Qiang Huang Workshop- Ann Arbor

In preparation for his upcoming workshop in Austin, Tx, I remembered some photos from one of his previous workshops.

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Here is his palette consisting of: naples yellow, yellow ochre, cad light, cad orange,alizarin crimson, cad red, transparent oxide red,ultramarine blue, cobalt blue, phtalo blue, perm green light.

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This is the first still life set up.

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He uses five steps in this painting: placement, value, color, modeling and consolidation. Below is an example of the value stage or underpainting with transparent oxide red mixed with ultramarine blue.  His underpaintings were pretty without the color added.

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Here is the completed still life painting. Gorgeous!

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At his next workshop I will try to capture his complete process.  Looking forward to it!!

 

Little Green Pear

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I enjoyed the online class “Pearology” with artist Martha Lever.  This is a fun class working in watercolors using the glazing method.  Starting out with very light washes of light yellow pigments and gradually layering in a bit of quinacrodone gold. Here is a link  for the workshop Pearology Class.

 

 

 

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Judith Carducci Portrait Workshop

This fall I had the pleasure of attending a  portrait drawing workshop with Judith Carducci in Ann Arbor, Michigan.  The workshop was an intense 5 day drawing excursion using mostly charcoal and few colors. Judith believes that as artists we get to enarmored with color before our basics have been mastered.

 

Here she is at work on the first day with the model

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An example of her portrait work.

Here is one of her demos using a male model. For this demo the class asked for you guessed it –more color.!!  But this seems to come very natural  to her. Even here, she used no more than 8 colors.

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The finished version.

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These are my drawings

 

 

I could see a marked improvement in my drawing over the week.   The reason she uses  five days is because she feels that in the beginning you are slower, by the third day you start to get your aha!! moment.   Judith stresses “follow the shadow pattern” in order to get a good likeness.  I know this is a lot different from the more constructionist methods of drawing portraits, but it is important to keep the light and shade pattern in mind in reproducing form. The reason she uses is five days is because she feels that in the beginning you are slower, by the third day you start to get your aha!! moment.  She offers a separate pastel/color class and a Master class which ties everything together. I know I would love to attend another session.

The Lorikeets

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I recently had the pleasure of studying oil painting with Dreama Tolle Perry at the Renaissance Gallery.  I really love her bold strokes of color and the visual interest of her paintings. On the last day of the seminar we painting freely from photo references.Lorikeets 28×8 oil on Gessoboard