• Tim Ellmers, Artist

The Art Loft - Workshop (belated post)

I know it has been a while since I last posted, but life took a major turn after Thanksgiving. Each day will be a day forward and a day to allow healing to begin.


I was in my studio this morning and I noticed on the wall I had 3 paintings piled in the corner. It occurred to me that I never even showed them to anyone. These paintings were from a workshop I participated in last summer @ The Art Loft in GA. David Shevlino was the artist in residence. He has done some great work at capturing the looseness in which I strive to create. I encourage you to take a look at his work. Non-artists get the impression that looseness is easy but in fact it quite the opposite. To be loose, you must have full control. Each brush stroke must count for something you are seeing and you must never touch that same spot again or you will lose the looseness. It is a struggle for me but I am still learning.


As I look at these three paintings from the workshop, I see good things, and I see things I have to improve upon. Isn't that what life is? (work on the things you suck at?). During this workshop, we painted live models each day. It was also my first nude model painting...ahhhhhh! It was interesting to be forced to paint all the curves of a body rather than relying on having clothes cover all the curves so you can "get away with it". Getting the right skin tone throughout and making sure everything was in the anatomical place was key. Annie was our second model for the remaining 2 days. She was quite tough given that her body structure was vastly different than the first model. She really knew how to hold a pose well.


For this workshop, I only used cheap substraights (panels from Hobby Lobby - acrylic primed, and Ampersand Studio series panels - too smooth). I usually do this when I am learning so I am not intimidated to take risks as these were not going to be sold or hung anywhere special. All substraights were underpainted with value #5 gray. It is a good starting point to have good judging of all the values you place on the painting. It is also a good value for painting flesh because it really does help you see your first strokes of value you place.


Overall, I think they turned out okay. I really had an odd angle for many of the portraits. When you have a workshop full of other students, you have some that take nothing but workshops and know in advance to seek out "the spot" before class starts. I was able to get a student to switch with me so I could get another angle to practice with. I have more practice ahead of me, but I don't get live models to paint often. For 2021, I do plan to reach out to the UNC Asheville Art program or an Asheville Program for live model practice. I just have to find the time away from work to participate.


Enjoy - also, feel free to send your questions if you have any. Always happy to answer.


Cheers!



Annie in Red; 9 x 12 in., Oil on Panel

Diane's Face Up-close - Oil on Canvas Panel

Diane; 16 x 12 in., Oil on Canvas Panel

Annie in Red with Cat (stole the show); 16 x 12 in., Oil on Canvas Panel

The Cat just came up and I had to get him in his pose.

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Tim Ellmers,  Artist

Hendersonville, North Carolina

Contemporary Impressionist

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Hendersonville,

North Carolina

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ellmers@gmail.com

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