One in a series

[Julie Deane]

Thanks, Patty.

I'm trying to learn not to be so nervous working in front of a model and other people, improving my drawing and painting skills, and seeing skin colors and color transitions better. This is one on the way to those goals.

[Linda Brandon]

Very nice job on this one, Julie! I admire your successful foreshortening, among other things. Did you use a limited palette, and if you did, do you feel it helped you with color and value relationships working in such a limited time period?

[Alexandra Tyng]

Julie,

Wow, I'm so impressed with what you achieved in three hours! Beautiful colors in the skin, lovely highlights, and a wonderful expression on her face. I'd love to paint her, too. This is a great idea. The artists around here have been talking about doing something like this for years, and this has inspired me to get moving on it.

[David Draime]

Julie,

Very well done. There are some lovely passages throughout.

David

[Julie Deane]

Thanks, Linda -

I used Marvin Mattelson's palette, which I already had laid out and waiting. Since I was basically dealing with four strings of colors, already in their value sets, less time was needed to make color/value decisions.

Alexandra -

I gave up on finding an open studio in my area and I hate commuting long distances, so decided to create my own. I recommend it! It's not hard to hire college students, although the first time I wanted to advertise at the local women's college, the lady in charge checked me out thoroughly. I always let prospective models know that they are not required to pose nude! So far, there is one other regular artist who attends, and every now and then a few others drift in. To me, it's worth the money, even if no-one else shows up to help defray costs.

[Julie Deane]

Thanks, David.