Edge Control & NO Time Limits!

Nothing strikes more fear into my heart than hearing, "I think we need to try one without the hour time limit…"  Sure I haven't beat the clock once, and yeah, its forced me to make choices faster than I can comfortably handle, but now there is no bell to save me!  How will I keep from overworking it and beating it to death?  How many times will I fix the wrong thing and wind up dragging new strokes over the terrain of the old dry ones like I am petting a cat the wrong way?  When will it end and how can it possibly end well?

Though the first line of his instructions had me panicked, Terry reassures me before signing off, "You may end up noodling and overworking, but let's not worry about that too much this round."  Ok, so thats a given, phew.  But between this promising to be exceptionally hard, and the first rounds of March Madness tipping off, I had more than enough fuel for procrastination.  Somehow I managed to grab the highlighter off of my NCAA bracket (I can't help but print it and grade it the old fashioned way) and review the keys to this assignment:

Edge Control

•Soft edges where the form turns

•Vary the softness depending on how quick the form turns; tighter radius = sharper edge

•Figure out stroke direction of foreshortened shapes (sharp edges are counter to foreshortening illusion)

Aslo Notable

•Paint light area physically on top of shadow

•Shadows should be subordinate to the light, less prominent

•Knock down the intense red of the underpainting w black or blue

And my favorite part

"Focus on creating hierarchy of depth from the tip of the nose to the background by paying more attention to edge control that you have ever done in your life!"

Good one Terry

This was really hard.  I have all kinds of room for growth in edge control.  I literally let this painting dry  several times and had to liquin back into it to continue working.  I am not sure that any of the last few hours really improved the situation either.  I mixed the brown and blue together to knock the red out of the underpainting, but the drawing was still to heavy handed.  A very bad sign when the assignment is edge control.  Isn't that essentially brush control?  Shouldn't the drawing be the easiest place to get that right?  Uhoh.

This time I made sure to keep the Assaro 'planes of the head' model near for reference.  The simplified head is very helpful in translating Sorolla's work, and easier to see than the small image in my book.  In all honesty, I didn't decide I was done because I stepped back and saw at last a superb product, but rather because it felt like I was beating a dead horse.  

Here is the iphone in-progress play by play

Thrown in the towel
Benito 4

Looks like the stroke describing the inside corner of his left eye cuts to far or to sharply into the iris- pretty wonky.  The dark wrinkle extending laterally from his left eye also seems too sharp.  The chin feels too flat, as well as the hair line.  I don't feel the recessed depth of the brow ridge either.  At least his nose feels like its popping out.  I feel like I have a long way to go on edges.  Maybe its time to put the head away for awhile and take out an orange!

Comparison of Benito 3 (from last assignment) & Benito 4

Here's to growth!

Comin' From Behind

"I'll give up the gym and dating!" 

Yep, my dramatic proclamation to Terry at our first meeting was a bit much.

(And then I met a boy!)

Coming from behind in more ways than one, I continue my pursuit of mastering fundamentals whilst simultaneously catching up on my study quota.  Luckily I prefer to act the underdog, the 12th seed over the 5th, rooting for the Bad News Bears.  And in this case climbing out from a significant master study deficit!  After an awesome surprise trip to Vegas with my amazing new boyfriend (Yay!), I have spent this past week recovering from a lack of sleep and checking boxes off my list.  The Golden Bear show came down with no bar casualties, and coincidentally made several happy new Lenefsky collectors.  Now, back to Sorolla heads!

The focus of these was to remember the head is first of all a head and not unlike an egg.  Before getting lost in the eyes or nose, the first goal is to depict the form which rounds both horizontally and vertically.  In the last few studies I was a hot mess.  Mistakes such as tripping over the texture of the paper, picking up way too much paint, pushing the brush too hard, and most costly, not mixing puddles or observing this value structure lead to flea ridden results.

I began the next few studies with a light Liquin coat, a medium to help smooth the flow of paint across the surface.  I also did not move past the drawing until I picked up my palate knife and made a pile each of light and shadow color.  I then attempted to stay focused and mixed all subsequent notes from either puddle in attempt to maintain the value structure.  

1hr Sorolla Study #10

Yep.  This is the third time I have painted this head!

Of my three Benito Perez Galdos efforts, this is the most successful.  I stuck with a bigger brush for a longer period of time and used a little medium in order to make fewer, larger passes.  Having premixed the puddles, this was also much easier to organize!   The light planes under his nose do not seem to compete with the forehead's lightest light as they did previously.  The ears however, are a bit Mr Potato Head-esq, sticking out with out falling back behind the face.  I lost the drawing and failed to define where they meet the side of head.  The nose seems like an umbrella, opening up over the philtrum and not rounding back down under the plane.  Still, finally looking better!

1hr Sorolla Study #11

For this study I referenced my full color Sorolla book and the plate Portrait of Jose Artal.  I'm feeling the volume of his forehead a bit here, but could have paid more attention to the brow ridge.   The light looks like a white box tattoo and doesn't describe the shape.   I am really not loving the nose here either,  as it is not convincingly sculpted.  The light notes in the beard are too light.  The puddles did seem to help with the organization, however I think I spent too much time on the wrong things.  Namely, in trying to describe the eyes in shadow, I reworked them several times to the detriment of the other features.  And in the last moments scrambled to fill in the flesh elsewhere.  

In round two of Jose, I closed the book and referenced a digital black and white image of the same painting along with my first Jose (#11).

1 hr Sorolla Studies #11 and #12

In terms of color I prefer Jose #12 overall, though the left side of his head does not round back into space as well.  Unfortunately, I managed to run out of time before he had a left ear but it seems roughly in at the right depth.  Hmm... can't wait to hear what Terry says!

Toning In!

I can see my high school basketball coach-slash favorite chemistry-teacher running us through the 'U' dance.  A ton of sprints signaled the start of every single practice, but up next was shot progression.   We'd cock our wrists back at 90 degrees and with the same bend of the elbow (forming the 'U') repeat the shot motion sans ball.  What discipline a bunch of high school girls had for such a basic drill!  It must have been our deep respect for the coach, or quite possibly the threat of more sprints, that kept us focused when all we wanted to do was play!

Yep, time for fundamentals.  

   Somehow I managed to glide over this part of my art education and jump right into heads!  In order to paint strong studies, or anything, one needs a distinct separation between the lights and darks.  This means a focus on tone and consistent value by making only subtle variations with in the respective light and dark sides.  For me in other words, not becoming so seduced by a color note that I disregard whether it belongs to the light or shadow.

Experiment #7 

(1 hour Sorolla study)

I thought perhaps using a very simple palate might be the way to go, so for this painting I used only Black (Ivory), White (Titanium), and Brown (Transparent Red Oxide).  My reference selection of a less obvious lighting scenario may not have been the easiest choice for this palate.  This was hard!  But then, they all seem quite hard!

For #8 and #9 I had the benefit of more direction from Terry.  I went back to my standard palate of White, Brown, Red (medium), Yellow (cadmium), and Blue (ultramarine), but varied the reference.  The first of these was done from an image in full color, while the second was done referencing that same image converted to black and white.  In this way I had an opportunity to bring my focus back to the value.  The second painting seems to have been more successful in describing the form of the brow, however most of the head is flat.  I forgot to refer not only to the black and white master painting, but to also use my previous painting to make better decisions.  I think I need another crack at this assignment.  Well, quite a few more cracks.

I am up way past my bedtime on a school night.  Yes!  I am grateful to have the morning off to attend a real Terry class tomorrow.  Off to sleep, wish me luck!

A Major Award, Studies, and a Show

I won something!!  In honor of their Hockney exhibit the DeYoung hosted a Facebook contest.  As the artist had said, "I can't paint people I don't know," submissions were taken for portraits done of one's inner circle.  'Sara', the 11x14 of my amazing friend at the end of my first blog post was accepted and won!  Yay!  I tried to collect my prize, two VIP passes to the show and a catalog.  However, they announced it so close to the show's closing date that the show ended before they could get me the tickets!  They did graciously send me a very nice catalog, so it still feels like winning.  Thank you to all my friends who voted for me!

Sorolla reference for studies 4, 5, and 6!

 #4

#5 and #6

They were done on different days and they sure have distinct styles!   #4 needs the right side of his face defined more clearly, lost to the fleas again.  The last one done yesterday totally looks like a clown.  Must be the red nose and the lighter yellow notes under his lip.  (I am afraid of clowns!)  The oil paper is an absorbent surface and I am having a hard time getting paint to flow.  May use some medium again like I did in the earlier ones.  I really need to focus on the form and value and pay more attention!  #6 is out of control, though I probably wouldn't drag my hypothetical kid out of the birthday party this clown was working.  He has kind eyes.  Seems harmless.

While I was knocking out the first couple of those (#4 and #5) in late January, I got a call from a sweet midtown joint about hanging my art! 

The Golden Bear

You might recognize it from Dinners, Drive-Ins and Dives on the Food Network.  I was stoked but started to panic that there wasn't enough time to create a whole new body of work.  I was especially anxious as I had just jumped into home school with Terry, and knew it would set me back on that front.  Still, I had to say yes and call a time-out on the head studies to switch gears.  I managed to get a few new still life paintings done, barely in drying time, and up at the last minute with the extraordinary help of my friend.  (Sara again!  First she won me a contest and then this!).  It is up through March 7th if you can get by for a drink on the patio or a very awesome brunch!  

Here's a little taste.

Strapless 

8x8" oil on canvas panel

$200

You're Welcome 

6x6" oil on canvas panel

SOLD

 Slipper Kick

9x12" oil on canvas panel

SOLD

One more sample of the dozen!

Dad's Girl

11x14" oil on canvas panel

SOLD

When you have a show at a bar, at least one friend is going to come up with an outstanding idea.  Thank you Amy for the invention of the 'Lenefsky' autograph mustache.  There is always at least one more good reason for a Sharpie in your purse than you are currently privy too.  When you run out of 'SOLD's to write, there are always 'Lenefsky Stache's .

More action to come!

1st Master Studies!

Picked up a music stand at the 5th String and a painting I love by Sorolla.  

The assignment: 

•1 hour on the timer

•gesture study (don't stress about drawing accuracy)

•do not copy, but in my own style

•not faster, but fewer strokes

Sorolla Study #1

One hour goes so fast!  I wish I could fix the highlight on her lower lip, it too big, but the timer is the authority!  This is a really fun assignment, Sorolla has done all the hard work and I just get to show up and play.  

Sorolla #2

Next stop in this book is an amazing selfie.  Yep, ran out of time.  His right eye could have used that upper lid stroked back in across it.  This 'Sorolla Tracking' is fascinating.  You really see so much more in a painting when you paint from it!  I love seeing the decisions he makes.  I think I did do decently on using the biggest brush for the job.  It is really easy for me to be seduced by the fleas!  That is paint the fleas before the dog.  I have lost a lot of dogs to the fleas...

Sorolla #3

Much cooler and grayer skin tones this time, reminds me of the Adam's Family.  Lower lip should extend past the edge of the nose, and that blue highlight is way too cool and too big.  I like the feel of it though!  Managed to keep things fairly simple.

And I'm Out!

And I'm out!  Just like our favorite 'Jerk' Navin R. Johnson tearing open the new phone book to see his name for the first time in print, "I'm somebody now!"  I just decided I'm good enough to go public, finally!  Public with my journey that is, my adventures in art.  While I have really enjoyed connecting with my patients as a dental hygienist, I have been longing to spend more time painting.  Feeling overwhelmed and not sure how to juggle my desires, I wrote to my local hero Terry Miura for help.  "How do I become an artist?  With art school out of the question, will you please give me an assignment, an art workout, a direction?"  And he did!  As I am excitedly noting the assigned studies, he adds, "And I will critique them (yes!),  when you post them to your blog."

He knows I have no blog.  

Until now! 

Where I'm comin' from


My first portraits 2003
12x12 oil on Gesso Board

Cassandra

Toni

Kirty

I had just had a falling out with the University of Redlands art faculty over an issue which seemed irrelevant and obnoxious to me at the time; whether or not Titian's 'Venus of Urbino' was masterbating.  I was embarrassed and upset as the round table of professors took a 'left turn at Albequerque' during my senior project pitch.  I was planning to reference the painting, but replace Venus with a young college guy in a college girl's dorm room; a comedic twist with female perspective.  But the profs lost track of me and instead passionately battled one another over the depth of the models fingers and whether her wrist was moving…

'Venus of Urbino"

When the newest faculty member finally remembered I was still there, he turned towards me, "Do you think you could get a guy to pose like that (masterbating)?"  "Whaaaaat!?"  I gasped.  "Then I guess you really aren't interested in the feminist critique!" the printmaking lady scolded.  

I lost it.  I marched out, pulled my car up into the studio, squeezed a cheap A frame easel through the ski hole in my honda, tossed my favorite beat up stool into the back seat and left.  

Once I no longer cared about trying to impress, or about graduating with honors, I realized I just wanted to paint portraits.  I 'paint-hiled' my roommate in order to pull all-nighters, and from photographic reference I painstakingly blended every brush stroke until it vanished.  It was a lot of work!  The thick gesso texture which I had, through negligence, managed to make in the likeness of a wooden fence, also proved a challenge.  (But it looked cool to me!)

Painting from photographs was the way we had learned in intro to oil, so I just had at it.  My friends made great models!  This experience with the art department helped me solidify my plan to become a dental hygienist. (I figured once I was financially independent - I'd be able to figure the painting thing out), so off I went to the University of Colorado.  

2004
contest entry

 24x36" oil on canvas

While in dental hygiene school I heard an author I admired was hosting a cover art contest for his new book.  During treatment in Special Care Clinic I saw the most amazing model!  The dental student squeezed in a photo shoot with me one morning on campus before class, and then I stuck to what I knew.  I gridded the canvas in vine charcoal and drew to scale, then blended away night and day until the deadline.

Good news is this painting is still available :)

Sacramento, California!
Where my art education really begins.

I hadn't painted in years when I stumbled into S-12 Studio.  This talented and very cool group of local artists was painting from life!  What a different experience.  It is such a fun energy and way of connecting, while at the same time the clock ticks down layering in a sense of urgency.  It's like a game, where staying present and relishing the process just happen to produce a favorable result.  These life sketches are about making every stroke count and seeing only the notes that matters most.

2009 

11x14" three hour life study

Casey

One of my first favorites from Debbie Gualco's portrait class.

2010 

12x16" three hour life session at S-12 Studio

Past My Bedtime

2012

11x14" portrait commission from life

Fred

What a great guy!  This was my first commission to paint a portrait from life.  He was a wonderful sitter and very fun to talk to.  His wife was so pleased they took me out to dinner!  I loved every minute of it.

11x14" three hour life sketch

Kara

(Kara detail- these strokes are what its all about!)

2013

11x14" three hour life sketch

Sara

One last favorite!  I love how this came out.  I think I was able to use fewer more deliberate strokes, and Sara did an amazing job holding her expression.

Now, to get back to my Terry Homework.