Carissa

[Linda Brandon]

I love this, Jimmie. The mood and the color harmony are terrific.

I just looked at the size, that is one big pastel painting! How did you like working this big? I would really like to see this in person.

[Mary Sparrow]

Stunning as usual Jimmie!

[Jimmie Arroyo]

Thanks very much everyone, I really enjoyed myself this time. The suffering through this was completely different. Mostly involving bad lighting and planning.

I started by taking pictures in the model's home which had some outside light even though we tried our best covering it with the curtains. I used one main source of light on a stand from the left. The drawing and basic colors were laid down on paper using the Lumichrome lighting which is in the attic.

She came over to my house for a two hour sitting, strictly to work on flesh. I couldn't get the same lighting as the photo shoot, may be the space in the room, but it was close enough. Over my easel was a "color-corrective" light on a lamp, much darker than I was used to. No lighting over the pastels. During breaks, I stepped outside to check on the colors. After our session, went back upstairs and realized I needed to adjust the colors, badly.

Pressed for time, I had to take the painting and pastels with me to Virginia during vacation. The room lighting was poor enough, but got worse when I had to paint next to a table lamp with a basic 40W bulb at 4am. At least the lighting in the hallway was brighter, so I could step out there once in a while to see how I was doing.

Oops, gotta go, will finsh my thoughts later. Thanks again.

[Patricia Joyce]

Beautiful, Jimmie. It almost has a melodic feel to it, if that makes any sense. Can we see closeups when you have the time? I admire your tenacity. I get so frustrated in poor light...

Congratulations on another really beautifully rendered work of art.

[Kimberly Dow]

Jimmie,

Another gorgeous one. Congratulations! It is both sensuous and elegant. Glad to hear you didn't suffer over the color this time!

[Jimmie Arroyo]

I especially like the asymmetry and diagonal of the figure with the symmetrical background

Thank you, because as simple as it is, it took a lot of thinking, planning and several sketches. I've never been one for creating backgrounds, but I'm kinda pleased with this one.

It's amazing you can get this accomplished on vacation

I've never taken a vacation where I didn't work. I hate the feeling of thinking that I'm wasting time.

You could paint or draw in a cave with no light and it would come out beautifully.

Maybe I'll try that next,

Did you do the background from an actual wall, or is it your own invention

I actually found inspiration during vacation. The patterns were variations of fabrics that were in the room, I just knew I wanted to use those colors. Figuring out which direction the vines would come from took some trial and error. The faded vines behind the more prominent ones was a "last minute" decision after the painting had been signed and considered done.

I just looked at the size, that is one big pastel painting! How did you like working this big? I would really like to see this in person.

Really?, I didn't think it was that big, it's the biggest one I've done, but I'd like to go bigger with the pastels, sorta "Sharonesque". I need to call her and get some advice. I enjoy working bigger, just takes so long to cover the area with small pieces of pastel.

I'm going to enter it in the Allied Artists show this year, so if it gets accepted and you're back in NYC? It was the same time you were in the area last year, which is why I bring it up. Or you could just buy it? I'll give you a great deal!!!

Can we see closeups when you have the time? I admire your tenacity. I get so frustrated in poor light

I'll try to do that within the next few days. I get frustrated with bad lighting, tight spaces, no heat in the winter, no money for models, but.....hmm, I forgot what my point was.

Thanks again everyone.

[Elizabeth Schott]

Jimmie, I was wondering where you have been hiding.

I especially love how successfully you rendered (lack of a better word) this dark fabric, I can feel the texture!

Get a metal brief case for your pastels, it works great, especially if you save the foam inserts that come with the sticks and put those inside.

I'll be in your neck of the woods Saturday on my way to Ireland, it would be great to see you!

Beth

[Geary Wootten]

Jimmie,

Man! I hardly ever get a chance to get online over here anymore and when I do.....BAM! there you are with another superb rendering. How on earth do you get such lushish tones. Absolutely stunning!

~Geary

[Jimmie Arroyo]

Thanks for the new replies. Kim, I'm sorry, I missed you. I had the reply page open for a few hours and you snuck in there.

Glad to hear you didn't suffer over the color this time!

I'm surprised it came as easy as it did. Even when I had to recolor because of the poor lighting, it was'nt so bad.

Get a metal brief case for your pastels, it works great, especially if you save the foam inserts that come with the sticks and put those inside.

Is there a particular case you recommend that will hold a ton-o-color. I'm ok with the Giraults as I keep them in a nice wooden box, but the Unisons are in six separate boxes. I keep my Rembrandts in a cheap three drawer box. I did'nt take the Nupastels or Polychromos with me, and I still have some 75-80 Doaks laying around.

How on earth do you get such lushish tones

I'm still trying to figure that out myself.

Thanks again.

[Elizabeth Schott]

Jimmie here are a few shots of my case. I honestly can't remember what it would have been called, either an attache or lap top case. But it is a metal which is sturdy and not too heavy. It is also nicely padded.

Mercedes and Moe wanted to say hello too!