Michael Carson Workshop

Living in Phoenix definitely has it’s perks. One of them is living near the Scottsdale Artists School, where 50 or more well known artists teach workshops throughout the year.

One particular class that appeared on the schedule caught my eye. Contemporary figurative painter Michael Carson was offering a class. I’d seen Carson’s work online and at the Bonner David Gallery in downtown Scottsdale. You can imagine my disappointment when the class filled up right away, which only left me with a spot on the waiting list.

Fortunately a second class was formed and I was in!

The workshop just wrapped up Saturday with a fabulous morning demo. Michael painted beautiful Dakota Acosta, the process is shown below.

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Michael Carson Demonstration

Working on a resin surface which he created himself by pouring a two part mixture over a wooden panel, he roughed in the basic lines of her face hair and shirt with Warm Grey. Notice the darker bleeding of the oil around these lines, an interesting effect. The resin appears to have a matte finish because the surface has been sanded to relieve the slickness.  Next the Warm grey was used to very carefully fill in the shadow shapes, followed by a massing in of the flesh areas with Yellow Grey.

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Michael Carson Demonstration

Dimension started appearing as he used Brilliant yellow on top of the Yellow grey. Warm hints of Schevenings Purple Brown began to form the mouth.

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Michael Carson Demonstration

Things really started to take shape as he worked into the eyes, carefully shaping the lighter areas, Next the underside of the nose and lips, all with very meticulous brush work.

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Michael Carson Demonstration

In the last session he went into the shirt, massing in with Warm Grey, than stopped to decide if he wanted to add the bright blue in the lower left area. I said to myself “no Michael don’t do it, don’t do it” and then…. he did it….and it worked! Successfully breaking two rules of painting, never add a color at the end of a painting not used elsewhere, and, always put the brightest color next to the center of interest.

So why did it work? Because that face is rendered with such finesse and sensitivity that nothing else could possibly take away from it.

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Oil Painting, the best of both worlds

After many years of experimenting with different media, pastel, watercolor, acrylic, etc. why have I decided oil paint is the best choice for me? Because it has the personality traits of many other painting media all rolled into one.

“Unknown”, the painting I just completed last week was a perfect vehicle to take advance of one of my favorite properties of oil paint, transparency. walking1-lrThe finished scene would have a dominance of blue, so a transparent underpainting of warm orange reds, the opposite of blue, would be a good base to play those blues off of. I call this stage the “getting to know you, stage”. Moving around the image with washes helps to see what the flow is, how things move throughout the space.

walking2-lrHere’s an ode to watercolor, spattering the surface starts to liven things up, and give me something to work with, (or against), in the next layer. In order for the spatters to stay put and not run, the painting is placed flat on a table until dry.

walking3-lrThis stage reminds me of working with pastels. With a chunky squared off brush, laying in passages, weaving the strokes into each other. The goal here is solidifying the image, letting some under layers peek through while building up some heavier passages.

Using Gamblin Alkyd medium makes the layer dry faster, not as fast as acrylic, but enough so that I can work on top of a dry paint layer the next day.

UnknownFinalImagelrThe last stage is to refine and correct. Always correcting, it’s never to late to fix an area that just isn’t right. Refining areas that are important, and ignoring the rest.