Last-minute model

Alexandra Tyng · 10-18-2005, 09:30 AM

As you said, Rob, it is all about the next painting.

But isn't the awkwardness its own best teaching tool? Sometimes in an open studio, you get stuck in a certain place and you make the best of it. Just reading your description of what you went through to deal with the problem of the tangential edges of nose and cheek is the kind of challenging learning experience we go through that teaches us (or reminds us) exactly why we don't want to do that in a set-up over which we have more control. This kind of studio work is more spontaneous and has its limitations, and that's the beauty of it.

Alex

Rob Sullivan · 10-18-2005, 10:24 AM

Quote:

Sometimes in an open studio, you get stuck in a certain place and you make the best of it.

I see this kind of thing far too often with my students. Especially if it's a big class. There's no good reason for this unless you're late, in which case I beat the student with a mahl stick and take away all their brushes except for a 4" house painting brush. <----[joking!]

Seriously, the model is supposed to be still, but you are allowed to move. It's important to exercise this freedom. I'd rather see someone spending 10 minutes on composition than launching into something - then half an hour later, they realize they're in a bad spot. Time spent correcting can be avoided by taking time initially. Waaaay back in my student days at SVA, I would elbow my way in towards the model stand, it was so tight. It ticked some people off, but I was there to paint the model, not the back of a classmate's head!

This is not to say that moving around will solve all your problems, but it solves some them. I knew a winemaker who used to say, "I'm shooting for evolution, not revolution." I think that's apropos of painting, too.

Linda Brandon · 10-18-2005, 11:14 AM

Hi there Rob, I like this one very much, really a fine job in a short time period. Nice color too, what's on your palette these days, anyway?

I know what you're all talking about when you're discussing being stuck in a painting position. I have to say that the reason I hate the nose-touching-the-cheek position is because I always have trouble with the far eye when I get it. Always! It's worth taking a step to the left or right even to nudge it one way or the other even a little bit.

Patricia Joyce · 10-18-2005, 01:23 PM

Hi Rob,
This is really nice. I love the job you did on her hair, it looks very rich and very thick. And rendering hair is always amazing feat to me. I, too, am not a fan of this "position" but I always figure wherever I "land" is where I am supposed to be, to learn something . . .

She looks so young and sweet in your paiting. A nice feeling you achieved.

Rob Sullivan · 10-18-2005, 05:38 PM

Linda, thanks! Is "what's on your palette" a metaphorical question? If so, then I'll e-mail you. If not, well for this one it was essentially the same palette as in this demo , but I put a heavier emphasis on the ochre overall.

Patricia, I appreciate the kind words. I absolutely LOVE painting hair. It comes so easily to me now, and that was the real fun part for the students to watch. I resolved it in about 10-15 minutes. You know what helped me to be so prolific with hair? This may sound weird at first, but it's because of all the clouds and water in my recent landscapes. There's the darndest parallel between the physical rendering of these 3 things. I won't get too detailed about it, but the most dynamic similarity comes from the "chaos theory" of these natural forms. In other words, they can look different every time you see them, but they all adhere to specific rules and patterns that don't vary at all. You just have to figure out the pattern, and you're off!