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Debra Jones · 04-25-2003, 01:33 AM

I started in the open studios in Scottsdale Artist's School nearly 5 years ago. It was the bargain of all times: $24 for 4 three hour sessions, you buy tickets. They offered life drawing long pose, short pose and portrait. From 5 to 35 people will attend depending on the workshop schedule and model. The schedule floats around depending on the season and demand but I have found it better than therapy.

My approach from the beginning was to make the best of what I saw. After many late setups, and blinding lights in the eyes, I never moved my easel or whined about the pose. If the model moved a lot, I learned NOT to chase her but to choose and observe a pose, second guess sinking and pick the best parts.

I spend a lot of time staring. I learned to pace myself in the 20 minute segments and limit my sketching so I could proceed to the painting. I practice a lot of different alla prima techniques, from rubbing out a toned canvas for a value underpainting to palette knife. It is a meditation.

All the patience I put into the process has made it a joke, at the end of the session with everyone struggling, someone is BOUND to come over and say, "You are the lucky one with the best pose." I just smile.

Terry Ludwig makes the softest pastel I have ever used. I tried a Diane Townsend, ONE, and it crumbled so fast it could never be re-used. It may be an Arizona thing, but a lot of really soft buttery sticks tend to self destruct. Mr. Ludwig has no real magic. All the ingredients are avaliable to anyone and he used to give workshops in making pastels, but I am not one with that kind of patience.

I have only seen a tiny box of Grumbacher for sale in the last few years, and they are nothing like my old ones. The shape of the original stick was longish with a wide and narrow dimension. Terry Ludwigs are about 2 inches by 1/2 by 1/2 inch and the bulk may be what keeps them intact.

My little Caput experiment was a favor. He simply methodically mixes standard amounts and proportions of colors and we agreed an Ultramarine with Iron Oxide (... oops, terra something... not rosa?) made the grayed violet we needed and we just added white.

I must say I am sort of his pusher. It is an addiction!

04-25-2003, 01:33 AM	#9
Debra Jones Juried Member Featured in Pastel Journal Joined: Jan 2002 Location: Arizona Posts: 457	Thanks for your questions I started in the open studios in Scottsdale Artist's School nearly 5 years ago. It was the bargain of all times: $24 for 4 three hour sessions, you buy tickets. They offered life drawing long pose, short pose and portrait. From 5 to 35 people will attend depending on the workshop schedule and model. The schedule floats around depending on the season and demand but I have found it better than therapy. My approach from the beginning was to make the best of what I saw. After many late setups, and blinding lights in the eyes, I never moved my easel or whined about the pose. If the model moved a lot, I learned NOT to chase her but to choose and observe a pose, second guess sinking and pick the best parts. I spend a lot of time staring. I learned to pace myself in the 20 minute segments and limit my sketching so I could proceed to the painting. I practice a lot of different alla prima techniques, from rubbing out a toned canvas for a value underpainting to palette knife. It is a meditation. All the patience I put into the process has made it a joke, at the end of the session with everyone struggling, someone is BOUND to come over and say, "You are the lucky one with the best pose." I just smile. Terry Ludwig makes the softest pastel I have ever used. I tried a Diane Townsend, ONE, and it crumbled so fast it could never be re-used. It may be an Arizona thing, but a lot of really soft buttery sticks tend to self destruct. Mr. Ludwig has no real magic. All the ingredients are avaliable to anyone and he used to give workshops in making pastels, but I am not one with that kind of patience. I have only seen a tiny box of Grumbacher for sale in the last few years, and they are nothing like my old ones. The shape of the original stick was longish with a wide and narrow dimension. Terry Ludwigs are about 2 inches by 1/2 by 1/2 inch and the bulk may be what keeps them intact. My little Caput experiment was a favor. He simply methodically mixes standard amounts and proportions of colors and we agreed an Ultramarine with Iron Oxide (... oops, terra something... not rosa?) made the grayed violet we needed and we just added white. I must say I am sort of his pusher. It is an addiction! __________________ http://dog-a-dayartblog.blogspot.com/ Because some people have four legs.