View Full Version : Sally Strand Demo
04-10-2003, 03:52 PM
Well this is it - can't procrastinate any longer!:) Actually I've had to resize all my photos as I take them in the highest resolution I can. 1st pix - Sally Strand. Thought those of you who don't know her would enjoy that.
GRRRR I can't uplead this image & it's onlya total of 665K. Is there any other way to get my pix up- cause if I can't get this one up I'll have to again try to resize.
04-10-2003, 04:22 PM
OK- think I got it now - helps to read FAQ'S:D
Here's 1st pix
04-10-2003, 04:24 PM
Next pix is of Sally blocking in our model, Dan. I wanted to show this as I thought it was so interesting that she started with the angles of his shoulders & hips 1st. Hope it will show up well.
04-10-2003, 04:25 PM
are you using the uploader at top of page or the browse/attatchment button! If you use the Browse/att. you have to keep it under 600, not to sure what the limit is on the uploader button:D If you cant get it, you can alway email me the pictures and I can attempt to shrink it for ya;)
04-10-2003, 04:32 PM
Grrr - foiled again. Redsy, you are too kind. I WILL e-mail you my pix.
Thank you a zillion!
04-10-2003, 04:53 PM
04-10-2003, 05:03 PM
Oops - I forgot he changed poses - oh well.
Redsy - thank you so much for your help - more pix on way.
04-10-2003, 05:08 PM
"here is pix of Dan with red gel over lamp & green Gel - lesson is to
to see colors! Unfortunately his head is too small in red version but
learn to see colors more readily & to appreciate grays!"
04-10-2003, 05:14 PM
Here is Bobbies WIP that she did of Dan after demo during the class time!
04-10-2003, 05:16 PM
Glad to of helped ;)
Thanks so much for sharing with us!!Love the WIP Looks like its gonna be a great one:D
04-11-2003, 01:25 PM
Forgot to mention I few things I meant to point out. I choose Sally's blockin to show because she began with ANGLES of shoulders, etc. 1st. Then she went on to draw face & body. Also I neglected to attach pix of her underpainting. She used "grayed" down colors of browns & blues. She said that she did not want her underpainting to overpower next layers. She wanted lights to be exactly placed in final layering process.
Thought these were very interesting points.
05-24-2003, 02:56 AM
I wanted to chime in and talk about what those gelled pictures were all about.
It was one of the most freeing things I have experienced.
In the morning we have a hot fuschia gel, like they use in the theater, clipped over a single light source to wash the figure and the objects in HOT light. Although it was about making choices in your box to SHOW the colors you think you see, what was exciting was how the shadows colors changed from what you expected.
In the afternoon she set the same pose up with yellow green gels.
SO our results were like science fiction monsters. It totally made you rethink color.
Here is my morning:
What was sort of amazing was how much they did NOT look different.
This is the afternoon:
When we did this the day before we went into our white model for the friday, YOU WOULD NOT BELIEVE how much easier it was to discern subtle temperature changes in the darks.
See what you see in my two demos and note how radically different they are, yet similar.
She opened my eyes to the true arbitrary nature of color itself. IF the value is correct, the name of the color is less relevant. Changes in temperature are actually observable.
Someone asked how I see purple in face and I can only say I DO SEE IT. Sally showed us how to strain our eyes and squint and be aware of the subtle retinal vibration which is color temperatures.
Gosh, I am glad I was searching and found you Bobbie!
I will upload my versions of the Sally pix you allude to and you can elaborate for us on your experiences!
05-24-2003, 03:13 AM
You were so emphatic about the way Sally blocks in so I went through my shots to show in he demo:
We did not, of course have the same model ;)
NOW you tell them about the three value sketch!
(It is a wonderful eye opener too as to how to actually begin a picture. The prep is as important as the process) It preceeds the blocking and happens before the picture is begun on the page.
Here is the wash underneath we do. Although it looks rather drab, the idea is to use it in a number of ways.
1. It can emphasis shape and values. You can do one with the lights where the lights are and the greens where the greens are etc. as a realistic underpaint.
2. You can lay down complements. This is how I learned a lot. If you want a really vibrant red, lay a deep green wash under it and it will sing. Don't really know why.
Or, as Bobbie mentioned, just to lay in a tonal area to work on. I find pastels only work for me on a very low value support. The nature of the beast, as Sally tells, is as PASTEL colors. Initially they were made with lots of chalk as a binder which means there are lots of lovely PASTEL shades of pastel, but she was getting very frustrated with the lack of strong darks. If you use a tonal paper, you are stuck with a single color. By laying in warmer or cooler areas, you can reinforce the best color contrasts before the picture starts. (I had always had great results on Canson Midnight, a really elegant gray blue... then I did some on their light green. The skin tones were so much more vibrant on the green but the value and fleshyness were nice on the blue. Sally's way lets me put the bright colors over a green area and the more subtle over a blue...etc.)
THEN the exiting part.
That little smudge on her forhead (a white visor) was determined to be the lightest part of the painting so she used a little blued light in it, but put it next to the darkest deep brown shadow in her hair. By limiting your value range to THOSE as your extremes, which are NOT the extremes, it is super simple when done, to pop in a value lighter for all the highlights and deepen in the sharpest shadows.... SUPER snappy!
Those are the exciting steps.
The laying in is breathtaking. Most of us will draw and draw until we get a finished sketch and then fill in the blanks. This technique destroys all that, so it trains us to think in the sequence of larger masses to smaller detail.
She just went in, first with her shadows to get the richest deepest colors in for vitality and support, then middle values in the light, so she can BUILD them up to the highest key.
Pastles are strong in the lights (before Terry came on the scene) and tend to be limited in the dark range.
This is how Sally gets around that.
Ok, now it is Bobbie's turn as it is a bit fresher in her mind.
Very interesting! This is what Bobbie was talking about on the watercolor paper. I like the effect and assume you can't get very detailed with it because of the paper not having alot of tooth.
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