Sight size study for Valentina

[Deladier Almeida]

Inspired by Carl Samson's accomplished demo in San Francisco this past weekend (7/19), I made this study.

I placed the canvas close to the model and positioned myself about 8 feet from them. From that point I mixed the colors and made my decisions. Then I would walk to the canvas and place the mark without looking at the model (I looked at the model from the canvas when painting the fine features of the face).

I had heard that Sargent painted like that. It was an intimidating though until I saw it done. It took 6.5 hours and it was easier than I anticipated.

Thank you, Carl.

18" x 24" oil on canvas board.

[Deladier Almeida]

Close-up

[Jeff Fuchs]

Excellent work, Deladier. But I'm not sure I understand the process of standing eight feet away, and not looking while painting. I always pictured sight size work being done while standing at the easel.

Can you expand on this process?

[Deladier Almeida]

Hi, Jeff.

Carl Samson's head study this weekend serves well to describe the process. He wanted to paint the head at its actual size so he placed the canvas right next to it at about the middle of the head's depth. He had his palette at about 8 feet from that arrangement and from that point he would look at the canvas and the subject side by side. He then would approach the canvas, make a mark and walk back to the palette.

In my case I wanted the composition fit my 18" x 24" canvas, so I positioned the canvas at a point where, from a distance, I could see the model fit the canvas size. You need to look at it from afar to see the drawing clearly. Therein lies the tricky beauty of this deal. The sitter's mother got pictures of me painting. If I get one I'll post it.

Incidentally, I recently saw a thread in this forum dealing with the sight size method. I didn't read it in its entirety but I will.

[Deladier Almeida]

Here is a moment in the painting. At this point I am standing a little closer to the canvas, working with a # 6 bright with a 30" handle.

[Elizabeth Schott]

Deladier and Jeff, this is what Bill Whitaker would refer to as the "dance" in his Arizona workshop.

It is also said that Sargent would walk miles everyday painting this way. It's really a great way to work.

[Steven Sweeney]

Jeff, the visual dynamic that

[Tammy Nielsen]

Thanks Steven for your clear explanation with illustrations. Tammy

[Peter Jochems]

Deladier,

I was interested in the kind of lighting that you use in your studio, is it something like a soft-box in photography ?

Greetings,
Peter

[Michele Rushworth]

Thanks, Deladier for posting this most illuminating thread and photo. I'll try this out with a new still life I just set up in my studio.

By the way, that's a very impressive collection of shiny new brushes you have in the foreground!