New Model

[Debra Jones]

I have a new studio that I have been doing pretty nice thing in lately. The only problem was on Wednesday, the model was so late I gave up. The rematch was this afternoon. Another model was quite late, so we all set up according to the light, and I goofed on the pose!

But it was refreshing and I am getting more and more comfortable with natural light.

[Cindy Procious]

Having recently just started painting live models myself, I can now fully appreciate just how good you are at this, DJ. Your colors are always so lively, and your brush strokes so expressive and economical.

It's very difficult to not make mud when you have a limited time!

I wish I could be a fly on the wall to watch how you approach color mixing (and painting, of course) during open studio.

[Debra Jones]

Cindy, your post is the best thing to wake up to in the morning since sunrise!!! Thank you!

I think that years and years of this have given me a bit of a formula, or procedure., more like a plan of attack. The odd thing is that I find I have a three hour attention span. Most of the really amazing stuff I have done in this studio has been because they give us that one more hour. Jumping to four, I have found lots of time for subtleties.

Normally I tone the surface with a really quick rub of a red brown. This used a pinker color, whose name eludes me right now, but it was a really different start for me. Occasionally I work directly but I find the values are usually too bright when I jump in direct. Then I spend the first 20 minutes drawing the features first with a medium filbert, then laying in my values using a darker version of the same color. Normally Burnt Sienna. I also rub back with a turpenoid dampened rag. Lets me block in my values and draw very easily for the dimensions. Avoiding soup is the hardest part. Basically painting like charcoal.

Then mass tones. I like to start adding color fast and with a big brush around the edges. Putting in background values in color helps the rest of the painting get down fast. I do a lot of adjusting but a big brush and painting through the first break gives me time without the model to do the boring stuff.

My skin tones are usually mixed INTO white. I have permalba in the studio and almost use it like a medium, rather than a color. I make a puddle of a mother color in the mid value range, and lay out around its edges a bit more pink, a bit more red and a bit more yellow. I will mix in brown as needed for dark, or the amazing gray of ivory black + alizarin + white. I don't make a set palette because there are a lot of unnecessary color I would mix and never use.

Then it is the big brush theory. I work with the biggest brush, flat preferred, and begin very thinly in the biggest areas I can. Arms toward chest, etc. When I can't fit the brush in, I mix up my medium (Marogers) into the paint and begin working more full bodied using a smaller and smaller brush. Getting that mother color puddle started, it is much easier to work around the features in my well-known "-ER" method. I pick a true color and paint warm-er, cool-er, light-er or dark-er. Sounds a bit simple or odd, but whenever I analyse it, that is all I can come up with.

So, trust me, the flies out here would give you competition during the monsoon season. This is the whole secret to my success, if in fact I have any, and I am so flattered that you are interested.
Your Pal,
dj*

[David Carroll]

Nice job Debra, I painted there a coulpe weeks ago, and was very excited about the group. Saturday's he reserves spots for his reg's and the position I finaly ended up in led me to just pack-up and go to the SAS. I may try again tomorrow but I've lost my enthusiasm for the studio. I look forward to seeing more of your fine work.

Peace,

[Terri Ficenec]

Really nice work! --I agree about the freshness of your color and was really interested to hear how you worked since I am also guilty of sometimes making 'mud' in life sessions!

Thanks for sharing!

[Debra Jones]

I have often thought of putting together a workshop called "Surviving Open Studio". I went two to three times a week for a few years when I was working a job... in other words, had the money.... at the Scottsdale Artists School for practice. After a couple of years, I started making my own lessons. My number one rule was to always make the BEST picture I could from wherever I set up. That helped me be aware of composition whether I wanted to or not. LOTS of them are not good, but very often I have the WORST spot, where nobody wants to sit, light in my eyes, all back...horrors... and someone will walk around and say "YOU got the good spot".

I came up with my attack based on the structure of their times and methods. My strangest suggestion is to put into your head what you want to accomplish before you pack your paints. I have found that more color impact is usually achieved by bringing fewer tubes and understanding them better. And the willingness to make a lot of mud before the jewels.

No matter how bad the results, keep coming back.

dj*

[Cindy Procious]

All great stuff, DJ. Thanks so much!

[Julie Deane]

Having recently made mud, Debra, I really appreciate seeing this jewel. Thanks for sharing it and your methods with us!

[Allan Rahbek]

Originally Posted by Debra Jones

I have found that more color impact is usually achieved by bringing fewer tubes and understanding them better.

dj*

Debra,
I agree, getting the most out of a few options is bound to be strong.
One or two dominating colors are more than enough.

You just demonstrated how to do it

[Mike Dodson]

I like your "economy of means" style. I am also inspired by your determination. Keep it up.