well you don’t have to finish every painting. TRUE!  I absolutely agree that not every painting is a winner. When an Alla Prima (Wet) painting is not working for me, I will wipe it out with Turpenoid and a large paintbrush (leading to a nicely toned canvas).  Often I know when a painting isn’t working and I wipe it out within a few hours, this happens at least once a month. 

Meredith, unfinished

Meredith (scarf and long dark hair) is almost done. I like the scarf and her face but need to work on her shoulder, blouse, and the background. 

I really loved the whole 40's vibe with the cloche and furry collar on Becca. I have worked on the grey of the hat, the fur of the collar and the color of her face. I just want to add highlights to the flower and work on defining/shadows on her nose and neck. And maybe add some depth to her right (shadow) eye.

Becca, unfinished

This is some of my "to- finish" artwork list but I am unsure of how soon I will get all the work done as I start a new art class tomorrow! It may get done, it may get done, it may get done someday...