When Christine Swann gave the workshop and the demo, she talked about the mid-point in a painting, the crazy color stage. If the values were equal, the color could be anything (almost).
Today Gail Sibley wrote about The Ugly Stage. It's pretty much the same as crazy color, using bright, bold, energetic colors that cause later layers to glow. The paintings of some artists, like Daniel Greene, never catch a case of the uglies; they look good from the drawing to the finish. For those of us who struggle or toss around ideas and colors, the painting is an evolving monster. However, as Gail says, "If we don’t take the chance to push beyond the ugly stage, the stage where it feels futile to go any further, we’ll never evolve as artists." It's a good read with photos to illustrate her point. Read more.
At the October 1st meeting, Christine Swann put her quick draw skills to the test, with Carolina Dalmas as the model. The title indicates the time of the photo; interesting to note how short a time between each stage, especially since Christine gave lots of instruction at the same time.
And what a treat it was to enjoy lunch with our fellow pastel artists -- great food and socializing. Sandwiches, salads, and fruit catered by Jason's Deli.
Author and photos: Carolyn Hancock
Christine Swann's critique of 12 paintings was a listen and learn experience.
Even if your own painting was not in the hot seat, her evaluation taught us plenty. Ann Evers was the hit of the session, when she said, 'show me what color you mean," and looked on as just a few strokes by Christine pushed the background and lit the face. Eight critiques in, Caroline Ratliff's rock painting hit the easel, where Christine enlivened the center of interest by adding two lighter values to the sunlit area. In addition to tips for improving, most paintings won a "beautiful technique" comment!
A few of those priceless tips:
Where do you want the viewer to look--what is important? Let that be the brightest or lightest color.
The photo lies, especially in shadows. They are airy; lighten and brighten the colors.
The frame can make or break your painting, the dark color takes away from the face; make it lighter and you have a winner in a competition.
Watch those sharp edges of contrast, dark against light. They grab the eye.
Work the background as you work the painting; it influences your color choices.
Drawing lines can be a lyrical beautiful part of your painting.
And most important: obey the Law of Light!
Paintings by Artists Below l-r: Joan Eure, Ann Evers (3) Ed Meanley, Theresa Honeycheck, Pam Schrader, Becky Rusk, Betty James, Caroline Ratliff (2), Sharon Haney, Lynn Schwalm.
Author & photos: Carolyn Hancock
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