And another...with one color added!

Jimmie Arroyo · 10-19-2004, 10:26 PM

Thanks Kim, Pat, Michele, Sharon.

Quote:

Now all you have to do is add yellow ochre and you'll have the entire range of pigments that Rubens used for all his flesh tones

The teacher suggested the ochre, so I had planned on using it next week, thanks. Now Rubens painted some nice women.

Sharon, I did'nt even notice just how long the neck was. Must have been so preoccupied with the face, that I ignored everything else. After you mentioned it, I looked back at the original and thought, "It looks like those women that wear the rings around their neck." Ha.

Thanks again.

Michele Rushworth · 10-19-2004, 10:39 PM

Quote:

Now Rubens painted some nice women.

Yes, you and he both like them to be "Rubenesque"!

This link ought to keep you busy if you want to study his use of color. http://gallery.euroweb.hu/html/r/rubens/

Marvin Mattelson · 10-19-2004, 11:03 PM

You're doing better than you think. Building up the painting in layers is definitely the way to go. On the first session don't worry too much about the color. Try to get the drawing as accurate as possible. It will help you later on since the rightness of smaller shapes is contingent on correct larger shapes. As the painting progresses you can get smaller and smaller in your focus. Good luck.

Jimmie Arroyo · 10-20-2004, 08:42 PM

Michele, thank you for the link!

Marvin, thanks for the advice. I'll take it easy as long as I know it'll be a multiple sitting. This girl sat for three sessions, and the class is well structured, so there's no wasting time. I think the teacher expects great things from me and has a tendency to try to rush me.

I'll do a weekly post so you guys can see if I'm heading in a good direction or just blowing it.

Sharon Knettell · 10-20-2004, 10:07 PM

Jimmie,

We all expect great things from you!

One thing that I have noticed about myself, that when I paint from life is I have a tendency to rush. It is really better to SLOW down, almost to slow motion and consider every line you are putting down.

We sometimes assume speed is a important in producing drawings and paintings that look effortless, when often it is really careful and conscious deliberation, one aware stroke at a time.

Elizabeth Schott · 10-20-2004, 10:19 PM

Hey do I know you?

Great job Jimmie, I bet all the ladies are standing by your easel and the talking is reduced. You are doing wonderful!

It is also great news about David Kassan helping you get into the "exclusive" drawing club, you should be there! You'll need to tell everyone the name, unless I brought this up to early... I just want to brag on you!

Jimmie Arroyo · 10-20-2004, 10:21 PM

Very true. I let my daughter do some drawing on my latest piece. I showed her how to hold the pencil, and guiding her, showed her how I apply my lines. She did it exactly the way I do it, making a line, lifting the pencil, then making the following lines next to the previous ones. I could see it in her eyes that she was concentrating on each line, making sure it fell next to the other one. It was interesting.

Quote:

We all expect great things from you!

Ugghh, I'm already starting to sweat and the next class is five days away!!!

Jimmie Arroyo · 10-20-2004, 10:36 PM

Hey Beth, you snuck in on me.

There are no women in the class, just the model. The other guys are pretty old, they listen to music from the 30's-50's. One guy asked me while a particular song was on, "Does'nt that just take you back?" I answered "I'm 34, I only go as far as the 70"s."

I guess it is early, especially if I don't get in. It's the Salgamundi Club. Sharon informed me about them, then later found out David was a member. He said he'd put in a good word for me, but I only sent drawings so hopefully the lack of color doesn't mess my chances.

And no, you don't know me. You have me confused with my doppelganger.