Clayton J. Beck, III Workshop Recap

I wish I had more time to write about this, but for now I'll have to give a quick recap.

This month I had the great privilege of attending my second Clayton J. Beck, III workshop. This time it was here in Dallas at the Society of Figurative Arts, and I helped organize it, hire the models, even pick Clayton up from the airport. :-) He probably got tired of me after a while, but I sure enjoyed the one-on-one time, picking his brain on all things art-related. :-)

Below are some pictures from the workshop, and my notes with some of the main points from his discourse that I found particularly helpful.

- Every brush stroke you lay down is a reflection of your thought process.
- Making the highlight on the upper eyelid too light will cause the model to look sleepy (ha!)
- Don't add a background to a figure - add the figure to the background.
- Don't constantly try to get the model back into the first sitting's pose, when they were in a different mindset.
- Everything is just as important as everything else.
- Establish from the beginning something that is absolutely correct, and use that as your "key" or "anchor."
- Don't have anything in your line of sight that disturbs the harmony.
- Leave some white on the canvas. If you take it all out, you'll never be able to put it back. Resist the urge to "fill in all the holes".
- Each time you look up at the model, gather specific information.
- A block-in = enough information to move to final painting. The block-in should be a success. Don't degrade it or take away the excitement. Adorn it.
- Ask yourself the right questions, in the right order.
Here's a big one: Don't get bored with your own paintings. Your work should show that you love painting. Love every square inch of your canvas. Each part of it should be a gift to the viewer.

Of course, probably very little of this makes sense to you unless you attend Clayton's workshop and watch him paint. It's truly amazing - and he is a fantastic teacher!

I didn't get photos of every demo, but here are pictures from his first demonstration. For a classical realist, this method probably looks like chaos, but Clayton put every brush stroke down with complete intention and clarity of thought. It was fascinating to watch.

The first three days of the workshop were portrait-focused. We had a different model every day, and attempted to complete two or more paintings each day, with a specific goal for each piece (OTHER than "making a pretty picture").

Here are my efforts from these three days - all different, for sure! I didn't get two paintings in every day, since I was the class monitor, AND I was always the last to get a spot in front of the model. That made it more fun for me, since I had to try and make the absolute most of whatever perspective I was given.

 Above: My goal was to turn the form using color temperature, since the light was so flat from my angle. Below: My goal was to keep the focal point in the light, even though the face was 3/4 in the shadow.

Above: My goal was to have very soft edges, with only 2-3 relatively harder edges based on the contrast in those areas.
Below: My goal was to stay high key and not ever get to "black" in the value scale. That took a great deal of self-control, since I love drama in my paintings!

The last two days of the workshop consisted of figure painting. Below is the setup on the model stand, and pictures of Clayton's first figure demo, which turned out beautifully.

Below: Clayton's second figure demo, completed in perhaps no more than 45 minutes.

 Below: my efforts from the two days of figure painting. Having an absolute blast. When I set up in front of the model for this first painting, the pose and dramatic lighting took my breath away.

I would like to give a big thanks to Michael Mentler for hosting such a great workshop, and allowing me to participate. And of course, thank you to Clayton for coming all the way down from Chicago and doing such an excellent job teaching and demonstrating. :-)

Precious Family Time

After two full weeks of GO GO GO, I am finally home, at my computer and in my sweats, enjoying a moment to take a breath. It's all been good stuff, but I'm the kind of person that needs to recharge after a period of craziness by spending time alone. So here I am, reflecting on everything that's happened in the last couple of weeks.

On Sunday, my mom, younger sister, and youngest brother, flew down from Wisconsin and spent five days here in Texas visiting Emily and me (they just flew back this morning). It was wonderful to see them, and they enjoyed replacing snow and cold with 60 and 70-degree temperatures, blossoming trees, and blooming hyacinths. Part of my craziness from the last two weeks was that I wanted to finish a portrait of my brother Joseph, who I knew was coming to visit. While everyone in my family is talented in some way or another, Joseph has taken to the guitar, and has been teaching himself for several years now. He spends every afternoon in his room for hours, listening to music and playing along. I wanted to capture that in this painting, "Being Sixteen."

"Being Sixteen" - 42x30" - oil on linen (details below)

Actually, Joseph turned seventeen the day he and my mom and sister arrived. So Emily and I threw him a little birthday party, which included a guitar-shaped cake. :-)

Later in the week, we enjoyed a visit to Dallas Blooms at the Dallas Arboretum. Thousands of tulips, daffodils, and hyacinths lit up our senses as we strolled the perfectly curated grounds, and I couldn't help but feel awed by God's perfect creation. There is no painted pigment than can ever come close to the intensity of color one sees in sunlit transparent flower petals!

Below: my mom, sister Cara, sister Emily, and me, enjoying the weather and blooms at the Dallas Arboretum. We saw several plein air painters while we there and I was tempted to join them... :-)

My week with family actually overlapped with a pretty major art workshop that took place here in Dallas. I was the class monitor and assistant at this workshop, which was hosted by Michael Mentler at the Society of Figurative Arts. Our visiting instructor was Clayton J. Beck, III, someone I've studied with before and highly respect. I will write about this workshop in my next blog post, so stay tuned!

Guy with a Beard

This guy... Michael Mentler. The Infamous 'M'. :-)

Michael runs the Society of Figurative Arts in Carrolton, TX. I have known him for almost five years now and have enjoyed regularly attending his Tuesday portrait painting sessions. We have gotten to be very good friends, and I have enjoyed celebrating with him in his remarkable success as of late (he has been hailed as a "modern-day Leonardo" by Richard Schmid himself!). Michael is an excellent artist and teacher, but he also has an overall look that is begging to be painted! He has posed for such greats as Sherrie McGraw and Rose Frantzen. At SOFA, though we work from all different models week to week, we are always begging Michael to sit for us. This week, our model didn't show, so Michael complied, and I finally got my shot at capturing this great man's likeness. I have tried at least twice before, and was never satisfied with the result. This time, I am much happier with it.

"Portrait of Artist Michael Mentler" - 12x9" - oil on linen panel (quick sketch completed in under 3 hrs)

(detail)

Frankenfinger No More!

A month and a half after my bizarre injury - following two surgeries, two casts, and a whole lot of prayer - I am finally seeing a light at the end of the tunnel! Today the doctor took out two of the pins that were holding everything together; there is still one going through the two bones, making it impossible for me to bend that last joint on the finger. And I will be wearing a splint still for at least the next three weeks. Don't look at these pictures if you are easily grossed out... but if you're curious, here it is, before the two side pins were removed.

The GREAT news is that I am now back to painting comfortably... in fact, yesterday I finished a painting I had been working on off and on at the Society of Figurative Arts - a fun and unusual pose with a nude model. Granted, it took a lot longer than usual, but I don't think my work has suffered from the time off. :-) If anything, I'm stronger and more determined than ever.

"Bone Necklace" - 18x14" - oil on linen panel

Additionally, taking time off from painting was good for me in that I was able to give 100% to some of my volunteer activities, particularly, my job as Texas ambassador for the Portrait Society of America. Last Saturday (May 5), with the help of SoFA's Michael Mentler, I was able to host a get-together and demo for Texas portrait painters, featuring the wonderful Kay Polk as our demo artist. We had a great turnout and the event was very well received. Given that event planning is not my forte, I thought it went very well. Here is a panoramic photo from during the demo, and a group shot, from the event.

I am back to painting and working up a storm - keeping busy with portrait commissions, but also planning a brand new large-scale figurative piece. I'm very excited about it... but you'll have to wait a few more weeks before I reveal it to you. :-)

Recap: Judith Carducci Workshop, January 2012

- Originally posted to the Texas Portrait Network blog for TX members of the Portrait Society of America -

So, it's already been almost two months, but I have been meaning to write about this workshop. Almost immediately following my workshop in Scottsdale with Nancy Guzik, I attended this one with Judith Carducci here in Dallas. Judy is one of the Portrait Society of America's most esteemed faculty members. If you've ever had the opportunity to learn from her, or hear her speak at PSOA conferences, you know that Judy is a firm believer in working exclusively from life. Because of her purist dedication to life drawing and painting, and her passion for her craft, Judy's work is incredibly strong and vibrant. She is also a great storyteller and for every point she makes in her teaching, she can give an example from her wealth of experience. Personally, I have gained a great deal from her instruction and advice, and I hope that if you get a chance to study with her, you will take advantage of the opportunity! She is a great artist and person, but... she won't let you off easy. Prepare to be challenged! The 14 of us who took her January workshop in Dallas, certainly were!

Here are some pictures from the 5-day workshop.

Judy at the beginning of her demo, day 1. The model was WWII veteran, Jim.

Explaining the anatomy of the ear.

Measuring the length of the face.

Judy's finished charcoal demo of Jim (with a sketch of eye - part of her demonstration of the anatomy of facial features)

Our wonderful host was Michael Mentler, head of the Society of Figurative Arts. The workshop took place at his studio (samples of his artwork in the background). I really love this shot of him! :-)

Judy would demo in the morning, and then the students got their shot at it in the afternoon to impliment what they learned. Above: artist Christen Benat, working on a profile view.

The first day was focused primarily on values, so we stuck to black and white, or in my case, brown and white. Here is my little monochromatic sketch of Jim, in oil on canvas. I only used Rembrandt's transparent oxide brown and white.

The model for day #2: Sylett, an artist's model with 30 years of experience! Judith really enjoyed doing this demo for us, and we enjoyed watching! She was working on a brand new line of Canson pastel board, courtesy of Canson via Michael Mentler (Michael represents their brand).

The finished demo. A solid, colorful, and exciting portrait!

The students hard at work.

My little 12x9 profile study of Sylett.

 Michael Mentler posed for Judy on day 4.

She began and finished the portrait in charcoal, realizing early on that it didn't need any color; it was already a strong impression! 

The finished portrait of Michael... or should I say, Gandalf the wizard? (Sorry, Michael, couldn't resist!)

Our afternoon model, Buck, was no less exciting! Here he is posing with a wolf skin hat, turquoise jewelry, and a staff. 

Artist Rebecca McClure off to a very strong start. You could really feel the energy in the room!

An exciting rendition by Ellen Moore.

 Here's mine. I really took Judy's advice to heart: no matter where you are positioned in front of the model, find something you LOVE about the pose and run with it!I loved the backlighting on the furry hat, as well as the mysterious shadow that the rim cast over Buck's eyes.

On the last day of the workshop, Judy did a self-portrait as her demo. 

The progression was very exciting to watch! We all sat riveted and humbled by her masterful execution of the self portrait.  

Here it is finished. One of the students purchased this piece.

Finally, a group photo (sans two of the students, Carole Fadal and Connie Erickson -- we missed you, ladies!), with Judy holding her magnificent portrait.

Here's what Judith herself had to say about the workshop after it was done:

I've just returned from Dallas where I was a guest of Becky and Hank Pearson (Becky is the pert redhead on the right in the group photo) and the workshop was hosted by Michael Mentler of The Society of Figurative Arts. Michael's studio is an ideal place for a workshop, with good lighting, space, easels, materials, and absolutely splendid models with variety of characteristics to challenge the por...traitist. Michael, and his assistant, the artist Anna Bain, were always available to make things work for our comfort.

It was a wonderful group! VERY enthusiastic artists. Three of them had been in my workshop in southern France last summer.

One of them bought the self-portrait I'm holding. She had asked earlier "Why would anybody want to buy a portrait of a person they didn't know?"

I told her that sometimes people are intrigued by the character, or it reminds them of somebody they know and love or a member of their family; I have a painting over my desk of a young man I don't know but he looks like my son and could be an "ancestor" - portraits of one's ancestors being prized where I come from. And sometimes they are bought by artists who are impressed by the work, the composition, the color, the brushwork, the lighting - and want to go to school on it. Or they are just beautiful or wonderful works that the person wants to own and enjoy looking at. Ironically, she then fell in love and couldn't resist mine!

To find out more about Judy's workshops and see more of her amazing portrait work, visit her website at:
http://www.judithcarducci.com/, or her Facebook page at: https://www.facebook.com/pages/Judith-Carducci-Artist/293819957331633