[Patricia Joyce]

I have taken two Marvin Mattelson workshops and painted from life, twice. What an incredible experience, what beautiful colors to observe under good lighting, FROM LIFE.

Having made the decison to seriously begin my studies in portrait painting, I am moving to Gainesville, GA, to live as cheaply as one can. And I am not taking a computer. And I only own a small cheap digital camera, so in essence will not have a camera to use.

There will be no laptop next to my easel.

I hope I will find models to pose for me, or at least a good mirror! Why wouldn't any serious student want to learn as the masters she so admires? I think it will be absolutely necessary to learn from life before thinking of learning how to use reference photography.

I have read about many artists' studio set ups and practices here over the years. The system that makes the most sense to me is to have the client sit intitially, mainly to learn the subject and then to have a strong color study. Then one can utilize photography as an aid in executing the painting (few clients can or are willing carve out time for several live sittings). Towards the end of the painting call back the client for one more sitting, to review and readjust any color discrepancies.

I am a relative babe in the woods with painting, but I do not believe I am being too idealistic. I have seen paintings receive oohs and ahhs that simply look like copied photographs, right down to some obnoxious chotsky on a table in the background just because it was in the photo. Where is the breath of life, one searches for and hopes to find in a work of art?