Tony Ryder portrait painting workshop

Michele Rushworth · 12-10-2003, 01:37 AM

I just finished day two of a ten-day workshop in Seattle taught by Tony Ryder. He's a terrific teacher (thorough, gentle and very, very knowledgeable.)

I spent these first two days doing what he calls the "poster study," which is a tiny, greatly simplified five-inch color study of the model from life.

I found this exercise to be so valuable that I think I will start doing several of these studies before every new painting I create (as Tony does with his own work). Tony's eye for color is so precise that a little of his skill is starting to rub off on us students.

Tomorrow we start the drawing on the canvas that we will paint on for the rest of the two week class. We'll work from the same model for 50 painting hours.

You can see examples of Tony Ryder's paintings and very thorough step-by-step photographs of what he teaches in class on his website: http://tonyryder.com

As I have time and energy after class, I'll post updates.

Patricia Joyce · 12-10-2003, 11:07 AM

Thank you Michele for taking some of your precious time to share your Ryder workshop with us. Those of us who have plans underway to study with Tony are particularly interested in what you are willing to share with us.

I hope this week and next goes well for you! Enjoy, enjoy!

Michele Rushworth · 12-10-2003, 11:31 AM

One thing that's been particularly interesting to me (and maybe to others who took Bill Whitaker's workshop in May) is Tony's radically different approach to light when painting.

In Bill's workshop we used only natural north light from small high windows. In Tony's class all the window light is blocked out. The overhead room lights are off and we use only incandescent light.

We're using standard household bulbs in fixtures on flexible necks. The lights are surrounded by cylindrical hoods made of aluminum foil, used to more narrowly focus the light. These lights are attached to the top of each easel to shine directly on each student's canvas. Another incandescent light is on an 8-foot stand shining on the model. Tony feels that it is important to use the same type of light on the model as you use on the easel.

Jeff Fuchs · 12-10-2003, 01:18 PM

Marvin,

If and when I begin painting, I will begin with a limited palette, like the one that the WetCanvas guys are using in their Limited Palette Project (they are using a palette that they say Zorn often used). I'll move on to a broader palette after I learn with a limited one. Baby steps!

So I'm curious to know if your lighting setup would be as important when using a limited palette. When using a full palette, and attempting to match colors exactly, I can see where the color of light is critical. While drawing, light color isn't a factor (As far as I can tell), because I'm not using color. Can I assume that light color is less important when painting with few colors?

Michelle,

Keep us posted about the workshop. I'm very interested. I'm reading Tony's book for the second time, and I'm starting to think it wouldn't hurt to re-read my other art books as well.

Please tell Tony for me that I think that some of the looser drawings from his book are as masterly as his tightly rendered ones, and I feel he should add them to his website. The website has only tightly rendered works.

Good luck with the workshop.

Pat,

I'm impressed that you are getting to go to various workshops. I can't get away from work for extended periods, so I have to depend on books and videos. Be sure to share your experiences as you go.

Jeff

Marvin Mattelson · 12-10-2003, 09:00 PM

Perhaps Michelle could ask Mr. Ryder if he uses this lighting in the production of his own work. Perhaps he does, but I would tend to doubt it. I would surmise that he uses this type of lighting in his workshops for the sake of simplicity and convenience. If he were interested, I might be able to recommend a better type of bulb in terms of CRI.

Chris Saper · 12-10-2003, 09:27 PM

Dear Thread participants,

I attempted to split off from the discussion about Michele's experience at the workshop the various posts relating to whether or not to use the same light on the model as on the canvas. With apologies to all, several posts were lost in the move, and I would invite those interested, especially Tim, Marvin, and Jeff, to begin a new discussion in the 'Portraits from Life' Section, "Posing and Lighting the Model".

The topic is of great interest and there are many schools of thought on it.

Michele Rushworth · 12-13-2003, 01:27 AM

Okay, we

Michele Rushworth · 12-13-2003, 10:08 PM

Here's Tony's set up during his demos. There are several things to notice here:

- Over 40 colors on the palette!
- The palette is propped up so it gets the same light as the canvas.
- Notice the small color study (the "poster study") over to the left.
- The canvas on the easel shows the "wash-in" in progress.

Michele Rushworth · 12-13-2003, 10:11 PM

Here's my initial drawing. We draw with vine charcoal and when it's finished we "ink it in" with a thin paint line. Once that dries we wipe off all the charcoal with a chamois. That way there's no charcoal in the paint layers or any fixative.

Michele Rushworth · 12-13-2003, 10:13 PM

Next comes the wash-in...