Nora

[Marvin Mattelson]

Thanks Sharon. I'm glad you like the palette. Told ya!

Beth, maybe I should have activated the poll feature to see how many people reading my post were confused? Seriously though, I still do the wash-in. I refer to it as a monochromatic transparent underpainting because most people don't know what a wash-in is and I like to impress people with my extensive vocabulary. Kidding on the second point.

The next time I paint, I lay in the second layer thinly enough to cover the dry wash-in in an attempt to establish the broad color relationships and continue to refine everything (drawing, colors, values and edges) til the buzzer goes off and class is over.

The third pass starts with a scumbling of light colors over the painting in order to pull out the lights and unify the effect I'm trying to achieve. I then proceed to paint into this with the intention of refining all the above mentioned points.

I keep all this thin so when I start to apply the final layers I don't have ridges built up in bad places. Since I prefer canvas wet sanding is out of the question.

I understand that this explanation is simplistic because to fully describe what I do takes three days of demoing (two and a half if there was no humor) to explain. It takes people quite a while to absorb everything (days, weeks, months, years, millenniums?) What I teach operates at many levels, each student getting what is appropriate for their stage of development.

Quite often I'll have a student tell me they never heard this or that when in fact I may have repeated it several zillion times (I exaggerate, maybe only several billion!?!)

Anyone who thinks they can really understand the complexity of painting in a week, let alone a lifetime, is kidding themselves. The more you know, the more you know you don't know.

Also, confusing people is not necessarily a bad thing, unless of course they are your employees and you pay them by the hour or you're giving them driving directions!

[Elizabeth Schott]

Can you explain what you mean by painted thinly? I really believe there is a lot of confusion among people when they read this.

As always I clarify, just in case... I didn't mean your post about the painting, I meant the use of the words "thinly", that a lot of artist may say this, along with things like "thick over lean" and there may be some confusion especially among new oil painters.

Now we know I am always confused that's a given. And I agree with you on the "one week with Marvin", one needs at least 2 years.

What do grasshoppers turn into anyway? We know it's not a butterfly!

Sharon have you tubed the values yet?

[Jen Reinstadler]

Marvin,

Is is possible for you to shoot photos of your three stages for a really basic demo? I know what a monochromatic underpainting looks like, and obviously your scumble-to-a-finish, but I am curious as to what the "broad color relationship" stage is about.

Actually, I'd love to see a full demo if you're up to it! Or you could direct me to one you've already done. My apologies, if I just haven't looked hard enough for one.

[Marvin Mattelson]

Beth, are you referring to fat over lean which is really slow drying over faster drying? Painting thicker layers over thinner layers accomplishes the same thing.

Jen, on my site is a step by step from a workshop last year in Atlanta.
http://www.fineartportrait.com/workshop_demo.html

[Linda Brandon]

Originally Posted by Marvin Mattelson

What I teach operates at many levels, each student getting what is appropriate for their stage of development. ...
Quite often I'll have a student tell me they never heard this or that when in fact I may have repeated it several zillion times (I exaggerate, maybe only several billion!?!)

Oh Marvin, this is so true. I think of this as the "Helen Keller at the water pump" effect. Teacher shows her the alphabet over and over; Helen finally "getting it" is one of my favorite movie moments. When the student is ready, the teacher appears.

This is a beautiful portrait, sensitively painted. I'm very impressed that you did it as a live demo.

[Marvin Mattelson]

Linda,

Flattery will get you everywhere. As far as I know there still may be an opening for president of the Marvin Mattelson fan club.

My favorite movie moment is in "Dr. Strangelove" when Slim Pickins finally gets the stuck bombardier doors open and euphorically rides the A-Bomb to oblivion, "yahooing" like he's on a bucking bronco. This is what I imagine it's like for many students when they finally break through and see the light.

[Mike McCarty]

Marvin,

I also like scene just before the "yahoo" moment when Slim Pickins was still in the cockpit going through his emergency ration kit.

Slim Pickins was also a painter. A few years back I was wandering through a gallery in Kerville, Texas and discovered some of his work. I don't remember that much about it, but, I will never forget him as the pilot of that B52. What a great name ... Slim Pickins.

Oh yeah, thats a real nice painting you got there pardner.

[Michele Rushworth]

Gorgeous! I particularly like the reflected light.

[Linda Brandon]

Originally Posted by Marvin Mattelson

This is what I imagine it's like for many students when they finally break through and see the light.

Marvin! This is an image of a crazed man hurtling through space at horrific speed to his certain, gruesome death! We must find some other analogy for your students to anticipate.

[Lynn T. McCallum]

Believe me, Marvin has the image and the feeling right! Slim Pickins character excepted the facts, rode it out with enthusiasm, and went out in glory : That is an acceptable analogy. When you come out of one of Marvin's workshops it feels a lot like that! You wonder to yourself, "What was all that other stuff I learned"? And "What on earth made me think I was painting in the past"? The site of a blank white canvas used to taunt me and intimidate me, now I can't wait to tone them. Painting has definitely become less of a struggle with Marvin's method!