Whitaker's Waltz
 

It occurred to me that there are a number of threads running regarding Bill Whitaker's workshop last week. So I thought I would post this here just as an example of "The Painter's Dance".

It is not complete, I am not sure if it should be completed off reference, but what I wanted to share was the powerful brush stroke that Bill had us using. There is also a touch of blending and glazing on this extreme close-up.

I am not saying this is the best painting, but I think it will give everyone a good idea of the touches of color that were added one stroke at a time, with a far back look at each.

Comments or questions are welcomed.

Here is an extreme close-up.

The white areas are where I have scraped with my palette knife, or they are bumps from transport.

Each day the ridges of the strokes were removed carefully with a knife so when you go for the final it looks smooth and lovely. I would have never guessed looking a one of Bill's paintings that he goes through all of this they are so smooth and translucent.

Hopefully others will post theirs here too!

Okie, here are my efforts on Les for the week. The brighter strokes were made by Bill at the end to show me how I could bring the intensity up even more. Unfortunately, we ran out of time. :o

Next to Michael, one position counter-clockwise.

Detail.

Wow,

I am turning green with envy, you lucky devils!

Every piece looks powerful and dynamic. I would love it if you would share with us each step you went through.

Did you initially block in mass shapes, ending up with something close to a rough modelled clay clump, or was it more refined?

As the form developed did you apply the short brushstrokes by stepping back several steps, locating the hue you needed and then attacking the canvas?

Please explain from start to finish what you were told to do. I think I would have had a heart attack the very first day, this is so unlike what I am used to doing, but it looks like such a liberating way of painting.

My hat off to you Beth, I know your jitters and your work seems to have matured in leaps and bounds!

My portrait of Les.

And a closeup.

To describe all the steps would take all day! Bill has some great demos on his website that go over the process pretty well.

We started with a toned canvas and drew in the shapes with burnt umber or an equivalent color. Then we blocked in the shadow areas, also with burnt umber. Next it was time to lay in the "broken color" to describe the skintones, hair etc.

This painting took me about 15 hours of painting time.