Here is a group photo. From left to right we have Nanci Fulmek, who is a fifth year graduate student of the Atelier, Lynn Maderich, our instructor, Yorke McGillivray, only 15 years old from Arizona, Fred Senn, who did an art degree in college, but has spent most of his life in advertizing, Julie Rauchwarter, a full-time Atelier student with one year under her belt, Jo Simmons, who is in charge of the horse program at Salem Ranch and myself.
The images above are by Jo Simmons and myself. These pictures were taken at the end of Day Five. The procedure was to (1)trace the black and white charcoal drawings from Day Two onto a canvas, (2) block in the light and dark areas and the “bug line” with a turp wash, (3) paint in the correct tones and approximate colors with oils.
I, however, chose to work from a different image than I’d worked with on Days Two and Three because I thought the light and shadows of Pelee standing completely broadside were less interesting than they were in this more intimate scene of Geneia going out to halter Pelee in the paddock. This was the one image I did not blow up into an 8×10 before attending the Workshop, so after Lynn’s demonstation on Thursday morning, I decided I must drive to Target with my camera card to enlarge this image, and as is my typical experience, I flung my self in my car and rode off madly in all directions, which of course resolved itself into the wrong direction. Soon I was headed with great speed down 280 (which was unhandily closed in an actually useful direction for arriving at the Atelier mornings). It took me at least an hour of navigating my way back. Thereupon I consulted the map which Lynn had kindly drawn for me and arrived at Target without further mishap.
My painting reflects a little less worktime owing to my recurrent adventure on the Minneapolis highways. Also, I did not trace this picture from a charcoal drawing, but drew directly in paint on the canvas. I used the same principles of comparative measuring, but it does save time to correct mistakes in draughtsmanship with charcoal, rather than doing it paint. As forgiving as the medium is, correcting in wet paint is messier than charcoal and eraser.