As promised following is the first installment of my notes from this year’s Portrait Society of America Conference which took place in Philadelphia, PA. We begin with notes from the conferences’ first two demonstrations: Two Points of View with Susan Lyon and Michelle Dunaway, and Gestural Drawing with Burton Silverman.
and Michelle Dunaway
sealed with three coats of clear gesso. The museum board is a neutral gray.
Buys 30” by 40” and cuts it down. Sue works, light, middle and dark/warm and
cool and begins with a ghost image first of the shadow mass.
Likes New Traditions canvas, L600 and L280. She observes the model for a
bit, this helps as after a few minutes the model will fall into a natural pose
anyway. She begins with a mass. Looks
for something that resonates, feels it first
Susan’s on the left/Michelle’s
on the right
are. Holds the brush the same way she holds a pencil. Looks for strong values.
She tries for the least amount of brushstrokes. Sue says that she tends to
soften too much and needs to trust her brushwork. She doesn’t think about
finishing when working.
further until they are accurate
shadow shape, she moves into the 2nd shapes and then the
highlights. She aims to not over-model.
She thinks abstractly. Paints the light.
If it is not seen when squinting she doesn’t paint it.
This depends on your focus. When you are looking at a person or object in front
of you you see realism , edges are impressionistic and peripheral is
abstract. She thinks form and
structure/color temperature and edges
that she uses permanent mauve added to transparent red oxide which cools the
color without making it gray. Currently loves Le Franc titanium white.
brushstroke has to have purpose.
you beyond your circumstances
you touch pencil to paper you leave something behind of yourself ~~don’t leave
a lot of crap behind!
from the outside/ getting sculptural form without worrying about specifics
using graphite powder sometimes when working on white paper.
gestural drawing of your subject, get some sense of the person you are drawing.
Familiarize yourself with the landscape of the person’s head.
on white with graphite pencil.
demo, Burt uses a blue grey sheet of Canson, smoother side.
vine charcoal he lays in shapes and then switches to charcoal pencil.
in a different way and uses the paper as a halftone.
on the nose first as it is the determinant of all the relationships on the
face. He works to the outside of the
plumb the unconscious you never know what will come out.
showed us a slide presentation of his gesture drawings and the resultant