What is an Open Studio?

[Valerie Gudorf]

I just participated in my first Open Studio last night and boy was it fun! And frustrating. However, now I've caught the bug. It is MUCH more satisfying and challenging to draw from life than from a photo. Unfortunately, the one I attended only meets once a month at a local art center, and overall, seems to be run rather poorly. There was no model stand to speak of. The poor guy had to position himself on a folding table! Also, The spot lighting was poor and difficult to position for optimal light/shadow definition. But I suppose I shouldn't complain much. It was a mere $6 for two hours with a live model. I only wish it was available more often during the month. I instantly understood how frequent life drawing sessions would improve my skills. Given that I've only now at middle age, grown serious about my art, I don't have time to dawtle about.

Debra, I really like the idea which your group implements: A "portrait studio" in which the model assumes the same pose for twenty minutes at a time, with breaks in between. One might actually hope to complete a fairly finished drawing under those circumstances (I know I'm not one able to whip them out in 8 minutes flat, unlike our very talented, Lon).

Michele, the idea of hiring teens the going babysitting rate to sit for you is a wonderful idea! I plan to try it as soon as possible. What has been your experience with this?

[Lon Haverly]

A large open studio can be a detriment rather than a benefit. If you are too far from the model, or the model lighting is poor for your view, you will struggle. Also, if your drawing setup is unfamiliar and awkward, you will not benefit.

Before I was a public portrait artist, I used to get together with a few friends weekly and we would hire a model. It was better, smaller, and much more effective than a large group where you had no say in the lighting and pose. We had our own familiar tables, and environment. Having a consistent drawing envirnment for portrait drawing (lighting, distance from the model, board setup) is vital to getting a consistent likeness. Don't waste your money on a large open studio. Create one yourself!

[Michele Rushworth]

I agree with Lon. Our wonderful local art school falls short when it comes to open studio time: they only use artificial light. My goal is to paint more from life in natural light, so I never go. Better to organize your own small group and set things up exactly the way you want.

[Julie Deane]

I'll second that. I used to go down occasionally into Atlanta - it was a good deal - $7 for three hours, but they used a yellow toned artificial light and it was the same model every time I went.

If you are going strictly for drawing practice and not long poses, check with the art departments of local colleges. Our local community college has a great art teacher who actually teaches drawing well. Because the school founders might object to nude models, she took her class over to the local art museum. The neat part was, community members got to join the class twice a week, 2-3 hours each time for six weeks for a total of: $12.00! Believe it or not, only two community members took advantage of this great deal.

[Lon Haverly]

For figure drawing, it doesn't hurt to be a ways away. Being too close can create forshortening problems.

But for a portrait, I cannot see how you could benefit by being any farther away than ten feet at the most. Any farther than that and you are in for frustration. Why ask for trouble?

Consistency is really the key, I think, to developing a consistent drawing technique, whatever it may be. If you always have to change your drawing environment, it will be harder to be consistent in your drawing or painting.

I am never farther than 5' from my models, unless I am in a courtroom situation. But that is wretched drawing! Wretched!

[Debra Jones]

But part of the thrill of studio is the Guerrilla aspect!

I have found I learn more under the less than perfect conditions. I have found myself with the light shining in my eyes and learned the elegance of back lighting. I had to train my eye to observe the colors in the shadows.

I have been far enough back to force myself to observe the planes, more than the details and what makes the likeness of a face, not the minutiae.

The exercise of sitting and observing a pose for hour after hour is the strategy you can develop of how to work against the fidget and straining muscles of the model.

I used to curse a blue streak that nobody was checking and correcting the model and then it hit me. THIS was luxury! When I was having people pay me to paint them, I know they were going to be less cooperative and much less focused. I learned to know where I was weakest and start with the structure. To decide where I wanted the eyes and nose as fast as I could and paint into that, what the model ended up doing.

I think all the stress of studio, with nothing at stake but enriching my experience, is never a waste of time.

I also enjoy the artificial light.

I assume I am the artist and it is my vision of the sitter that is going to set me apart. I have found a lot of my criticism of the studio situation or deficiencies of the model have DIRECTLY been the result of my own lack of experience as to what to do without their cooperation. I have learned how not to chase an eyeball all over a face. I have learned to pace myself and work from a beginning with a minimal effort to a middle with strong and well thought form and come to the last pose with a sense of what it will take to finish the face and save the genius strokes for exactly where they should be.

I find it a marvelous challenge. I love it the most when, after a grumpy full house of a class, I take the least attractive corner, plug myself in and have at least one novice tell me I lucked into the best position! It stretches me every time!

[Clayton J. Beck III]

I am at the Palette and Chisel in Chicago. As a member ($360 / year) one has available 60 plus hours of model time a week ... FREE. Many of the long pose workshops are in the large north light studio.

Without access to this, I would never have been able to afford the model time necessary to develop as a painter in my formative years and even now, as I wish to develop something specific, I come down here and work it out from the model.

ps- out-of-towners are less than a $90 / year and can come in the Chicago with full benefits of open studio.

This one was done in a open studio at the P&C a few years back.

Cara 30" x 20" Charcoal on buff colored paper

[Cindy Procious]

Clayton, that is simply gorgeous.