Susan Downing-White: Oil Painting Workshops
  • Workshops
  • Class Information
    • Landscape Supply List no.1
    • Landscape Supply List no.2
    • Underpainting (Indirect method #1)
    • Glazing & Scumbling (Indirect method no.1)
    • 1st handout: recipes, etc.
    • 2nd handout: glazing & scumbling
    • 3rd handout: underpainting method #2
    • 4th handout
    • Tips: taking landscape photos
    • Tips: taking pet photographs
    • Handcolor a Digital Print on Inkjet Canvas
    • Notes: Photoshop for Painters, Mobile Museum talk
    • Reference: Useful Books
    • Reassurance: For Beginning Painters
    • Supplies: Handcoloring on inkjet canvas
  • Susan's Blog
  • Contact/Galleries/Links
    • Contact/Galleries/Links
    • Cole Pratt Gallery
    • Susan Downing-White: Gulf Coast Paintings
    • Cloud Appreciation Society
    • American Artist article
    • Google Art Project

Behind the Easel: a bit about portraits in process

4/29/2013

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PictureDrawing for portrait of Samantha, collection of the artist.
     The way I begin a portrait is to have a conversation and later take some photographs. Back at the studio, I create a folder on my computer with all the photos and live with them awhile. This is helpful, especially if I’ve just met the subject of my painting. I notice gestures, tilts of the head, elusive expressions repeated. This is where photography is a great assist to my regular powers of observation, which sometimes are distracted by technical details of photography like lighting, cords and maybe just a bit of shyness.

      In time, I start to see which photos seem most characteristic and drag these into a working folder. I may need another sitting if, say, the hands could be better arranged, or if we need a costume change. But soon I’m ready to attempt a drawing of pencil and white chalk on grey paper that describes the facial expression I’d like to capture. After this, I make an sketch to show how my impression of a unique personality might translate into oil paint on canvas.

      I began this practice after my third portrait as a professional, in the late 80s. This portrait was successful with the young girl’s parents only after my third try! The first two versions are included in the show at The Artist's Place, _with a photo of the final painting. It’s nice to have them as souvenirs, but clearly I needed to find a more efficient way! 

     Another early portrait was declared by all to be a very good likeness, but lacked the impish spark the parents associated with their five year old son. Yet another reason to take time to prepare previews!

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Samantha Ray, oil on canvas, collection of Diana & Eddie Shaw. The Shaws won the portrait raffle in 2010.
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Teaching painting the way I wish I'd been taught...

4/18/2013

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     Last weekend I told my class about many years ago when I watched my son learn to play piano with the Suzuki method. His teacher demonstrated the way Gus should strike the keys, hold his wrist...I took notes and heard about his 'errors' the next week as if they were my own...there were recordings to listen to..the famous "Twinkles" to play in the car, while brushing teeth...till I was ready to go mad with all the Twinkle variations...and yet...

What if painting had been taught this way when I was a child...or even as an adult?  What wonderful paintings would I be making right now? In college, we were told to be original and competent without any clue how to get there...

Not getting everything the first time round is a gift, I've decided. We think more, feel more for the loss...and yet, 
God bless the child that's got his own...http://www.susandowningwhiteclasses.com/


"Holding back is so close to stealing." -Neil Young

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    About the Artist

    Susan Downing-White’s work has been featured in American Artist magazine and exhibited at the National Museum of Women in the Arts, the New Orleans Museum of Art and the Mobile Museum of Art.

    Her work can be found in corporate, government and private collections. Her education includes a bachelor’s of fine arts degree in painting, and three years work in art conservation.

    A book on the creative uses of Photoshop in a traditional studio practice is in the works. Susan offers beginner-friendly workshops that explore painting about skies at different times of the day in landscape painting at locations around the gulf coast, and she welcomes invitations to travel and teach.

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