Stuart
 

Hi,
I'm not sure the drawing was very exact, I didn't take the time to mesure: I just tried to paint as fast as I could. This session was only 2H10 mn...

Marina,

All I can say is you one great eye for painting. I have to measure until my eyes are crossed.

What a great piece!

Great! I liked it very much.
Tell me, how did you obtain those dark colors?

Thanks Sharon!
The more I work from life, the less I mesure. We always begin open studio with some 5 minute poses, so I have to draw fast without mesuring, and if we make a long pose after, I still draw quickly. I think it's becomming more instinctive.

Hi Bonfim,
I always use the same limited palette : Flake white, yellow ochre, terra rosa, indian red, raw umber, ultramarine, carmine, and very few black. The background is raw umber with ultramarine ( eyebrows too), and the flesh tones are a mix of yellow ochre, terra rosa, and raw umber + white, (and + carmine for the nose and cheekbone). More raw umber on the shadow side.
Thanks for the comment.

Marina,

Such fresh work! And of course one can't get an exact drawing in Open Studio - but that's not the goal. I can tell you are having fun:)

Thanks Marina,

I asked about your colors because I notice something familiar, I also avoid using black.

HI Marina -

Isn't open studio fun? Nice painting!

Marina, I really like those bold strokes and that fine head structure! Before I scrolled down I saw only the top of the forehead and I could tell it was tilting back and the chin was up. Very nice work!

Very nice! And we can tell that the model was having fun too.

Sargent used black. So do a lot of painters. It's use was questioned by the Impressionists, some of whom used it and some who didn't.

I find it invaluable.

I didn't ban it from my palette, I just avoid black because sometimes I happen to mess everything up when I use it.

Marina, in absolute friendship and fellowship, and having seen your previous work, I justed wanted to ask you this question.

Why so much hurry ? Or better: why did you want to finish this?
You have such a good eye, as Sharon said, and I think that there's no point in working in a hurry, you know you can do it if you have enough time. I think hurry and pressure are very beneficial for drawing, but maybe not as much for painting.
Why not explore the powerful structure of this head more in depth, before getting concerned with detailing the features.
I think that when you only have two hours to paint it is worh aiming at the analysis rather than at a finished work.
Sorry this is maybe a bit harsh but is said with affection
Ilaria

PS; black is beautiful
Ilaria

I second Ilaria why hurry. Marina, you have so much going for you. Big shapes and values will make or brake your work detail is a distraction.

Chris, Julie, Alex, Michele : thanks
Yes I had fun, and I can't imagine life without open studio... I will have the last session next week before hollidays, but I hope I will find some victims among family and friends... :)
The model had fun too...In the beginning at least. The real model didn't come and it's one of our group who accepted to pose for us. He found the situation very funny, but after a moment his face tensed, and his smile became strained. I tried to keep the first smile he did.

Sharon, Bonfim,
I use only very few black for the moment, I don't really have an opinion about the use of many colors. For now, I begin to make what I want with my palette, I will explore later some new possibilities about changing my palette...

Ilaria, Mischa,
Why did I try to finish it ? I didn't even though I could do something else !
I wanted to try to paint quickly to see what would happen ( loosness, thickness...) and I didn't spend time working on the features until the end...
But I understand your point of view, and it would be certainly a good exercise. Thanks for the idea!