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Last weekend I took a workshop from Kim Lordier. It was excellent for us who struggle with composition and value. Kim stressed notans using three values of Tombow pens. We did notan after notan the first day. After the notans (forget color, it didn’t happen on day one), we referred to the notan to sketch in our design on Wallis paper with a dark gray nu pastel, then used turpenoid to create values. Day two in the field, more notans, more sketching in, and then painting. For anyone who hasn’t gone through this process (don’t think one time will do it, either :rolleyes: ), Kim’s workshop is well worth the dollars. You go away knowing what to practice to make your work actually work. I figure between Marc Hanson’s black and white studies, and Kim’s notans, I may get the concept this year. Here’s the plein air about 2 hours (with a little studio tweaking) from Sunday. 9×12 on wallis paper. One is desaturated to show the structure of the painting.
1-structure
--Hard critiques always welcome.
[FONT=Arial]More stuff at http://www.flickr.com/photos/27594229@N06/
However you choose to paint, get it right in every necessary respect. That does not mean "tight" or detailed. [Richard Schmid]Sonni, this is awesome. I’m emberrassed to admit that I had never heard of the word “notan” and googled it to find out the exact meaning or the term. I’ve been reading a lot of threads here advocating the use of preliminary sketches and using vine charcoal to work in your values prior to putting in the actual pastels and after seeing this, I think I’ll give it a stab. Weren’t you lucky to be able to learn from Kim. I would die to take some lessons from her, and from Deborah (hint, hint… the offer is still open to come to the Vineyard – maybe next year??? I could house up to nine people or so!) Anyways, this painting is so full of motion, yet so simple. Bravo!!
Leslie
Leslie S. Self
www.leslieself.com
Member, Pastel Painters Society of Cape Cod
Thanks folks…Looking at the painting I can see where I was sidetracked from the notan I used. So I guess I’d better get better at notans–:wink2: .
Nana–you can dose yourself without a workshop. Keep white as the lightest, use a light value, middle value, then a good dark value pen. I had some sienna colored values and I don’t recommend using them. Black to white keeps you on the value track. Block in 3-4 large shapes, tie the darkest ones together and don’t make all the shapes the same size. Keep doing it until you get a good composition. That’ll be 50 cents, please.
Thanks Deborah. I thought she was a very good and energetic instructor.
Thanks Leslie, I think notan is a Japanese term. Kim explained it and I can’t remember exactly what she said. But it sure works. With each one I did (and I did several of the same scene) I could refine my idea more.
Thanks Charlie. It was a good workshop.:thumbsup:
Donna–Tombow pens are great. I’ve used them as underpaintings, dragging lines around by spritzing with water.
--Hard critiques always welcome.
[FONT=Arial]More stuff at http://www.flickr.com/photos/27594229@N06/
However you choose to paint, get it right in every necessary respect. That does not mean "tight" or detailed. [Richard Schmid]you did great, and thanks for the review! i would also love to take a kim workshop altho i too am just too far away:(
[FONT="Comic Sans MS"]A rich person is not one who has the most, but is one who needs the least.
--- "Interview with God" (author unknown)
] It was so nice of you to share this with us, and this is a great painting! Your color choices are very realistic—-and the values are even better than that. Would also love to attend a clinic by KimL. You are working very hard, and it is paying off!Sonni,
Your painting is lovely and the technique very interesting.
I would love to take a workshop with Kim someday!You said,
…I can see where I was sidetracked from the notan I used.
Could you explain where you feel you got sidetracked?
Also, do you work on the notan or do you use it as a reference?Adriana
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