Monday, February 4, 2013

Daniel Sprick Workshop

Good Tuesday afternoon! Last week I attended Daniel Sprick's weekend workshop. Two days is not enough time with such a talented artist and teacher like Dan. But I'll take what I can get. Saturday, he demoed the portrait the entire day! What a gift, and yours truly took a boat load of notes. Here are a few of them:

- "Starts painting with vine charcoal linear drawing. Focused on composition and establishing the big shapes."

- "Explains the light on the form, direction and most brightest area. Illustrates the light on the most simple spherical form of the head. Emphasizes the edges based on core shadow and cast shadow."

- "Squinting a lot. Trying to have minimal accurate lines. Looking for harmony, and which lines he can unify."

- "Starts the color notes with the shadow first. Spends a lot of time cooling the shadow because of the 'hot' light."

- "Make a large batch of paint for the light notes. This value will be close to the final overall value. Starts laying in on the areas receiving the most light. Then he works the half tones by mixing the shadow color with the light color. Focusing attention on soft edge transitions (core shadow)."

- "Talks about seeing the human forms as basic forms (i.e. cylinder, rectangle) to understand how the travels, especially as the light transitions into the shadows."

- "Tools of the artist : 1. Edges (soft vs. hard) 2. Values 3. Temperature of color.

- "Establish the interlocking shapes of light and shadow while working the edges and halftones. The lights are mostly one mid-tone value. Starts modeling the light forms by noting the variety."

- "Dan points out that squinting is a good way to eliminate the detail. This is helpful when confused about what to do next."

- "Before moving onto color changes establish the value relationships, then come back to the area and change color in the same value."

- "Starts placing the dark accents 4 hrs. into the painting."

-"Still squint even while working detail"

Some great quotes from the weekend:

"It's like rowing across the Atlantic Ocean with two little paddles." A workshopper's commentary on Dan's brushes."

"Painting is a systematically controlled panic."

"Paint what you see when you squint."

"What will be the most effective decision to progress the painting?"


Here are some photos














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