Banks workshop morning

Mari DeRuntz · 12-09-2002, 07:53 PM

During the Sarasota Allan Banks workshop, several things clicked for me. First off, returning home, I looked at all old work and feel it should be run through the shredder. I think this is a very important point of awareness for a pt pro, serious amateur, whatever label you choose for this "no-man's-land" stage of development.

During the three day workshop, we painted from two different models, one in the morning and one after the lunch break. I did really like this format for a couple of reasons: first off, your eyes are blown out after focusing on one model for three hours. The lunch break, combined with a different perspective and a different model to look at really allows you to continue with fresh eyes. It allows you to see again. Secondly, it feels like you've accomplished something: at the end of three days, you have two studies.

First post is the morning model, painter Holly Hope Banks, who is in fact represented on this site. I will go back into this painting because of her luscious fleshtones; I couldn't nail them given all the other things I was focused on.

Mari DeRuntz · 12-12-2002, 09:39 PM

Went back into this one and corrected some of the coloring and drawing errors back at my studio, after the workshop was over, and aimed for a simple, 3-value composition. There are still a couple of spots on the face where values need to be corrected.

Specifically, I'll ask Peggy because she was there

, should I push the area between the cheekbone and the jawbone to a middle value? Of course other opinions are very welcome.

Size is 20" x 24", which seems a little large for a workshop portrait.

Peggy Baumgaertner · 12-12-2002, 11:39 PM

Quote:

should I push the area between the cheekbone and the jawbone to a middle value?

No, I wouldn't. The shadow under the chin is a middle value, but the transitional edge turning up to her cheek bone is a light value. If you massed it with the middle value shadow, it would change the shape of her face, making it less round. I wish I had a way to capture this image,...you all seem to have no problem with this...

Mari, I would like to have you take this image and push it to black and white. The painting has to work as a black and white portrait. This is also the easiest way to see if your values are correct.

Peggy

Mari DeRuntz · 12-12-2002, 11:45 PM

Here's a grayscale version

Peggy Baumgaertner · 12-13-2002, 12:09 AM

The head and background are solid. I do see a little value jumping in the lower part of the sweater. I think the values overall are very indicative of the ambient light only, light saturated environment we were painting in. Good job!

Peggy

Jeanine Jackson · 12-14-2002, 12:04 AM

This is a beautiful and sensitive portrait.

I wonder if a darker background would bring the figure forward. It is especially evident in the B&W that the values are quite close throughout.

The transitions in the face are brilliant!

Jean Kelly · 12-14-2002, 07:28 PM

This is really striking. This workshop must be excellent if the quality of your work is any indicator. You'r leaping ahead.

Jean

Marvin Mattelson · 12-15-2002, 01:22 AM

Mari,

I think this work demonstrates a great movement forward in your artistic development.

I think that it is better to leave a life painting intact and not rework it when you bring it back to your studio. You might alter an observation that you improperly stated and deny yourself any future opportunity to refer back to it.

I think this is particularly true if the work has been done during a workshop or under the guidance of a teacher you consider to be well informed.

At any rate, congratulations.