Portrait Workshop

I was very happy that I decided to take the workshop this week offered with phenomenal painter, Johanna Harmon.   Not only was she giving this New England workshop, but she was the juror for North River Arts (NRAS) Annual "Focus on Figures" show - and - she was in Boston for her own opening at the Newbury Street Gallery called, 'Exploring the Poetic Figure' - One Woman Show.  I plan to get in to see this display in the very near future and would not hesitate to recommend it after seeing Johanna's work in person and on her website.

As for the workshop, there is always something new to learn, especially when enjoying a different teacher's perspective.   This is a very special instructor who seemed to be keenly attuned and sensitive to participants' needs and abilities.  Although my favorite genre is plein air landscapes, painting portraits and figures is quickly rising to the top.

Our model in Day One of the workshop had a dark complexion with strong features that were a delight to paint.   I used the limited palette (Zorn inspired), much different than my usual "expansive" palette.   Within the workshop each painter was randomly assigned their painting position. The profile perspective is not my favorite and sure enough, this was the spot I ended up with - but I love a challenge and enjoyed it nonetheless.




On Day Two, we had a lovely, young fifteen year old who had a very fair complexion and, of course no wrinkles or other useful facial landmarks! :)   I observed more of a pink/green harmony in her skin tones.   Her blue headscarf and top made me want to pump up the orange/blue harmony.  You will not see this painting show up in the shop as I was not happy with the outcome, probably from a poor initial sketch and from mixing strategies midstream, but in the spirit of full disclosure, here it is!



On Day Three our model had a dark complexion with beautiful red undertones and bluish highlights.  Again I had the profile view, but I decided to include the whole figure.   I also placed more focus on designing the space (light and dark patterns) within the painting, something I want to work on.   The primary center of interest was her face and shoulder (also most clearly in focus).   Secondary interest was the light on the floor, especially around the chair legs.  Finally, the third area of interest was the light coming from the narrow window.




On Day Four, we had a nude model, so the figure and physique were the focus.   Within the painting workshop, the skin tones were quite muted.   The value determinations made in muted light were more accurate than the color, and of course value is the more important of the two.  I was quite surprised to see how colorful this painting was in daylight.


These photos are a little shiny and they are still very wet, but, as always, good images of the paintings will show up in the shop sometime in the future.