This is James

Debra Jones · 04-23-2003, 02:19 AM

I brought a rust colored board into the open studio and was greeted by this marvelous viking. He was very intense with the only visible color deep blue eyes.
I saw the texture and energy of a Van Gogh self portrait (but with the ear of course.)
20x16 Pastel. 3 hours

Sharon Knettell · 04-23-2003, 08:14 AM

Debra,

What a powerful,intense portrait! The color transitions are beautifully handled in the face.

Sincerely,

Mari DeRuntz · 04-23-2003, 10:19 AM

Penetrating!

Great textures, too. And more praise: I love how you control bold, broad "brushwork" (pastels are paintings, after all) and more delicate transitions.

This tops Pirate Ted.

How large of a selection of pastels do you drag to open studio?

Michele Rushworth · 04-23-2003, 09:11 PM

Wow, what drama and power! I particularly like the intense cool reflected light in the shadows.

Chris Saper · 04-23-2003, 09:45 PM

Hi Debra,

Beautiful color and wonderful texture - lovely job!

Linda Brandon · 04-23-2003, 10:16 PM

Dear Debra,

Very nice job on this, and I like the background color, too. I always like the way you capture facial expression, and this one is no exception.

Best wishes,
Linda

Debra Jones · 04-23-2003, 11:41 PM

You are all overwhelming! I did laugh at Mari's comment!

The bulk of my luggage is a large canvas bag with two boxes of 48 Terry Ludwig pastels. They are a set predominatly of darks and another of midrange skin tones. I met him online and he has mentored me in the joy of SOFT pastel. I have a prize set of 10 caput mortuum grey we mixed together in his studio in Denver. Additionly I carry the box of prize scraps from a 30 year old set of Grumbachers... YES, GRUMBACHER pastels. Some of the colors are so dear to me I don't even use them, just carry them around to try to match them!
And a wooden two drawer tray of hard pastels - or should I say hard pastel crumbs. Nupastel, Holbein, Cretacolor. I love them on paper but this new suede board obsession of mine leaves me only needing a few for blending.

I look like a three ring circus, but I really don't use many colors. Just over-cautious.

Valerie Gudorf · 04-24-2003, 08:54 PM

Debra,

This is indeed an intense portrait. Your bold use of color and the subject's direct and resolute gaze (almost challenging), makes it read as such. I am amazed that you were able to achieve this in a three hour session. How long have you been doing open studio work? Is yours a large group?

What is it that you love about Terry Ludwig pastels? Is it the texture and consistency? The unusual pallete? Ten different Caput Mortums is an amazing range.

I just purchased some Holbein pastels, my first of that kind. I was impressed with their consistency. They're much softer than Nupastels, soft yet firm. I keep hearing great things about Grumbacher Pastels. They are still available, I hear. The single largest set has 48 pieces. However, if you buy the other available sets, you'll end up with something like 72 different colors. I understand that Grumbacher once offered a much wider range.

Great portrait. Bravo!

Debra Jones · 04-25-2003, 01:33 AM

I started in the open studios in Scottsdale Artist's School nearly 5 years ago. It was the bargain of all times: $24 for 4 three hour sessions, you buy tickets. They offered life drawing long pose, short pose and portrait. From 5 to 35 people will attend depending on the workshop schedule and model. The schedule floats around depending on the season and demand but I have found it better than therapy.

My approach from the beginning was to make the best of what I saw. After many late setups, and blinding lights in the eyes, I never moved my easel or whined about the pose. If the model moved a lot, I learned NOT to chase her but to choose and observe a pose, second guess sinking and pick the best parts.

I spend a lot of time staring. I learned to pace myself in the 20 minute segments and limit my sketching so I could proceed to the painting. I practice a lot of different alla prima techniques, from rubbing out a toned canvas for a value underpainting to palette knife. It is a meditation.

All the patience I put into the process has made it a joke, at the end of the session with everyone struggling, someone is BOUND to come over and say, "You are the lucky one with the best pose." I just smile.

Terry Ludwig makes the softest pastel I have ever used. I tried a Diane Townsend, ONE, and it crumbled so fast it could never be re-used. It may be an Arizona thing, but a lot of really soft buttery sticks tend to self destruct. Mr. Ludwig has no real magic. All the ingredients are avaliable to anyone and he used to give workshops in making pastels, but I am not one with that kind of patience.

I have only seen a tiny box of Grumbacher for sale in the last few years, and they are nothing like my old ones. The shape of the original stick was longish with a wide and narrow dimension. Terry Ludwigs are about 2 inches by 1/2 by 1/2 inch and the bulk may be what keeps them intact.

My little Caput experiment was a favor. He simply methodically mixes standard amounts and proportions of colors and we agreed an Ultramarine with Iron Oxide (... oops, terra something... not rosa?) made the grayed violet we needed and we just added white.

I must say I am sort of his pusher. It is an addiction!