A few weeks back, we invited artist Tanya Raabe-Webber to lead a master-class on portraiture. Five artists took part and technician Jim Ewan asked them about the workshop.
JE. What have you been doing for the last couple of days?
D. I’ve been doing a self portrait and it’s a completely different style to what I’ve ever tried before, it’s something really different.
In what way is it different?
D. I’ve never really had any lessons in how to do portraits plus this was a different way of doing it anyway with putting the dark colours on first then gradually adding lighter colours, and the dark red and black show through at the end of it, or should be left to show through, it’s really different.
Was the demonstration that Tanya did helpful?
D. That was really interesting, to see the slides of the different art work she has been doing, you definitely need to see it in pictures, it made it stick in my memory better than just reading about it.
You did some drawing at the start of the workshop. What was that about?
D. That was to get the right proportions of the face, and then once you put them in you can adjust them to suit whoever you are painting – like your own face or if you were painting a model’s face you can adjust it according to the main design of it.
What will you take away from the workshop?
D. I’d like to practise the same technique again and get some more practice. It’s really effective.
Do you think that this is a quick way of doing it?
D. Definitely a lot quicker than I would usually do it, where I would never reach an end and not really be sure of what I’m doing.
JE. So tell us what you were doing at the start of the workshop with Tanya?
J. Tanya gave us an exercise to do to get the correct proportions, she’s got this system to take the measurement of the face, the nose to chin and all that jazz. it makes it a bit easier, so we were doing that in the morning.
So then you were drawing on the mirrors?
J. Yes, but before that we were drawing on paper to do the exercise and then once she felt that was fine, we used the acetate to draw.
Was that method helpful?
J. Definitely the easiest laying out of a self portrait I’ve done. Usually I have lots of lines and the rulers are out, so her system really broke it down and made it a lot easier.
Tanya put the cool colours down first, how did you feel about that?
J. When she gave her demonstration she was drawing everything in Hunters Green but then she used another colour, blue? But it was interesting to see her immediately starting off on the canvas with Hunters Green and her line was so delicate, it is really interesting and she hardly ever used any water, she was using acrylic at that point, straight from the tube, not something I’d seen before. Normally I would use charcoal to draw, so what she was doing immediately gave it life and it built it up really quickly, putting in the colours of the skin tones. I thought it was a brilliant way of working and it inspired us all because I noticed we all started off with Hunters Green. It was a good way of starting because it brought it to life quickly.
So how did you get on with your own one, putting down the cool colours first then the flesh tones?
J. I haven’t painted a self portrait for such a long time and I don’t really like looking at myself so it was an emotionally traumatic journey, but I was very inspired by her approach, so my approach was different from what I would have done normally.
Do you think it was a quicker method?
J. Considering it was just a two day workshop and we spent a lot of time on the demo, the talk, the slides and I don’t work constantly, my concentration is not good and I get tired and I tend to wander about, so just 2 days and I know it needs more work but there is a result there. After a while it’s so intense you don’t know what you are looking at anymore but her system has been really effective, quite a revelation and her work is incredible, really expressive.
JE. What have you been working with?
J Mc. Acrylics, because that was quick. Just as quick as I can do today, it’s not bad, it’s getting there.
Would you put oils on top?
J Mc. I don’t know. I’ll maybe do it in oil, you can do that can’t you, that would be good.
What about the preparatory work, you did some drawings?
J Mc. That was great as well, you did a frame and then used the acetates, got pens and drew your own face or your main features.
So you were practising the proportions of the face?
J Mc. Aye, it was good
Do you think you will finish?
J Mc. I don’t think I’ll finish but it won’t be far away.
JE. Tell us about the workshop you have been doing?
N. This is a portrait workshop, I was a wee bit apprehensive at first cause who likes to dae’ your own face, but it’s been quite enjoyable. I’ve found my oils again, first time I have painted with oils for 15 or 16 years. I found all the things I’ve missed, can’t believe I haven’t done it in such a long time and I’ve enjoyed it, can’t believe it’s finished, two days is so quick, the workshop was brilliant.
What did you do at the beginning?
N. We did drawings to start with, learn your structure, how your face comes into components, divide up your face, always start with the drawing part anyway before you get your colours. The workshop was to show how to split up the face, the measurements, how many times your eye goes into your head.
So was the workshop a good reminder on portraiture for you, was the structure different?
N. It’s the same process I do all the time, if you are drawing and painting you’ve got to get your composition first, always work it out and drawing saves wasting paint. Always do your drawings first, work out your composition then do a watery sketch first, and then once I’m ready, get a canvas and go for it. That applies to landscapes as well. I tend to be drawing all the time and I’ve found I’m loving moving the paint around so maybe I’ll start doing more painting, it’s probably been good for me.
JE. So what have you been doing over the past few days?
S. Doing this self portrait. First time I’ve actually painted for about a year, so I’ve just taken part in this workshop and it has been a real eye opener to learn some new techniques of painting. Yeah, absolutely fantastic.
What parts were new to you?
S. The way Tanya goes about creating an initial image, really quick brush strokes, very sparse but really, really fascinating getting something down and using a really light touch whereas I’m quite heavy with a brush and if I hadn’t seen the demonstration beforehand I would have probably have approached this portrait in a completely different way but as it is I’ve just had to persevere and work on it and work on it and work on it. I’ve had to alter the size of the head and everything, so yeah it’s getting there. I think there’s still a bit more work but I’ll probably leave it just now and maybe pick it up next week and do some more work on it.
So have you just been using acrylics today?
S. No, it’s oils today, I used acrylics yesterday to lay down the foundation and earlier on it was just washes over the top of it and then getting a bit thicker with the paint again, yeah it’s getting there, it’s not perfect but it never will be.
JE. So how do you think people got on?
Tanya. I think they picked up the head and shoulders structure with a fair amount of ease and we adapted that to creating these on self portraits using acrylic paints to start off with and then some people have gone on to oils and I think it’s been really successful, everyone’s worked really hard and there’s some amazing portraits. I think it’s been really great.
Thank you all!
