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.

More (or less) Les
 

Here's mine:

Wow Michele and Chris, yours look very finished! Did you work on them some more?

How does it work with workshop paintings, should you finish with reference photo's? I would like to finish this one. Now Cindy is a different story! :sunnysmil

I finished Les in class, though I didn't get very far with the painting of Cindy. I took reference photos in case I want to finish her's at home.

Beautiful work, everyone!

I remembered a beautiful post by Whitaker here, appropriate for anyone researching the brushwork you're seeing in the workshop. I've linked to that thread, but the image seems to have vanished.

Beth, if you're going to continue with photo resources, I suggest starting a new canvas. Use your workshop piece as a "color study". You don't want to bury the fresh, vital lessons learned in that memorable week. Keep it as a reference point in your growth.

It's so interesting seeing everyone's varying brushwork and style. Did you all use the same palette, it certainly looks as if you could have. If so, what were the colors you used? Beautiful work.

Thanks,
Holly

Bill gave us a list of colors to bring. They were: Flake white, titanium white, yellow ochre, cad red light, cad orange, Gamblin permanent alizarin, Gamblin permanent sap green, raw sienna, raw umber, transparent earth red or burnt sienna, asphaltum (a Gamblin replacement for burnt umber), ultramarine blue and ivory black.

I work with a more limited palette than that and I think I only used white, yellow ochre, cad red light, raw umber, alizarin, asphaltum, and ultramarine blue.

Way
 

Kewl, I heard thru the grapevine that you guys comprised a very good (and enjoyable) class. The rich colors and strong brushwork is consistent throughout these examples.

Furthermore, I still see personal styles - that's not something one sees in every workshop's product.

Impressive
 

All of these are wonderful!

Chris, your painting looks like this technique was custom made for you. Were you very comfortable?

Jean

This has been so educational to me to follow this thread. It is also very interesting to see the different methods and styles each of you applied to the same model. I also like the way this model looks, with all the wrinkles and lines on his face. I do envy you all having the chance to do so much with Bill in one week!

Mai

Hello again...I don't post here much, but Linda and Chris and Beth and jeez, everybody else, said I should, so here's my (unfinished) version of Les. I used a wider palette than I normally do--I'm more like Michele in using mostly just ivory black, flake w., naphthol red, and yellow ochre, but here I incorporated a lot more colors...not very successfully, IMO.

Looks great, Gary. I never got to see your "finished" paintings at the end of the workshop.

Hi guys! Newbie to the site here. A bunch of you I already know though, via the workshop. It's great to see all your pieces again, and I'm going to save them to a workshop folder, glad you all posted pictures.

I think I can post now. :sunnysmil Here is my effort on Les. Through the sweat ( and there was plenty), I think it's maybe 50% finished. It was a very different way of working for me, and a struggle, especially at first. However, this method is something I will continue to work with for some time, until I am comfortable in it.

The suggestion to leave these as-is, to more clearly remember what we were doing, is a good one I think.

Welcome to the SOG Forum, Carl! I hope we'll be seeing lots more of your posts here.

Thanks for posting your painting of Les. I remember now how much I liked your colors.

Thanks Michelle, I still remember how much I loved the way your background set your painting of Les off, to such remarkable effect in your original.

I went to the Metropolitan Saturday, be sure to look me up if you get to NY so we can plan a look through there. Bring serious walking shoes. :bewildere

Carl

I Must Be Crazy!
 

In keeping with everyone from Bill's great class posting their paintings of Les, I feel compelled (but unbelievably intimidated) to post some of the "other" possibilities- (when good students go bad!).

Here you will see that not only is this "broken color" totally new for me, but I was way behind everyone else, and didn't get 50% done on either portrait.

Here is a close up of a portion of Les. Poor guy looks like the "undead" (eyeless).

Linda

Um.... I feel really left out.
 

I was sure that after all this prep, I would get to meet you all after class. Linda and Chris are buds but having run over here from Studio Forum, I find NOBODY stayed after school to meet me at open studio.

I feel very dejected.

Only if you like, I have a picture of Les or two I would like to post, just for the compare. He tends to model for us as a cowboy, as he is a character at the local tourist trap, Rawhide.

I never knew the whole gang was members! There are just too many forums and I never even looked at the workshop forum in here!

FOR INFORMATION: Anyone doing a workshop at the Artist's School again, drop me a line and we can do lunch at Tokyo Express on the first day. Waaaa.

Poop I say. And will again. Poop!

Hi Debra,

Why don't you go ahead and post your "Les" painting in the Open Studio section?

Debra, I initially planned to stay for Open Studio but it was one of those "the spirit is willing, but the flesh is weak" kind of things. After the intensity of the day at Bill's workshop I was much too zonked to pick up a brush for the evening.

I had great plans to do Open Studio and I even went so far as to bring an extra canvas, but by the end of the daytime sessions I no longer knew or cared what color was on my brush -- a sure sign to call it a day!

I didn't know you were going to be there -- do you do Open Studio every week?

Maybe next year....

Well, at least now you know!
 

It is an old one, Chris.

I did one the same day as Richard but it is a bit garish. I will post the old one...well, I have 6. I made him a set of notecards to try to sell at Rawhide. ;)

I live there, Michele. They have four studios a week, two on Saturday. Now that it is summer they move those two to afternoon and I have to go into withdrawal.

I am an addict. I just love to have some warm body to paint for three whole hours. But I usually am there for all 12.

So everyone keep this in mind for next classes. dj* trying to meet every online artist in person somehow!

Ok, Chris, I took your advice.
 

I have posted my COLLECTION of LES over in the open studio section.

How long did you work on him in the workshop? I only have the three hour open studio, but have the benefit of having him model so much, it is a real exercise to be able to do the same face over and over in different arenas. I am very proprietary of a couple of the models. I feel personally attached to their likenesses.

They're all really nice, DJ.

I am (hoping to) move back to Scottsdale. I have my house up for sale. I lived there for 25 years, so I know my way around. I'll probably be joining you at O/S once I get there.

Linda