Visit our website for directions: www.thesouthernatelier.org
For more information about Clayton J. Beck III visit www.claytonbeck.com
Excerpt
Notes:
"Put brush stroke down then
carve around it with another brush stroke."
Sargent
- When a student asked Sargent what size brush
he needed? "I figure out what size brush I need
and then I choose one size BIGGER!"
"Cheeks - Look for one cheek
stronger than the other one."
"If the light is coming from
the left .....Look for the opposite eye to be a little brighter. Lashes
on the other eye will be casting a shadow."
Clayton likes Permanent Alizarin by Gamblin, Ultramarine Blue deep and recommends
transparent Earth Red by Gamblin.
After the Demonstration Clayton
joined guests out on the open air studio for a relaxed
fireside chat. Here are a few of his comments:
Clayton's favorite and not
advertised canvas - Venetian by Fredrix, $1,500
per roll.
He typically uses ready made Fredrix oil primed linen canvas. http://www.fredrixartistcanvas.com/pdf/beyondthebrush.pdf
* "Priming layer is not a paint
layer. Paint will not stick to canvas very well unless it is primed
with oil." He does not recommend priming with acrylic for
permanence.
"Rose Franzen
uses Masonite panels. This is
the most permanent painting surface." http://oldcityhallgallery.com/figurative.htm Note: The Cape Cod school
of Art taught plein air painting for over 100 years using Masonite or MDF panels. They are very
cheap and easy to prepare. Contact the Southern Atelier for more
information about how to prepare Masonite
panels. See Lois Griffel Workshop
(Southern Atelier) for fireside chat to ask Lois, the
former director of the Cape Cod School of Art about the history of materials at
the Cape School. March
2-7, 2008, Lecture, Slide Show & Fireside Chat March 1, 2008. http://loisgriffel.com/
"Don't show brushwork in the
shadows."
"I use Duro
test Vita Lite, 26 Watt indoors."
http://www.duro-test.com/fluor.vitalite.html
"Our eyes are built for the sun
and are reacting to the gasses in the air." Conversation
about light and how difficult it is to really match the sun's temperature
and light intensity.
He recommends using the same light
on the canvas that you light your model with in your studio or use the
great outdoors or use North Light which is the most consistent light
throughout the day.
Question: Charlie Miano asked, "Do you consider yourself a tonalist?" Clayton Beck,
"Sometimes"
"Brushwork is becoming a
language to me like speech"
Clayton Beck
