Fellow Artist, Lillianne Bowersock

Lillianne

I was going to write on a different subject this week, but something I think you will find interesting has come up.

My friend and fellow Renaissance Artist, Lillianne Bowersock took a trip to London this week. Now I was a little peeved at her for deserting me during the building up for the 10th annual national miniature exhibition. 2 weeks before the show, when she and her husband, Bruce (also an artist) were to hang the show, she comes in with a ticket to London!

Now, to be fair, Lillianne has not seen the grandchildren in London for at least 3 years. And the ticket was a gift from her daughter-in-law, so I guess I should not be too put out.

Actually, we were all excited and happy for her. But hey, I am not going to loose the chance to grouse!



Back to the story, Lillanne was of course really excited! She came into the meeting for The Renaissance Art Gallery all bubbling and waving the ticket around etc. Of course, she apologized for going at this time, but hey, family counts.



Lillianne has sleep apnea, and must use a breathing device to sleep. And she had to make special arrangements with the air lines to use this device on the over night flight.

But hey, let me let her seat mate tell the story!

720-saturdays-and-a-silver dollar

Size Matters, Working in Miniature

Size Matters



Monarch, Colored Pencil
S. Tschantz

 




Art schools tend to emphasize painting large. Large is good. Large is important. Large is impressive. For those of us who are self-taught, the tendency is for sizes we are comfortable and familiar, ea. we tend towards sizes that photos come in, 8x10, 5x7 etc. Or whatever is on sale at the local craft store.

But choosing the size is also a part of composition. So go small!

Small works can be surprisingly intimidating.



How Do I Paint So Small?



Once you try a couple, you find it really isn’t that hard. With the correct tools and lighting it can be very relaxing. After the stress of painting large, there is a certain freedom in going small.



4x6 seems to be the most popular size, both with artists and with collectors. This seems to be small enough to be intriguing, and still allows the viewer to interact with the scene. Another plus-it is a standard size and relatively easy and inexpensive to frame.

The Photographer - graphite
S. Tschantz

Second Figure Drawing Class

3 poses-gesture drawing



This week I was able to attend the figure drawing class again. Last Saturday was the 2nd session, but it was my turn to “sit” the gallery, so I had to man the desk in the main gallery room while the class was held in the exhibition hall.

It was lonely. And I kept thinking, “I want to draw-I want to draw!” Yes, I had people come into the gallery to see art, and talk etc. But I wanted to draw!

But someone has to run the gallery!

This week it was Gary L’s turn. I got to draw!






Class started with 5 quick gesture poses, each lasting only one minute. You have to be quick to capture the essence of the pose. Details are not possible. This really helps you focus on what defines the pose, and the form.





For gesture poses I like to use conte’. It is expressive, and although it does smear, it is not as loose as charcoal, but more gestural than pencil. I also like the lighter burnt sienna tones.







Before class I had toned several sheets of drawing paper with charcoal. I thought I would try “sketching” with my charcoal erasers. I have two black erasers designed for charcoal. One is rectangular, and one has an odd triangular shape. These are used to remove some of the toned charcoal, subtracting to reveal the white of the paper. In practice, depending on the pressure and face of the eraser you use, it is possible to get a gradation of value from the toned paper. That along with some really soft vine charcoal makes for a different approach to drawing.



Toned Paper Charcoal Sketch



What Class Is Like

Figure drawing class can have some really intense moments, when you are concentrating on capturing the gesture, or struggling with foreshortening, but mostly, it is a relaxed fun studio experience. We all know each other, including our models. While during a pose the class can be remarkably quiet, between poses, conversation is rather mundane. We talk about our families, the work week, etc.






Model's View



This week I handed my camera to our model so she could take pictures of people drawing her. I thought these would be a different point of view of class!

Snacking



We all bring things to drink and share these. The gallery has a small refrigerator, so we always have at least cold water. We need this figure drawing can be thirsty work! This week we all brought stuff to snack on. This is fairly normal. Although not required, someone usually brings something. Cookies, candy, fruit, nuts, at some point it will show up.





We tend to be rather adventuresome in our snacks. I think that is because we are a fairly well traveled bunch. Gary T and Dave have both lived in China in the 90’s. Lynn, our model once lived and worked in Nepal. While I hail from the Chicago area, I have travels all over northern Europe in my youth, and try to see as much of North America as I can. Linda has lived in many, many places in her life. So we have seen and tried a whole lot of stuff!



This week Lynn, our model brought in dried cantaloupe. I brought in strawberries and honey-roasted peanuts; we had cookies, lemonade, pop, and our usual assortment of hot teas. The Gallery stocks several herbal and exotic teas. This might be a funny topic for an art blog, but it just goes to show you how mundane the class can be.





graphite wash



When non-art people realize I am going to a figure drawing class and there will be (gasp!) a naked model I can’t help but see in their eyes a rather shocked “deer in the headlights” look.



What do they think? I am a older woman. So they find it shocking that yes, I am drawing naked people, and yes this week the model is female (we do employ male models too) Most of the class is at least middle aged. It is a mixed bag of men and women. We come in all sizes, shapes and backgrounds. We are brought together by our love of art, and the need to be creative. Nothing brings out that creativity like a figure drawing class. It is the association with other artists as much as having a live model that does this. I don’t think a private session with a model would be half as productive. A lot of it is the simple acceptance that comes with being part of such a group. We care about the lighting, the pose, the lights, darks and shapes.

Final pose

And it is fun to see the different approaches. Some people are intense, other more relaxed, but each approach is unique.

Buying Produce

Went shopping today. Bought bread, cheese and produce.

Produce seduces me. I hear its siren call. The shapes and colors screams – ME - ME - ME, BUY ME!!!!!
I find peppers a joy. They entice me with their colors and shapes. Large, small round and crooked. Purples so dark as to be almost black, yellows to rival the sun add in tomatoes and you have the making sof a great salsa or a wicked still life.

You see—I am an artist. Everything I see suggests a painting or some other work of art.

This week I succumbed to squash. Heavy bodied winter squash. Butternut, acorn, spaghetti and turban. The hard shelled winter squash come in such a range of shapes. Have you really looked at a Hubbard? I just love the warts! And don’t get me started on gourds. I look for the perfect size for my small family, but also for its looks. Even though they lack the bright colors of summer fruit, their shapes do make up for it. Add a pumpkin and you have it made!

At home, they get stacked on the counter. I can’t simply let them be. Before they are eaten they must be painted.

Still LIfe with Bear

What about you? Every been reluctant to use something up before you could get it down on paper?