Chris Saper: "For Love or Money"

[Debra Jones]

Thanks for the paint and canvas, Chris.

[Kimberly Dow]

Chris,

This looks like a really skilled group - is that how it usually is? I imagined a few that would be 'less' and a few 'more' skilled - from what I can see they all look talented.

[Chris Saper]

Debra,

You're welcome! This will be a terrific painting.


Kim,

It just turned out that the first 12 who signed up happened to be very strong artists. I know there was a fairly long wait-list (twelve was the class max). The only prerequisite I set was that the students should have strong drawing skills.

I think that the nature of the course - half skills lab, half business, probably was most appealing to those painters serious about commission work.

The course is is presently designed for eight weekly sessions, and because I place a heavy emphasis on getting photographic resources under control, students need to shoot photos one week, then work from their enlargements in following sessions. However I am looking at ways to reformat the course for a five-day workshop venue.

[Debra Jones]

Another thing about the Scottsdale Artist's School. It is not an art school, per se. It has always functioned as a workshop.

People like me benefit from the open studios, but I find a higher price, short burst of instruction and inspiration is tailored to working or aspiring professionals. The local workshops, like Chris is doing, NORMALLY are for the local student clientele.

Chris has jammed three workshops' materials into what would be a four-day short workshop and is trying to load us with so much information we are getting the bargain of the century. Aside from the technical problems of taking photos, this workshop in the normal schedule would be morning demo, afternoon practical so we are missing out on what the general attendees are usually most excited by: watching the big timer work! Her generous contribution is basically doubling her information and allowing us to come watch her demo in a local high end mall on Fridays.

I hope, when you rework the format for a single week, you are less hard on yourself, Chris. You could cover half the material in twice the time and nobody would complain!
dj*

[Chris Saper]

Debra,

LOL. This class is definitely the guinea pig class; I will be giving out a very in-depth evaluation form getting feedback on the pace, content, and sequencing of information.

To continue in this weekly format may require Session I and Session II, so there is more time to spend on our curriculum.

You know what I say, "No slacking! Back to your easels!"

Thanks for your words, Debra.

[Debra Jones]

That is actually what I had in mind.

Your first session should be based on the color of light and temperatures in skin.

Morning demos by you illustrating the subtlties of the light; afternoon, posing and photo and measuring. (You could demo from photos and the school would save morning model fees!)
Cool daylight, warm incandescent... you could even play with gels like Sally does, but you can show how things work. Your book does cover three media.

Two days per model, just like you are, skipping a day so you can print out your own digital pictures for us to work from. (Out of towners would not be that easy with the film, but you can let them shoot and develop at Walgreens if they wanted.) At the end of the second sessions you can do group critiques and spend the last day recalling the four models which you would set up in double poses (ie. Amber and Richard on one stand, Cara and Hugh on the other)at the end of the first two days, pass out photos and let us all paint from life AND photos.

Hows about that!

Session two is each medium. Same processes for pastel and watercolor, but mix and match them. Demo pastel day one, watercolor day two. Same stuff day five. You can invite oils as the principles are the same and spend your time in the afternoon giving more serious personal instruction.

Session three will be all dealing with the clients. You can lecture on problems. Long slide shows and demos on designing the canvas. Show the problem and solve it and let students bring their own photos to help them work with the challenges of composition. Afternoon you can set up a single or a double model on the two stands and let people practice those skills inputting as you set up the poses. Sketch again.

Day two will be you working from a double model set up demo, explaining how to position the photos and do a live working sketch. Afternoon, students do the same setups.

Day three, continue all in class from days one and two.

Last two days they can bring all their own reference material and work on their own pieces or you can provide models and they can bring it to a polished state. On the afternoon of day five discuss promotion, marketing, client relationships and getting the check!

If you think you need a fourth session, we can talk! There you have a return client base, you build on materials from before, but they are all different directions!

Ok, I just got home from work and will probably recant this all after dinner.

dj*

[Chris Saper]

Awesome, we have a whole semester lined up.

I'd better do this quick before I get too old and tired!

Thank you so much!

[Debra Jones]

Our model today used the "B" word when he sat down... buy!

I have done him before and he mentioned that he might buy it if he liked how it turned out, so I am on the trail.

Chris emphasizes the photo to work from after the initial sketch-in. I was in a very hard light against the glare of the windows and a bit in shadow and our model is not a twinkler. That is, his pose does not show much personality so when we were snapping our reference photos, I tricked him into the pose with a joke and eye contact. A bit of reworking when I got home, using the colors I laid in, and I have a great leap on the finish.

So, this is a surprise for Chris.

Michael today:

[Chris Saper]

I seem to be getting a bit absent minded of late...and really meant to take some photos in class today.

Debra and I both posted images of Michael here in the Open Studio section.

We have had really wonderful models, which everyone knows is a real blessing.

[Debra Jones]

Now I distinctly heard "click..click" during MY pose. Oh, that may the "obscure camera" I have heard so much about!
Tsk, tsk.
Here is a shot of him with a previous charcoal in studio.