Etiquette in Open Studio

Chris Saper · 03-07-2003, 12:39 PM

Over the past month or so, I have noticed more than one dreadful faux-pas.

1. Unless open studios begin to function with pre-set easel positions (I think they all should), there's the universal first-come first-serve rush. (Also compared to hungry dogs and the meat wagon.) The first to arrive take the easel positions they want most, typically close-up and sort of front-on.

If you do not arrive to find a spot in the closest tier, choose your spot so that you are not on the heels of the person in front of you. There needs to be room for each person to back away from their work.

If you choose a spot in front of someone already placed, be absolutely certain you are not in their line of vision, especially when you lean over to view the model. You need to find a spot where you have enough back-up room.

2. Once the model starts with the pose, assume that is the pose. Just because you don't happen to catch the attitude of the gesture before the model has drifted, don't assume that others don't have it stated properly, and argue that now that the model has moved that this needs to be the new pose.

If possible, it's a good idea to assign one person the job of helping to keep the model in position. If you know who in the group is fast and accurate, give that person the job. Otherwise there ends up being too many conflicting instructions, and it's frustrating to all, especially the model.

3. Don't bring music and assume everyone else wants to listen to what you like, or to anything at all.

Feel free to add to his list, as you think of additional things to include.

Jeff Fuchs · 03-07-2003, 02:53 PM

I've seen people bring electric pencil sharpeners. Now there's a faux pas.

Jeanine Jackson · 04-10-2003, 10:20 AM

Interesting observations, Chris! These self-evident courtesies are often overlooked in class.

Here's a question: How important is position?

I go back to a Greenwich Art Society portrait class this evening with a new (to me) teacher, Enzo Russo. He recommends keeping the easel positioned to the right of your view of the model (assuming you paint with your right). Logistical considerations you mention above do not always permit such luxury.

I hold the model in my mind long after I look. That is what I paint. That is why I look for a spot which allows me to see the design on the model over all else.

Maybe I'm missing something?

Enzie Shahmiri · 04-10-2003, 10:27 PM

Chris,

I think people should refrain from eating snacks. It drives me absolutely crazy when someone is munching away or sucking on a straw, when I am trying to concentrate.

By the way the email address on SOG just got kicked back. I have to talk to you about your June Pastel workshop in Califronia.

Debra Jones · 05-18-2003, 02:57 AM

The particular gripe I have is that in open studio (which is what we call un-instructed, model and occasional easels and horses provided), drop-in teachers tend to give free classes or use the opportunity to hijack the pose for their own portfolio pieces.

I have found myself set up 5 minutes before the time to start, watch an instructor totally re-arrange the lighting and then TURN OFF the whole bank of light in my dark corner and not until break, 20 minutes into the pose, ask if I wouldn't like to set up a bounce light. (!)

I am a bit of a loner and have found my way into the studio specifically for the opportunity to stretch at my own speed and in my own way. I wish the model coordinators would impress upon the models that in open studio THEY are the final say. It is a place where democracy is just not a good idea. The dear things that constantly ask "Is this ok?" will ALWAYS find someone to say no.

I could go on for days...

I had often thought of asking the school if I might not teach a "What to do with a naked person for 3 hours" class.

About setting in the most advantageous position:
As that ribbon of easels set up down the middle of the pose grows, and the lighting with a triagle on the shadow cheek is so obviously out of the possibility of 80% of the group, it seems too many people have no clue how to really take advantage of the opportunity to stretch.

If I detect grumpiness, I love to set up in the shadow side with the light in my eyes (I just posted Ted in the forum) and play with light in the shadow. I believe the human head will always be the same head in the light and in the dark, so it is a great, no risk time to explore color in the shade.

Did I say I could go on? I think I will stop now. Sorry.