tag:blogger.com,1999:blog-89897903878923823172024-03-05T09:42:33.381-08:00DRAWUP - Portrait Painter's WayBaldwin Fine ArtBobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-8989790387892382317.post-33012226777733402112020-09-21T14:04:00.001-07:002020-09-21T14:04:31.831-07:00SANA JEWELRY - jewelry details being painting in time lapse ... oil pain...<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/xb5ncS-T4KU" width="480"></iframe>Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-84550652316869750302020-09-21T14:01:00.001-07:002020-09-21T14:01:16.219-07:00SANA'S SWEATER 2 - Time Lapse Video of sweater detail<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/kow82PgY3SA" width="480"></iframe>Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-70997024381320916222020-09-21T13:57:00.001-07:002020-09-21T13:57:12.800-07:00SANA'S SWEATER 1 - Time lapse video of the beginning layers on sweater<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/SdQIva7kmKM" width="480"></iframe>Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-17148521390919959562020-09-21T13:53:00.001-07:002020-09-21T13:53:07.308-07:00Painting the figure - children at play<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/eNRJk8PU7Ns" width="480"></iframe>Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-28231536719015295082020-09-21T13:36:00.001-07:002020-09-21T13:36:57.077-07:00SANA BACKGROUND 10000000 606895206652775 6366945915378380360 n<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/x5efcyt0eng" width="480"></iframe>Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-1766531499277427282018-03-12T17:30:00.000-07:002018-03-12T17:30:03.214-07:00PAINTING & DRAWING HANDS Accurately<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;"><strong>PAINTING AND DRAWING </strong><strong _mce_style="font-size: 16pt;">HANDS ACCURATELY...</strong></span></h2>
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<span style="font-family: Arial, Helvetica, sans-serif;">In order to paint hands correctly, it's important to <span _mce_style="font-family: Arial, sans-serif; font-size: 13.3333px; background-color: #ffffff;">first</span> take into consideration:</span></div>
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<li>Where is the light source is coming from?</li>
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<li>We must first identify the light source and the direction in which it hits the hands. This will tell you where your hands need to have the lightest form of color.</li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGDNPiHNyG2OAHAByJCbnDhRRMOR3SH6653KC-Xo4KuhhNg5hgXoj-0QOJZEeocFbU255capZ8o71gbDRECjNcIF3-5sVQ9O2Z8GJeWplFoMiLRtvzMXVjZZ-K-GARzYjTu7AhaFQrmTxA/s1600/Cast+Shadows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1164" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGDNPiHNyG2OAHAByJCbnDhRRMOR3SH6653KC-Xo4KuhhNg5hgXoj-0QOJZEeocFbU255capZ8o71gbDRECjNcIF3-5sVQ9O2Z8GJeWplFoMiLRtvzMXVjZZ-K-GARzYjTu7AhaFQrmTxA/s320/Cast+Shadows.jpg" width="232" /></a></div>
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<li>Next, we need to take into consideration the many different shapes within the hands and the bone structure.</li>
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<li>Each finger has a specific length relative to the other fingers around it. </li>
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<li>The middle finger has the longest bones and each one of the four bones are longer than the ring and pointer finger that share the space next to the middle finger. </li>
<li>The thumb has one less bone and comes from near the wrist. </li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8NwRuVcnZTXt8yh_dl19WML_1OQNbv4iPEOac_JLpgJesEsELUx2BBmYgTE47UWf_q-YVQU0kq_C6cJWgJjNbrV14RpsEYVnD7JxcOYQzCpSh4cbc0EkBWluQJ9OZ5SOqJ4RpGcLUKWja/s1600/Drawing+Fingers+-length.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="516" data-original-width="1125" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8NwRuVcnZTXt8yh_dl19WML_1OQNbv4iPEOac_JLpgJesEsELUx2BBmYgTE47UWf_q-YVQU0kq_C6cJWgJjNbrV14RpsEYVnD7JxcOYQzCpSh4cbc0EkBWluQJ9OZ5SOqJ4RpGcLUKWja/s320/Drawing+Fingers+-length.jpg" width="320" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><em style="color: blue;"><strong>INTERESTING INFORMATION:</strong></em><span style="color: blue;"> </span><span style="color: blue;">Did you know that there are four bones in the hand for each finger and only 3 in the thumb? The bones are each 1/3 shorter than the previous one from the wrist to the fingertips. (This also applies to arms and legs. The large bone from hip to knee (femur) is 1/3 longer than the two bones we have from knee to foot. Also, this happens in the arm you have from your shoulder to your elbow and the two bones that go from your elbow to your wrist.)</span></span></div>
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Think of each finger as 3 sets of tapering cylinders <i>(see illustration #1 & 3</i>). Each segment bone is 1/3 shorter than the last segment. Cylinders are rounded in edge only. Therefore, think about how to apply shading to make the edges become gradually darker. The segments will also have a value change of their own that happens from the light source, being closer or further away, and the angles that each segment takes. In most situations there will be a consistency of the first segment of each finger being the same value as each other. The middle segment will then become <div _mce_style="text-align: justify;" align="justify" style="display: inline !important;">
darker than the brightest. In between the values of the first and last segments of the fingers. In example, if the light is strongest on the back of the hand, the first segment of each of the four fingers will then be an overall shade darker than the back of the hand, and the second segment will be a bit darker than the first segment coming from the hand knuckles. Then the tip of the fingers will be the darkest over all. <i>(See the illustration #4 and below cropped painting of hands together.) </i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJcEO0h8_jcq3tQtMF_vUwiEvpAydoswn4OQTtEoY3UHBzN4vxuIg4SToGwHYMub3Kn0ef_8S9G_4YwZY6TQqcOkhdoka8AvIEWi9xaDplKJw2_J9aQMMyKkOzgj55XD7IG8Ho3NaPwWC/s1600/hands+with+illustration+numbers+for+reference.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="746" height="588" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJcEO0h8_jcq3tQtMF_vUwiEvpAydoswn4OQTtEoY3UHBzN4vxuIg4SToGwHYMub3Kn0ef_8S9G_4YwZY6TQqcOkhdoka8AvIEWi9xaDplKJw2_J9aQMMyKkOzgj55XD7IG8Ho3NaPwWC/s640/hands+with+illustration+numbers+for+reference.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: xx-small;">Copyrights are reserved for </span></i><i style="font-size: 12.8px;"><span style="font-size: xx-small;">all written and images included here, </span></i><i style="font-size: 12.8px;"><span style="font-size: xx-small;">by Bobbi Baldwin 2018. No use whatsoever is permitted without written permission from the artist.</span></i></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4ed0isGe-x_EeQ4V2-LkYxN6IVdTJuHZ5VS8vc4bXwvdUaPIqEgMvBieQeEVHxwVw-6PEqGH71JxUdLvSgrYguG-Y959XKv5KBXnbyt6rE7XNMuXsG93_ZttHchLsqwNIZWq-trLKgV5/s1600/hands+Glover+Children+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="961" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU4ed0isGe-x_EeQ4V2-LkYxN6IVdTJuHZ5VS8vc4bXwvdUaPIqEgMvBieQeEVHxwVw-6PEqGH71JxUdLvSgrYguG-Y959XKv5KBXnbyt6rE7XNMuXsG93_ZttHchLsqwNIZWq-trLKgV5/s320/hands+Glover+Children+2.jpg" width="269" /></a></div>
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<i>Illustration # 3</i> shows that the overall shape of fingers is different in some people. Typically (but not always) a man’s fingers are more squared and blunt in shape. A woman’s fingers are a continual tapering shape, getting thinner at the tip. Men’s fingers do taper, just not as much. </div>
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When foreshortening* a finger, you must always create brush strokes and contour color changes that follow the rounding shape of the fingers, gradually getting lots of value change from front to back. <i>(See illustration #6)</i></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">When we paint hands one of the most important things is to remember to paint around the hands as much as within the hands. <i>(Illustration #5)</i> I cannot count how many times, I have come to a student’s painting and discovered they have been trying so hard to make their hands look good and struggled through the process, never being happy. I come in and paint the negative space around the fingers and it’s like magic, the hands look great. I didn’t do all the work on the contour shaping of the skin tones, but they did. The negative spaces around the hand make the shading work, until we have that in, they look unfinished and not quite right. Also, that negative space between the fingers helps you to identify the shapes of the fingers even better. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Illustration #7</i> shows the fingernails. When we paint the fingernails, we need to keep into consideration that the nail is shiny. It also has a pale half circle of color under the base of the fingernail. Where the cuticle comes over the fingernail, there will be a tiny cast shadow and then the cuticle will have highlights representing the rounded edge of the skin as it curves into the where the fingernail lies below. When you are painting a foreshortened finger or a finger that is pointed towards you and you see the tip first, there will be a shadow under the fingernail as the fingernail grows past the tip of the finger. This should be easy to represent with the shadow and then the highlight of the end of the tip of the fingernail making a small rounded edge. <i>(See illustration # 6)</i></span></div>
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Use lines to represent the wrinkles at the joints when you can. <i>(Illustration #7)</i></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>EXERCISE: Draw your own hand! And keep drawing it until you get really good. </b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>NOTE: Take a trip to Haggin Museum in Stockton. Be sure to spend a lot of time in front of William Adolph Bouguereau's painting of the "Nymphaeum". No one does hands and fingers better than he does! </b></span></div>
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<span style="color: purple; font-family: Arial, Helvetica, sans-serif;">Here is a funny post from Facebook that I thought I would share with you, as it has to do with hands. It was posted by:</span></div>
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<span class="_1nb_ fwn fcg" data-ft="{"tn":"C"}" style="font-size: 12px; text-align: left;"><span class="fwb" data-ft="{"tn":";"}" style="font-weight: bold;"><span style="color: purple; font-family: Arial, Helvetica, sans-serif;"><a data-hovercard-prefer-more-content-show="1" data-hovercard-referer="ARRpkRSbtcSCJw0I6fh_VprlvcHYNXt-o2HFnOENT8VoIo1INonA5eHG1g45uwYVkbQ" data-hovercard="/ajax/hovercard/user.php?id=100005472943427&extragetparams=%7B%22hc_ref%22%3A%22ARRpkRSbtcSCJw0I6fh_VprlvcHYNXt-o2HFnOENT8VoIo1INonA5eHG1g45uwYVkbQ%22%2C%22fref%22%3A%22nf%22%7D" href="https://www.facebook.com/profile.php?id=100005472943427&hc_ref=ARRpkRSbtcSCJw0I6fh_VprlvcHYNXt-o2HFnOENT8VoIo1INonA5eHG1g45uwYVkbQ&fref=nf" style="cursor: pointer; text-decoration-line: none;">Ray Johnson</a><a href="https://www.facebook.com/profile.php?id=100005472943427&hc_ref=ARRpkRSbtcSCJw0I6fh_VprlvcHYNXt-o2HFnOENT8VoIo1INonA5eHG1g45uwYVkbQ&fref=nf" style="cursor: pointer; text-decoration-line: none;"></a></span></span></span><div style="font-size: 12px; text-align: left;">
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<span style="color: purple; font-family: Arial, Helvetica, sans-serif;">The History of the Middle Finger:<br />Well, now......here's something I never knew before, and now that I know it, I feel compelled to send it on to my more intelligent friends in the hope that they, too, will feel edified.</span></div>
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<span style="color: purple; font-family: Arial, Helvetica, sans-serif;">Before the Battle of Agincourt in 1415, the French, anticipating victory over the English, proposed to cut off the middle finger of all captured English soldiers. Without the middle finger it would be impossible to draw the renowned English longbow and therefore they would be incapable of fighting in the future. This famous English longbow was made of the native English Yew tree, and the act of drawing the longbow was known as 'plucking the yew' (or 'pluck yew').</span></div>
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<span style="color: purple; font-family: Arial, Helvetica, sans-serif;">Much to the bewilderment of the French, the English won a major upset and they began mocking the French by waving their middle fingers at the defeated French, saying, See, we can still pluck yew! Since 'pluck yew' is rather difficult to say, the difficult consonant cluster at the beginning has gradually changed to a labiodentalfricative 'F', and thus the words often used in conjunction with the one-finger-salute! It is also because of the pheasant feathers on the arrows used with the longbow that the symbolic gesture is known as 'giving the bird.'</span></div>
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<span style="color: purple; font-family: Arial, Helvetica, sans-serif;">And yew thought yew knew every plucking thing. Didn't yew!!</span></div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-30501620268484949542015-09-07T17:55:00.001-07:002015-09-07T18:16:20.242-07:00Day 31 - and the project summary<div dir="ltr" style="text-align: left;" trbidi="on">
Day 31 - Christine Crick<br />
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Christine works in veterinarians offices. She wore her scrubs for this painting because she just got off a long shift. What a sweetheart she is and it was a delight to paint her. She is my cousin's partner. Steve is the first son of my first cousin, also by the name of Steve. </div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #333333;">A few things briefly which come to mind when I think of this
project:</span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I loved having a new
friend come every day. I loved not having to talk but doing what I do
best, observing their faces. It was such a delight and I looked forward
to each person, every day. And everyone was a delight, such good sports, and
wonderful to paint. Muffin misses everyone. I think she is still
pouting that my friends aren't coming over daily for her to greet. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I thought I would have
gotten tired of this project, but I never did. Every day was a fresh face
with so much for me to see. Looking at the surface of the skin and how
each and every tiny value change formed to make this beautiful person was
heaven to me. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I found that by about
the 10th day, I could build up the whole surface of the skin, placing every
angle and variation in the right space within the first hour. I didn't
put the eyes and mouth in until the end in these paintings that I caught so
well from the start.<br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I found that I ended
up varying my approach to contour vs. features vs. a total sketch. Every
day seemed to be its own. I did end up with a routine that showed up by
being able to complete the large and medium shapes of the head and shoulders,
blocking in what the painting was to be in a rough manner, by the one and a
half hour mark. It became like clockwork. I would work hard and
fast to get the whole painting in a roughed out color variation by that time.
I would inevitably check the clock and find that I still had another hour
and a half to do all the details and refine the painting. I seemed to
hold my breath until that moment and then I mentally slowed my energy to be
more observant of the person. In the first half, my models were only a
variation of light, shape, shadow, shades, temperature, hues, and composition.
I never really looked at the person as a whole until that last half of
the painting when I had to pull it all together. If I had observed well,
it came together easily, and most days it did.<br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I didn't feel well for
a few days and yet I just moved through and trusted my instincts and it still
worked out well. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">The quality of the
painting had a lot to do with how much a person wiggled or spoke. The
wigglier subjects ended up with wider faces. Did you know that every time
you move even the slightest bit, the contour of the profile changes dramatically?
If I tried to catch a smile, the cheeks would puff, as well as the nose
flattening. The chin even changed. It widened as it was stretched
tighter from the cheek muscles pulling. The eyes ... well, they puff up
below, the lower lids actually raise up to hide the iris some, and the crinkles
show up. When I put a Mona Lisa smile on the subjects, the cheeks would
have to puff and the smile lines would become too harsh and then I would look
back at the model and they would be relaxed and erase it because I didn't see
it.<br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">Many of the people who
felt they were too serious don't understand how much I had raised the edges of
their mouths from the relaxation that happens during a 3 hour sitting.
Some tried to get a smile, but I found that when they did, they would try
to engage me, which broke my concentration. A study isn't meant to be smiling.
A formal portrait is. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">It was a far more
pleasing experience when I wasn't asked to try to put a smile on. The
subjects who asked for a smile put pressure on me to do more than I was able to
see. We are so used to the camera's impression of us and instant
gratification with "selfies" that we expect and forget what it takes
to put together a portrait stroke by stroke with a stick and some hairs. We
forget that the painter is constantly analyzing the muscle structure, color
temperature from light to shadow, contour structure, bone structure, variation
of skin tones, and what makes the body look better than what is happening when
sitting in a chair. We take out the extra skin below the chin, make sure
the hair is in the style and color, and so much more. There are 100
different variations of what we need to take into consideration while we are
painting... and then there is the control of the paints, mediums, and brushes
as well.<br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I am very pleased with
the outcome of each of these paintings and this project. I feel there is
so much emotion in the still contemplative portrait. I actually prefer
them to the "California Smile" that we all expect to have in each and
every image that is created of us. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I loved the new colors
and have omitted a few tubes of color in my pallet. I am really enjoying
the colors that Nelson Shanks' workshop introduced to me in 2007. I
hadn't had the opportunity to work with these colors to this extent until this
project. I have decided to keep them in my pallet and omit some of the
colors that I once used. I feel they make a much more natural looking
skin color. This is a huge decision because I used the same 9 tubes of
paint for over 28 years.<br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I will be creating a
new book with these mixtures and sharing my knowledge on skin tones. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">Quitting painting
after only 3 hours took control. I would not have done this if I hadn't
created this project. It is very difficult for me to leave something
unfinished like this. Yet there is a real freshness to doing so.
It's so honest and reactive. It's what museums prefer. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">Yes, I still prefer a
formal portrait which each take 4-6 weeks to complete. I have expressed
it many times that these are just studies. So, they will not be finished.
They taught me so very much and I feel that I will take a new freshness
back to the easel on the 6 new formal commissions I have contracted to paint
within the last month. I will only be taking new commissions for the New
Year. <br /><o:p></o:p></span><span style="color: #333333;">·<span style="font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span style="color: #333333;">I can't wait to share
these with you. I just finished doing the photographs for the book.
I will be going over all the answers that my models gave me and compiling
a format for the book in November. <br /><o:p></o:p></span><span style="color: #333333;">Thank you so very much
to all of my models. I could not have done this without you. You were
all incredible for working with me and allowing me to paint you. It has
been the best of experiences! Thank you. </span></span></div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-6998784581167140882015-08-31T15:46:00.001-07:002015-09-07T16:52:05.900-07:00Day 27 - 30 ... one more portrait to do today! <div dir="ltr" style="text-align: left;" trbidi="on">
Day 27 - Sandra Grice<br />
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Day 28 - Beverly Povonne<br />
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Day 29 - Nick Carlson<br />
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Day 30 - Ryan Hagerty<br />
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Day 31 - will happen at 4:30 this evening! I look forward to painting Christine Crick!</div>
Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-52455760084436793772015-08-31T14:43:00.002-07:002015-08-31T15:36:18.893-07:00Look for me on Channel 40 - Sept. 8th at 8:40 AM!! Good Morning Show.<div dir="ltr" style="text-align: left;" trbidi="on">
I just got great news that I will be interviewed on the news at channel 40. It will be 3-4 minutes of a few of the paintings and myself. I am excited! Please watch! </div>
Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-2924508065487044262015-08-27T18:40:00.000-07:002015-08-27T18:40:00.914-07:00Day 17 - 26<div dir="ltr" style="text-align: left;" trbidi="on">
Well, I am on day 27 of this wonderful project and can't believe that I only have five more portraits to do. I am so excited to be painting Sandra Grice today. She says she has been practicing her three hour smile. LOL ... let's hope it doesn't hurt.<br />
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Here are the photos of the last days. <br />
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Day 17 - Jeannie Schmidt<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjSI-JBPndyX6nL75YTtBHUq33Vmj2WunZYknf4VdUtpozp6SWsgLayEEaG4xFfmsDwiWxLyJqd333js1PNBwMzTUq5WsyI56kOu00AaXCz1aoZz3IXMvd7tYUhlhZkjepY1vblucjDmdO/s1600/Jeannie+Schmidt+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjSI-JBPndyX6nL75YTtBHUq33Vmj2WunZYknf4VdUtpozp6SWsgLayEEaG4xFfmsDwiWxLyJqd333js1PNBwMzTUq5WsyI56kOu00AaXCz1aoZz3IXMvd7tYUhlhZkjepY1vblucjDmdO/s320/Jeannie+Schmidt+painting.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnb6rMF4H1cIXjMB1P6GB1mRhR9eEf0KCv0HfkxcI-0etBCzVV5Ob1KT_bgVZpgQy1mLMQD4xGKRlPiXYS5RMxsl-qq82pPUbJSeioiFx8PovMnUuHs2vh3gGDRp4stLr_CkDmLbOsPSz_/s1600/Jeannie+Schmidt+with+painting+closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnb6rMF4H1cIXjMB1P6GB1mRhR9eEf0KCv0HfkxcI-0etBCzVV5Ob1KT_bgVZpgQy1mLMQD4xGKRlPiXYS5RMxsl-qq82pPUbJSeioiFx8PovMnUuHs2vh3gGDRp4stLr_CkDmLbOsPSz_/s320/Jeannie+Schmidt+with+painting+closeup.jpg" width="240" /></a></div>
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Day 18 - Rob Lerman<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1h1n28BJIEQFHV5Ulq-FtVPZHj53I6U-PBdPRF-QAJZd99AgVNQrxXAD0sMf_foyxoCoS0G5wYv-a7ZB3txAWt2wi7PoNBUgYiepJ2tAUkeFJml_jkTjHae0o85iCMYuh4fFsazzHC38s/s1600/Rob+Lerman+Painting+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1h1n28BJIEQFHV5Ulq-FtVPZHj53I6U-PBdPRF-QAJZd99AgVNQrxXAD0sMf_foyxoCoS0G5wYv-a7ZB3txAWt2wi7PoNBUgYiepJ2tAUkeFJml_jkTjHae0o85iCMYuh4fFsazzHC38s/s320/Rob+Lerman+Painting+3.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDOApgkN8Oja37Lffi5dAZlBvWtO9PqFou3Xz9fYtRWDTJUu2IWK_A994sfGb9SZc_Q85-TBzW8_h5o6EE3WfDu0hLKlggHr3ON5Tp609GX1KKnUjnywViYPyWdGoaC0g27taXWLdIb7f/s1600/Rob+Lerman+with+Painting+closer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDOApgkN8Oja37Lffi5dAZlBvWtO9PqFou3Xz9fYtRWDTJUu2IWK_A994sfGb9SZc_Q85-TBzW8_h5o6EE3WfDu0hLKlggHr3ON5Tp609GX1KKnUjnywViYPyWdGoaC0g27taXWLdIb7f/s320/Rob+Lerman+with+Painting+closer.jpg" width="240" /></a></div>
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Day 19 - Joy Mathers<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPrPIpNNkd_LZpGTqhBdtgHc8mt7lK-e9rPqmgoG8mLZnrQJwn5kNhQ7dkDbQD-wk34PkOAT47DSjhRjb6pdt6bc-4TnvxDeFfXnO9zEyk_fgczAVo7ufaC4Y38ZAs1XQuirdgfcPLOTFy/s1600/Joy+Mathers+Painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPrPIpNNkd_LZpGTqhBdtgHc8mt7lK-e9rPqmgoG8mLZnrQJwn5kNhQ7dkDbQD-wk34PkOAT47DSjhRjb6pdt6bc-4TnvxDeFfXnO9zEyk_fgczAVo7ufaC4Y38ZAs1XQuirdgfcPLOTFy/s320/Joy+Mathers+Painting.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx5XS4be1mrDzkvbiKsl7b0dBN2HqJ1PFiNmITOuvX6lXeR7BC4VcWeqKZwYKqqQHypd4hd_XCbZtC2ZTePoKjaowknbL1P6OyjDBffroUvyvXauFhDvwHb5nq2NeW8PRsPe5gOn2rgxdH/s1600/Joy+with+painting+closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx5XS4be1mrDzkvbiKsl7b0dBN2HqJ1PFiNmITOuvX6lXeR7BC4VcWeqKZwYKqqQHypd4hd_XCbZtC2ZTePoKjaowknbL1P6OyjDBffroUvyvXauFhDvwHb5nq2NeW8PRsPe5gOn2rgxdH/s320/Joy+with+painting+closeup.jpg" width="240" /></a></div>
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Day 20 - Joyanna Nesmith<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjprfaQ5MtrWo1B_Ebi0o3EVYcKntzqOR6lQp20Vm4ejIndB8tXQzXaqOVQKT96dWkMzO0QI4DsmTkML1Iy88fzY8k9DTtvLBSTdzgpdB1HSbbGtLanQI-zYXh8ewAw_E7b8pS2bfKrvMcW/s1600/Joyanna+with+painting+closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjprfaQ5MtrWo1B_Ebi0o3EVYcKntzqOR6lQp20Vm4ejIndB8tXQzXaqOVQKT96dWkMzO0QI4DsmTkML1Iy88fzY8k9DTtvLBSTdzgpdB1HSbbGtLanQI-zYXh8ewAw_E7b8pS2bfKrvMcW/s320/Joyanna+with+painting+closeup.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdRf37Hhn4o6LA5qy-mQnzZJul0CKXmqnvfYLwbw9LllGbrLIOFry0l2CVcziKCpOLiY-8vyF9LBG4SiMZNVK2LatGOq5_uzzLrg5Ko1pbNWoVRdJ9L0uGHeSldeYLI_dRg6ZXRXCDc8j/s1600/Joyanna+with+painting+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdRf37Hhn4o6LA5qy-mQnzZJul0CKXmqnvfYLwbw9LllGbrLIOFry0l2CVcziKCpOLiY-8vyF9LBG4SiMZNVK2LatGOq5_uzzLrg5Ko1pbNWoVRdJ9L0uGHeSldeYLI_dRg6ZXRXCDc8j/s320/Joyanna+with+painting+.jpg" width="240" /></a></div>
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Day 21 - Jennifer Delk<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaodA8YJKRrrOmooaY1KSUUFSzrq_onQ4hUU7IVu5y-j9HNTOmgsI9dZ0fPu65DmnGK2gHK9OOsn0FvQqN-Zu8mlAYhKsjtiE6xjSTY1L7yHy3PZ-UMOfpHm1kF6GYC4vWfXhJx80uXrlh/s1600/Jennifer+Delk+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaodA8YJKRrrOmooaY1KSUUFSzrq_onQ4hUU7IVu5y-j9HNTOmgsI9dZ0fPu65DmnGK2gHK9OOsn0FvQqN-Zu8mlAYhKsjtiE6xjSTY1L7yHy3PZ-UMOfpHm1kF6GYC4vWfXhJx80uXrlh/s320/Jennifer+Delk+painting.jpg" width="234" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGPibkO91q49dQ3s3LhxGwzZw2ZfTEyuwqLYowpjKGwZDc_rZkB-MdWy6NpBkfbHfeywfyBEasDuStO2nDAbJ-MOGX8nYFLiEJU9ra8K1ZAQqHy-HizOwRzCCQ6kqpHs6Lj0pNyDoh6GDt/s1600/Jennifer+Delk+with+painting+closeup2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGPibkO91q49dQ3s3LhxGwzZw2ZfTEyuwqLYowpjKGwZDc_rZkB-MdWy6NpBkfbHfeywfyBEasDuStO2nDAbJ-MOGX8nYFLiEJU9ra8K1ZAQqHy-HizOwRzCCQ6kqpHs6Lj0pNyDoh6GDt/s320/Jennifer+Delk+with+painting+closeup2.jpg" width="240" /></a></div>
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Day 22 - Steve Solis<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh2ClEk2bV0eR-D_ZzGcaLcDCJnpoEgzWbkIDqS7npOUPN-TPor6bGbe943eTPLyat21xuZafWrbAEbxHHhaAHSOmoMF4YFdN7P4u7beqFMbu35JlWXd-Gc94lBve2rG2Z8AvHSg7H9z7O/s1600/Steve+Solis+Painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh2ClEk2bV0eR-D_ZzGcaLcDCJnpoEgzWbkIDqS7npOUPN-TPor6bGbe943eTPLyat21xuZafWrbAEbxHHhaAHSOmoMF4YFdN7P4u7beqFMbu35JlWXd-Gc94lBve2rG2Z8AvHSg7H9z7O/s320/Steve+Solis+Painting.jpg" width="244" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkXfSktVy0A4t_yiBYuPBK7cknkklm1T-UzFG0TOxMAEqdtrJIt8jL5oFVnTP27aMkqSTkrwa4ejbCe9lS7SCDHE_jeRn43t-vFoRxfZZOX1blu7O26WvU-okVHcj67P0lu_R7khTXy2XR/s1600/Steve+with+painting2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkXfSktVy0A4t_yiBYuPBK7cknkklm1T-UzFG0TOxMAEqdtrJIt8jL5oFVnTP27aMkqSTkrwa4ejbCe9lS7SCDHE_jeRn43t-vFoRxfZZOX1blu7O26WvU-okVHcj67P0lu_R7khTXy2XR/s320/Steve+with+painting2.jpg" width="240" /></a></div>
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Day 23 - David Shield<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeB7e5Ppsu8flPwaDsdOaSsVp0erWao7QlLRoF3VPCw-jMoQRKUXqbTIEnfzRwS7GDHNZok0P_dgmxRh04q443Ar1383XGuN_DU-3K8_8x9x2Mbqv4fG6h7r_afAejK5gpKFX0xkfgFxf1/s1600/David+Shield+Painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeB7e5Ppsu8flPwaDsdOaSsVp0erWao7QlLRoF3VPCw-jMoQRKUXqbTIEnfzRwS7GDHNZok0P_dgmxRh04q443Ar1383XGuN_DU-3K8_8x9x2Mbqv4fG6h7r_afAejK5gpKFX0xkfgFxf1/s320/David+Shield+Painting.jpg" width="236" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqdShrrrbMMNKkI17fUhNIZmsQD5sDYZD_9NvRHrHMnJVX0FG7T4b8Zdwg72iTfnftp_GzIa8A5226oC6D90PhU03SayZiW9wKuBsQTTOhvlPfjps-H84-jF95cqm80QiBiE4D1SvRysP/s1600/David+Shield+with+painting+closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPqdShrrrbMMNKkI17fUhNIZmsQD5sDYZD_9NvRHrHMnJVX0FG7T4b8Zdwg72iTfnftp_GzIa8A5226oC6D90PhU03SayZiW9wKuBsQTTOhvlPfjps-H84-jF95cqm80QiBiE4D1SvRysP/s320/David+Shield+with+painting+closeup.jpg" width="320" /></a></div>
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Day 24 - Jeannie Hayes Dufour<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOhI9ZsHxPVVHmvflBdN40h3RCdjnzt4T0WGOH9pDdFSo5yQDFkJrA-N4TkAVtHXHmGAYM11-HJy_mRPZx0kzU5D03AquLC5ruW3Fn3jVeu8SXo1QnrbzlBzAHUVV-nOUyEQsbtMomT_6h/s1600/Jeannie+Hayes+Dufour+Painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOhI9ZsHxPVVHmvflBdN40h3RCdjnzt4T0WGOH9pDdFSo5yQDFkJrA-N4TkAVtHXHmGAYM11-HJy_mRPZx0kzU5D03AquLC5ruW3Fn3jVeu8SXo1QnrbzlBzAHUVV-nOUyEQsbtMomT_6h/s320/Jeannie+Hayes+Dufour+Painting.jpg" width="237" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSg3pgz6_mICxlLU9AI5iVMlkneDDldK8Xo1PBvMRIHJYeAFauuO8ay0zhPqik2fVQQ-aBj2BKbQagqUYeLMM5DzCPTgwaoMMj1is8mvMxyc9vebn-ooofP9EUGB8Qk9G5zo04Wc6iX5Ny/s1600/Jeannie+Dufour+with+painting+closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSg3pgz6_mICxlLU9AI5iVMlkneDDldK8Xo1PBvMRIHJYeAFauuO8ay0zhPqik2fVQQ-aBj2BKbQagqUYeLMM5DzCPTgwaoMMj1is8mvMxyc9vebn-ooofP9EUGB8Qk9G5zo04Wc6iX5Ny/s320/Jeannie+Dufour+with+painting+closeup.jpg" width="240" /></a></div>
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Day 25 - Joanne & Bob Liston<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELHk1y-PTbTukpa1Ywhu_KjZlxUpEBPsyej63kX5VhWiXiVm4DVHx924BmMukQSQ3GKhAQqIzImTDYuvOU6_4z-P9vGnO9jAD4NgDF6Ijh1N2LhkoaXnzirbpjL4C7TLTxla4efloJjgN/s1600/Joanne+and+Bob+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELHk1y-PTbTukpa1Ywhu_KjZlxUpEBPsyej63kX5VhWiXiVm4DVHx924BmMukQSQ3GKhAQqIzImTDYuvOU6_4z-P9vGnO9jAD4NgDF6Ijh1N2LhkoaXnzirbpjL4C7TLTxla4efloJjgN/s320/Joanne+and+Bob+painting.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxUhBHcqmroUwTzoi-itVCNq4KsRhPNmXY-ZW32bEgCpPQaJCKZMwu_flvqZhcK6jhm8wzI-y1Z5gJEw_rOs_TXp-eviU3kVc9Pcz7yF6yh-lZ704GoOT4vD4iy3Ftj6bQnsWTcwOOYHS/s1600/Joanne+and+Bob+with+painting3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxUhBHcqmroUwTzoi-itVCNq4KsRhPNmXY-ZW32bEgCpPQaJCKZMwu_flvqZhcK6jhm8wzI-y1Z5gJEw_rOs_TXp-eviU3kVc9Pcz7yF6yh-lZ704GoOT4vD4iy3Ftj6bQnsWTcwOOYHS/s320/Joanne+and+Bob+with+painting3.jpg" width="320" /></a></div>
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Day 26 - Cendrinne DeMattei<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZTz1eh_GeF5bYxeXWrROgwsj2BEyX3pITWuFHMh_UQ5VsH_tVL1qCGHtkkyIhyeVI63D2HtkwnkAvaoLOHfpncB1xeW8zrV5J6yxDSKbv_q6rzznF3vAXaBxtU4aUXuD1sppIvUSq3v1/s1600/Cendrinne+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZTz1eh_GeF5bYxeXWrROgwsj2BEyX3pITWuFHMh_UQ5VsH_tVL1qCGHtkkyIhyeVI63D2HtkwnkAvaoLOHfpncB1xeW8zrV5J6yxDSKbv_q6rzznF3vAXaBxtU4aUXuD1sppIvUSq3v1/s320/Cendrinne+painting.jpg" width="235" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaqJAdoaCOcFa4iA7IZJ1bmM1qSvAJdWbO9jneiEyMZlh_PY5fUMvU3-s-JBgHNssvWQdWiBxEnUTjrWY_Ofqs7zITvryALwquMd_KHD3jI7V4KtwZHx8JzvPcv5VlCm4HB0WAxpLyicoI/s1600/Cendrinne+with+painting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaqJAdoaCOcFa4iA7IZJ1bmM1qSvAJdWbO9jneiEyMZlh_PY5fUMvU3-s-JBgHNssvWQdWiBxEnUTjrWY_Ofqs7zITvryALwquMd_KHD3jI7V4KtwZHx8JzvPcv5VlCm4HB0WAxpLyicoI/s320/Cendrinne+with+painting.jpg" width="240" /></a></div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-25906712494116718092015-08-27T12:56:00.001-07:002015-08-27T12:57:26.632-07:00New formal commissions!<div dir="ltr" style="text-align: left;" trbidi="on">
Wow! I can't believe I am up to day 27 today! The time has passed so fast. I am really enjoying this project and it is so incredibly special to have a new person to paint every day. This is actually heaven for me. If I got to do this every day for the rest of my life, I would die a very happy woman. LOL ... okay ... put the brakes on that romanticized thought. <br />
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I do want a couple days off in the midst of it ... and I would like to take each and every one of these paintings into the stage of being a formal portrait. Okay ... I guess I might have to take that statement back, my other side is kicking in. In fact during the last 10 days that I have missed posting, I have actually contracted to paint five more formal paintings after this. I am so very excited to paint the cutest little girl by the name of Avery. She is 18 months old. I have just gone through the few hundred photos that I took of Avery at her Grandpa's home on the river. There are some very adorable pictures and now my job is to create 3 small "color studies" showing what the large painting will look like in a very impressionistic small study. Then, the parents and grandparents will get to choose which painting will suit their needs best. And I will begin. I hope to have those done by the first week of September. <br />
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After that, I have four more paintings to paint for a local Native American Indians Band. I have been painting portraits of their tribal elders for the last few years and this with be the 9-12th portraits I am commissioned to do for them. I don't post much about this nor the photographs of the finished portraits because of their privacy. Even though I wish I could; I feel these are some of my best work.<br />
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I love working with them and really enjoy the business they hire me to do. Each of these people that I paint become a sort of spirit that I get to embrace for a while and it is a wonderful job to have. But, I have to tell you how they found me... it started somewhere between 1995-2001 when a 17 year old boy came into my gallery, then Baldwin Gallery in Fair Oaks Village. Daniel said that he knew then he wanted to have me paint a portrait for him and told me so. I guess I let him know that would be expensive. LOL. That sounds like something I would say in the presence of a young lad that I knew I couldn't help at that point. Now, fast forward to four years ago, or so. His assistant calls and sets up a meeting to interview me for a portrait of Daniel's grandmother. As they are arriving, Daniel tells her "No, turn left. (pointing to the village) That's where she was." His assistant says, "Let's visit this one first and then we will go over there." As I am going through my portfolio with them, talking about what I can do, Daniel sits back and says "You're the one!" <br />
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I love synchronicity. It shows up all the time in my life and I take it as something that is a God send and meant to be. I honor these moments and the experience that is brought because I feel it is what I am supposed to be doing. I have since done 8 tribal elders and I feel like I know each one intimately. In the mean time, I am learning more and more about the culture and ways of my now extended Native American family in spirit. <br />
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I am a sixteenth Cherokee, I am told. Although, Grandpa used to tease me by saying we are Blackfoot because I never wore shoes as a kid. <br />
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Each of these "Formal" portraits will take me 30 to 40 hours a piece over a period of 4 to 6 weeks. Some will be done simultaneously at different stages in order to get them all done in time. In contrast to what I am doing for the 31 in 31 "study" portrait, the formal portraits are finished to the very last detail with many hours studying the bone structure, and making sure that I have every possible detail in the painting to ensure that I have a pleasing and flattering portrait that really represents the person in the best way. <br />
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I can't wait to get started... </div>
Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-40809663484483797742015-08-27T12:30:00.000-07:002015-08-27T12:57:47.013-07:00Press Release... <div dir="ltr" style="text-align: left;" trbidi="on">
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<b>Press Release<u5:p></u5:p></b><span style="color: windowtext;"><o:p></o:p></span></div>
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<b><span style="color: windowtext; font-size: 24.0pt; line-height: 118%;">NEWS<u5:p></u5:p></span></b><span style="color: windowtext;"><o:p></o:p></span></div>
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<b><span style="color: windowtext; font-size: 12.0pt; line-height: 118%;">For Immediate Release<u5:p></u5:p></span></b><span style="color: windowtext;"><o:p></o:p></span></div>
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<span style="color: windowtext; font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt;">Contact:
Bobbi Baldwin - Baldwin Fine Art<u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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7850 Winding Way, Fair Oaks, CA 95628<u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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<a href="mailto:Bobbi@BaldwinFineArt.com"><span style="color: windowtext;">Bobbi@BaldwinFineArt.com</span></a><u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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916 505-8253<u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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<a href="http://www.baldwinfineart.com/"><span style="color: windowtext;">Www.BaldwinFineArt.com</span></a><u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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</span><b>31 PORTRAITS IN 31 DAYS PROJECT</b><span style="color: windowtext;"><o:p></o:p></span></div>
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<span style="color: windowtext; font-family: "Arial Narrow","sans-serif";">Local artist has accepted the challenge of painting a
portrait from life every day for 31 days for the month of August to bring
awareness to the value of original hand painted portraits. <u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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<b><span style="color: windowtext; font-family: "Times New Roman","serif";">Sacramento August 24, 2015</span></b><span style="color: windowtext; font-family: "Times New Roman","serif";"> - As this month has been progressing
Sacramento’s very own artist, Bobbi Baldwin, has been painting one oil portrait
per day of local Sacramento people, from life, and will create 31 in all,
throughout the month of August. <u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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<span style="color: windowtext; font-family: "Times New Roman","serif";">Bobbi Baldwin celebrates 30 years of teaching fine art
portraits to adults throughout the Sacramento Area and around the USA.
Baldwin says, “You can take a picture with your phone. Then you see what the
camera sees, nothing more, and nothing less. A portrait painting is the
artist's interpretation of the whole person, the character … done stroke by
stroke with a bunch of hairs attached to the end of a stick." In
order to create a really beautiful portrait an artist needs to get to know
their subjects well. The first step is
this type of quick study. Baldwin said these quick studies are very
challenging as they are done in hours rather than the month it usually takes for
the artist to get the whole person’s character and personality.<o:p></o:p></span></div>
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<span style="color: windowtext; font-family: "Times New Roman","serif";">The study work that is produced during this month will be
featured in her book coming out in December of 2015. The study work that
is produced during this month will also be unveiled at a reception gala event
at the end of September in Lodi at the Watt’s Upstream
Winery. <u5:p></u5:p></span><span style="color: windowtext;"><o:p></o:p></span></div>
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<b><span style="color: windowtext; font-size: 8.0pt; line-height: 118%;">Closer: Bobbi Baldwin, a 50 year resident of
Sacramento Valley, teaches for the Crocker Art Museum as well as many other
locations. She is a founding member of the Portrait Society of America
and has studied with some of America’s finest portrait artist throughout her 33
years of painting and teaching. Bobbi has a real passion for teaching
budding and experienced artists.</span></b><span style="color: windowtext;"><o:p></o:p></span></div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-62840000904430143272015-08-17T13:24:00.000-07:002015-08-17T13:24:11.829-07:00Where has the time gone... Day 17...and all the previously missed days...<div dir="ltr" style="text-align: left;" trbidi="on">
Well, somehow I got through the toughest week of the month and I am excited to say that this week shall be calmer. (I hope) Last week I taught not only did a portrait per day for three hours, but I also taught 4 classes spread over 3 of the days, finished and delivered four paintings, and managed to fit in a couple meetings with friends. It was a busy week. phew! I am glad to be beyond it. But, the Sutter Club "Fear No Easel" paint and sip event on Friday turned out fantastic. It was our second event. Steve Solis, my friend and co-heart in this event was a great help and kept them all amused as well as helping so much with their paintings. Even though this type of event is so popular throughout our nation at this time, it isn't cost effective nor what I want to do. I prefer to get the students into a lecture series class where I get to further them in the style of painting that they find most pleasure in. So, this is the only organization that I do this for. Probably because my dear friends David and Sandy Garese are members and David is the event coordinator. So, it is a very light-hearted event and I am happy to do this for them. Still planning for any new class takes a few extra hours and lots of planning beyond the time of the class. It went off without a flaw and was so very fun. <br />
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Back to the project...<br />
I haven't written since day 10 with Marcia. <br />
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So, here is a quick overview of the last week. I will write more later. There is not painting posted for Jo Montgomery, as it needs revisions. More later...<br />
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Day 11:Hannah Redfield<br />
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Day 12: David Redfield<br />
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<span style="text-align: left;">Day 14: Mary Lou Dales</span></div>
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Day 13: Jo Montgomery<br />
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<span style="text-align: left;">Day 15: Carol Lunn</span></div>
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Day 16: Emily Maker<br />
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-73319877034431867052015-08-10T15:03:00.000-07:002015-08-10T15:03:02.493-07:00Day 9 & 10 - Marcia and Sandy<div dir="ltr" style="text-align: left;" trbidi="on">
I apologize for not getting my posts up for the last three days. First I was sick and then my computer wouldn't post them because of the internet issue that happened with my laptop, that evening. I was too tired to find another computer and thus, I am slow to post. That's what I get for trying to have some social time! LOL ... what was I thinking! ...Work, work, work! My boss is a slave driver. <br />
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Day 9 - Marcia Kiesee is a student of mine who I see weekly or twice a week when she plein air paints with me on Saturdays as well. She is an incredible artist herself with really harmonious use of colors, which she arranges in a the most interesting paintings. It was a delight to paint Marcia, but impossible to not talk. I am happy to say that I did get a painting that I like very much from her sitting. She has this great sense of humor and catches me off-guard every time, then has me in stitches while I try to paint. It was nearly impossible to stay quiet and strait faced for the pose at moments. Love this lady and I am so happy she sat for me. <br />
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Day 10 - This morning I had the opportunity to paint another student Sandy Allie. Sandy is also an artist and has work on her websites: SandyAllie.com and SandyAlliesSculpture.com. She is a very talented sculptor! We met through a class that I taught at the Crocker Art Museum several years ago and Sandy has been keeping up with me on the internet since. What great cheek bones Sandy has. She says there is some Native American blood in her and that is where the cheek bones come from. Sandy has eyes that switch to a color that is more green in other situations but today with all that gorgeous coral color bouncing into her face from her shirt, I only saw dark blue. <br />
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Her blouse was a true mixture of Napthol Scarlet and white. It was great because this is the color of red that I have settled on out of all the cadmium and scarlet colors of red that I have been playing with for flesh tones. I am loving my Napthol Scarlet. When I use it in the lightest values of the skin, it captures that fleshy soft skin tone that I am liking so much. <br />
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I have included a photo of Muffin, the studio dog who greats everyone and sleeps by us while we paint. She has never met anyone she doesn't love. Muffin was a gift for my mom from my sister and I for Christmas a year before mom passed in 2013. She is now 3 and what a princess she is. She deserves that title as well because she is a pretty good little girl. She is a great greeter and can't wait for the next person to come in.<br />
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So, I wanted to write something a bit more about the process of painting portraits. While I am working my mind is continually trying to remember the "recipe" for a color that I have applied previously in the same area. I am also constantly reevaluating the space between and shapes of color in all the areas of the face. I don't see a face as a whole person during the process. Unless I lean back and squint at the painting, generally all I am seeing is the small areas in a face that create a puzzle of colors and values that when all arranged correctly form the human face of this particular person. And even though we all have the same features as in two eyes, one nose, one mouth, hair, chin, etc., everyone is SO different as to the facial arrangement of muscle and bone structure. Some have dimples in chins, some have high cheek bones, some have eyelids that are very rounded ... some straight. You get the idea. So in order to paint a portrait you have to be able to see not only the whole structure of the contour of the person's features, but you have to see every little idiosyncrasy that makes their face unique. If you are off by a milometer often it is the difference between really capturing a person or not. As a painter, you must really hone your skills to be able to see the slightest angles or adjustment of value which would change the angle of the contour, plus thin or thicken any area of skin. </div>
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I am using the same lighting, chair, and position for everyone I am painting. Thus, the colors are similar except for the clothing and shade of skin each person has. And yet the two different elements have me continually working to reinvent the way that I apply those color mixtures that I am enjoying so much. I am using, a deep magenta, mossy green, pale blue-violet, and other variations near these colors into the shadowed side of my face. Because I am working with ambient light through the window (North), my light is really cool. But, my shadows aren't extremely warm and I also have a bit of light coming from the opposite side. The studio lights are also balanced light. So, I am going for a very natural lighting that isn't too hot. I wanted to have the two sources soften the shadows, in order to flatter my subjects more. I used to paint in a far more classical high contrast manner, defining the light from the shadow to a degree that it was far harsher but made a striking painting. My goal in this month is not only about the colors of paint that I am adjusting but it is the way in which I light my subjects. </div>
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Now multiply all these things that I have mentioned by 100 each and you won't yet come near to the amount of thoughts that I have going through my head during the three hours of painting the subject. And you can see why a formal portrait of the highest quality takes over 20 hours for the simplest one. These studies that I am doing for three hours are just the initial reaction I have to the models and what I can pick up on, in that short of a time. When I really get the opportunity to do a great portrait I spend hours and hours analyzing exactly how I can adjust the value or any other minute detail to create a truly gorgeous painting of someone. </div>
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These studies are fun. I am really enjoying just being able to let go in the initial stages at such a fresh point, in something that I consider unfinished. It is an exercise that will be forever in my mind and one that has already taught me so much about what I want to change in my approach to the formal paintings as well. Thank you again to my wonderful 10 models that I have had so far! I am 1/3 of the way through the month and I am LOVING this. I hope you have been enjoying as well. </div>
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I have gotten so many good comments on how people really appreciate watching this happen. Thank you! </div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-78952867287022974872015-08-10T13:37:00.000-07:002015-08-10T13:37:34.080-07:00Day 7 & 8 - John and Audrey<div dir="ltr" style="text-align: left;" trbidi="on">
Day 7 - John - What a sweetheart with big dark blue eyes. He brought me irises. At 8 he is already learning the way to a woman's heart. Girls love flowers!<br />
John was a bit squirmy. But, that is his great personality. It's just harder to capture someone when they are too interested in what I am doing and not focusing on the movie. All in all, I captured his look. John is the son of one of my students, Martha. I am so happy that I got to meet him and spend the time creating this painting. What a handsome guy he is!<br />
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Day 8 - at 10:00 AM this morning I met Audrey, the beautiful granddaughter of my classmate, Gail Comstock, from Casa Robles class of 1976. What a sweet and bright young lady Audrey is. She was very beautiful in her turquoise dress and even drew a picture for me! I am very happy with the outcome of her painting and actually having the time to get the details of the dress and her arms in. That is a lot to pack into 3 hours. As Audrey's mom Kara was filling out the questions that I ask of everyone, she asked Audrey what her best experience was. They came up with a trip to Mexico but there wasn't a lot of excitement surrounding the answer. So, it was really cute when Kara wrote on FB that Audrey and her both think this was the most exciting experience of her life yet, to sit for a painting. :*) <br />
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All these kids are so sweet and wonderful. It makes me miss my son being young. He is 30 and is still single. (I am taking applications for a mother to my grandchildren! :*) Just kidding. He wouldn't be happy to have mom's help and is actually doing fine on his own.) Gary is a journeyman electrician in the commercial field and manages about 6 other electricians under him. I am really a proud mom. <br />
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Well, unfortunately I wasn't feeling good at all since day 6. So, I didn't blog yesterday (written on 8-8-15) because I slept to try to get rid of the horrible headache that I had. Good news ... as of today I am back to my happy, healthy self! Yeah. <br />
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I had coffee with my dear friend David on Thursday evening and he asks such poignant questions. I was all set to talk about it but my brain can't recall what it was that I was going to talk about. It's hard to be witty, deep, and right brained at the same time. I will keep trying to remember what that was that we were talking about and hopefully hit that point in the near future.<br />
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It seems my life is a maze of fun encounters where I think I might be having more fun than those who have to sit for me. But, at least with all the kids I have done this week, they get to watch a movie or two as well. I know I am not getting as good of a painting as I could because I am listening to the movies and distracted from what I usually think about when painting to music alone for adults. I feel that I could do far better. I have one more little girl and the rest of the models are going to be adults. So, I can have them sit without the television involved and hope to get better focus and paintings. <br />
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Even with those issues and my bar set so high, I do feel that I caught the character of each of these handsome and cute little kids. It's been very fun. Please don't take my correction of myself and sharing my higher standards for my work as a criticism or lack of self confidence. It is the push behind me to make myself a better painter daily that makes my work stronger every time I go back to the easel. Without this inner critic, I would be satisfied and passively never learn or desire to learn more. I teach my students that no matter how good you are as an artist, there is always a bar that is higher than we are now achieving and that bar is what makes us better artists. It's true that a 3 hour painting of this degree is good. But, I strive to be better than good and hope that some day I will be excellent. Thank you if you think I am now. <br />
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The trick I tell my students is that you must not beat yourself with that bar. It's one thing to recognize it but another if you stop yourself from doing any more work or believing that you can do better work that causes damage. This applies to everything in life. <br />
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-30429298662590340172015-08-06T20:56:00.000-07:002015-08-06T20:56:04.520-07:00Day 5 & 6<div dir="ltr" style="text-align: left;" trbidi="on">
Day 5 was a great painting day. I am really happy with the portrait of Laura Getman. I was too tired to write last night so I am including this post in with Day 6. Laura is a student of my lecture series on Tuesday nights. She had the desire to learn more because she is an art docent for the Crocker. And lately she has been painting with me as well. It was a delight to paint her with all her blonde curls and great sense of humor. I really like how her portrait turned out.<br />
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I had two classes scheduled, my usual for Wednesday. so Laura sat from 6:30 PM to 9:30. She was a trooper and I was up for it. It couldn't have gone better. I had to turn on a lamp because the normal north lit window was going to be a problem with the sunset. And I don't feel it could have gone better. I just felt that flow that every artist wants to have when they are painting. I felt her in the painting within an hour and a half. Then, I spent the second half of the evening just working on details. <br />
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It's funny how I began with no background color at all and by yesterday, I was painting the full background. <br />
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But, unfortunately, I was awake until midnight with all the energy I found. <br />
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Day 6 - I didn't sleep well last night due to being awake until midnight and then a nose bleed that woke me at about 4:00 AM. I was awake until 5:30 and have had a splitting head ache all day. So, I am working on scheduling the bipolar cauterization procedure at Stanford for the end of Sept. It's time. It's a simple surgery that will stop the nose bleeds for a while. I have had this procedure done once before in 2010. And it worked well. So, I look forward to being free of this for a while again if all goes well. <br />
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Wyatt's big brother, Jackson (11 years) was my model at 2:00 PM today and watched two movies while he sat for me. What a very handsome guy and family. The two boys have such great features and dimples. I again wish I could paint them with that smile where the dimples really show. But, there is a bit of one in the chin on Jackson. I am not sure the movie idea is that great because they kind of end up with a bit of a glazed over look in the painting and yet it is easier for the young ones to keep them slightly still. Three hours is a very long time for a child. They are troopers! What a delight to get these young kids willing to do this. These two young guys are jewels and so polite. I am thrilled that their dad, David Redfield, found me and decided to do this for his family. It has been very fun. By the way, if you are in need of a great insurance agent, David Redfield is the right guy for your needs! (I need to give a plug to my new friends.)<br />
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Tomorrow I am painting John Patrick, who I understand is 9.5 years old! :*) <br />
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Now ... I am off to sleep to see if I can get rid of this headache. Good night all. <br />
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-4243892943360749082015-08-04T19:36:00.001-07:002015-08-04T19:36:11.465-07:00Day 4 - Painting an eight year old...<div dir="ltr" style="text-align: left;" trbidi="on">
Day 4 -<br />
My model today was Wyatt, a very handsome tall brown eyed 8 year old. Wyatt's father, David, runs the "I Love Fair Oaks" page on Facebook and is an agent for State Farms Insurance. I was honored to meet him recently as he is from my neighborhood; it's great to meet another local business owner. I am so very excited that David has scheduled his whole family of five for this project. <br />
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Wyatt was a great sport sitting for 3 hours for me. So, I put on a couple movies for him to watch so that he wouldn't be bored. He is really a sweet young man and I thoroughly enjoyed working with him. Although his expressions continually changed from the emotions of watching a move and there were times that I suggested he might want to sit up, Wyatt was very good at sitting still enough to capture him. <br />
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Today was a great day. And I am thoroughly enjoying this so far. Yesterday's philosophical rant was just that. There are always going to be deep passionate ideas about art that come up for me, because it is a passion and I am in a learning stage. So, I nailed it, vulnerable. And that's totally okay. For today ... I am glad to allow this. <br />
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Today the painting process was easy, so much so, that I repainted and spent much time just softening and solving the small details. I was actually done in two hours but the last hour was good to spend more time reassessing my drawing and color contrasts. <br />
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I taught class during the morning and took an hour to eat lunch and then Wyatt arrived. I am tired and don't have a lot to say ... other than ... what a very good day! <br />
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Thank you to all of the models and their parents! This is such a satisfying project and I couldn't do this without you.<br />
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-21681204390490818222015-08-03T17:13:00.000-07:002015-08-03T17:13:12.623-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Day 3 - </b><br />
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<b>Barbara Manwell</b> was my model this morning! I really like
Barbara because she is so natural, real, and a beauty in her late 60's. Her eyes are like aquamarine jewels. She is my
student and friend. <o:p></o:p></div>
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I am loving this project. The paintings are nothing like
my formal portraits because they are so fresh and unaltered from my first
impression of the colors and character. They aren't perfected. They are a
reaction, a "study". It's enlightening as a painter to be able to let
go of a painting after 3 hours when you are used to working for hours and hours
on a painting, working and reworking until it is perfect. This is fresh and
fun. Like letting go of an addictive behavior, though, it is hard to do. <o:p></o:p></div>
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This morning I received a criticism to my painting on
Facebook stating “too bad she didn’t capture your real beauty” or something
similar. <o:p></o:p></div>
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<b>And maybe what this month is all about is allowing a new vulnerability for my models and myself. </b> </div>
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After I read the displeased
statement on Facebook, I did two things.
I deleted the statement for the sake of my own self-protection and then
I unwillingly had a long nosebleed. (What can I say?!) I wasn't angry, just contemplative as to what it means and how to react. I
have learned how to stay calm on the outside and yet my blood pressure rising
is obvious that I am still the very sensitive person I have always been. I wasn’t upset.
I knew that I didn’t capture Arlene’s cheerful nature; yet, I look at that painting and don't want to change a thing. It's very sensitive as I find Arlene to be. </div>
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Maybe there is more to experience in life that this 'allowing' will bring forward. Maybe I need to let my guard down more to let things just happen. Let go and let God. (Please God, no more hard lessons though!) This plan seems like one of those ideas that come from beyond me and so maybe this is the underlying reason: I need to allow myself to be more vulnerable. In my early life, I allowed it often and I have had many great experiences because of it. But, harsher ones the older I got, so I have been very protective in the last years. Maybe this is the wake up to start opening my mind and heart to more new experiences. I hope so. (LOL ... this type of talk can't be avoided ... there is a deep analytical philosopher in my soul.) I work so hard to protect myself from criticism and rejection -so much that I don’t take chances. Yet, this month, I am really allowing myself to be vulnerable with this project, as my models are allowing themselves to be vulnerable to my observation and ability to immortalize them. </div>
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<b>I am so thankful to my models with beautiful spirits and souls. </b></div>
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<b>Artist's style: </b> Although I have had a great response from my sitters, I knew there was a chance that there would be some
portraits that people wouldn’t feel brought out the best or didn’t
capture their image the way they wanted to see themselves. AND, I totally understand the artists
that end up going to the point of distortion of the image as to avoid the whole
dilemma of capturing someone the way they want to be captured. When I do a formal portrait, I spend hours smoothing
and making my brushstrokes and color values/temperatures subtle to flatter my
subjects. I thoroughly interview the families ahead of time to try to pick up on anything that might be an issue for them in the way I portray them. I spend over 30-40 hours in
the process of painting a classic painting in order to achieve the perfect
effect that flatters but also shows them at their best. With this project there is no time to really
put that extra effort in to doing anything but reacting to what I see and
putting it down on the canvas. So, I am setting myself up for this kind of vulnerability as are my models. But, isn’t that what this exercise is
supposed to be about? <o:p></o:p></div>
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<b>Should artists paint to please others or should they
paint what they interpret from their own personal vision and insights in
life?</b> It’s as though we are talking
about two different subjects when we speak of the two ways to paint, but we aren't. Yes, as a professional portrait painter for
33 years, (August 16, 1982) I have been adjusting people’s images to be
only the best they can be seen. So, I am great at painting to please others. But, how
can any artist paint without their own personality showing, even in those circumstances? It's inevitable that my personal influence to a subject will show up especially when I paint fast. I know many gallery owners and other artists who would say "Bravo!" to this because they feel that art is merely an expression of the artist and should not be constricted to please anyone but the artist. And yet, it is very difficult to allow vulnerability when there are so many opinions out there to sabotage a good artist. </div>
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Which brings me to: <b>What is the artist’s responsibility?</b> If I were a museum artist whose goal was to
only show the world exactly what I see in every minute change of value and
color, the world might appear a bit more in high contrast for me. I see and feel everything because I am as sensitive and analytical as I am and know so much about psychology. I tend to be the truth seeker in life and it shows when my work is as honest as it is in these 3 hour paintings. Is it my job to do that, really? ... to show what I see without a filter? Or is my job what I have defined it to be over the years ... showing what I want in well worked pleasing paintings? Isn't that my personality showing also? </div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-2060446038888268702015-08-02T17:24:00.002-07:002015-08-03T17:13:44.697-07:00Day 1 & 2 photos of paintings and models<div dir="ltr" style="text-align: left;" trbidi="on">
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-86590245147749515742015-08-02T17:03:00.001-07:002015-08-02T17:03:45.818-07:00Day 2: 31 P in 31 D<div dir="ltr" style="text-align: left;" trbidi="on">
<b>August 2, 2015 - Day 2</b><br />
Well, I am off to a wonderful beginning! The painting of <b>Brooke</b> yesterday was a great start. She is a very sweet young lady with a great future ahead. She wished to put her engagement ring into the pose and so I felt a bit of a time challenge to make it happen but I did feel good when I made it happen within the 3 hour scheduled time. It was so very fun to work with her. It is difficult to sit that long without talking but she was great. Her smile was contagious and I found myself smiling a lot during the moments where I asked her to hold a "Mona Lisa" smile. I wish I could have painted her gorgeous smile but it is impossible to hold that pose for 3 hours. I am happy that this went so well and pleased with the outcome. <br />
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I am so happy that I am doing this. So far, I am really enjoying this and my models seem to tell me they are also enjoying this. <br />
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Today, I had <b>Arlene Gorman</b> pose for me from 10-1 and I just loved the outcome. Arlene and I go back a ways and have always enjoyed catching up. As she found out, I cannot answer questions well when I am focused on painting. In fact, I really shouldn't talk in order to do a good job. But, we did manage to get caught up! Luckily for her, I don't have any updates other than work. Arlene is a beautiful light to auburn haired friend with sparkling blue-green eyes and has always had a great outlook on life. I know you have already heard this, but I wish that holding a smile for 3 hours was possible so that all my paintings could have teeth in them. But, pushing myself to get this much done so fast is it, for now. I do try to get that slight smile that shows softly by the lifting of the corners of the mouth. "Mona Lisa smile".<br />
<br />
<b>What I am finding about the painting process:</b> Yesterday, I kind of struggled with my thoughts about how to approach this. After all, it was day 1 and all that applies to it. I knew the recipes and my color was accurate to what I wanted but there was a process that I hadn't slipped into yet. I need to be able to see exactly what I needed to see down to that little crease behind the eye when there are shadows, eye makeup, and distance between us. I am working about 4 feet back from my models.<br />
By the way, they will all sit in the same high-back dark yellow-green velour chair. A chair that has seen many interesting moments because it was one of my mom's chairs from her private practice as a marriage, child, & family counselor. <br />
<br />
Yesterday I got into my groove by the end of the sitting but I was slow to get there. Today, however, I found that I was much more accurate in the placement of strokes to represent the colors/value I saw in Arlene. I ponder how much of the ability to capture one person faster or labor longer is due the smoothness of skin and the way that there are less "landmarks" in smooth skin verses those of us that are past 40. I think the more landmarks we have the easier it is to capture a likeness. Although, then you deal with the fact that most of us want to be flattered, for those landmarks to be softened or taken out totally. <br />
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<b>My goals: </b>Working from photos makes you lazy. I am doing this exercise for myself to heighten my observation of color in people. I have been working from life off and on for my whole life, but when I go to the studio and the model isn't there in front of me, I tend to depend too much on what a photo records and not the true reality of vision. I felt like I was working too much from photos and wanted to take my level of observation from real life to a higher understanding. <br />
It was exhilarating when I felt that today. I felt every color and shift of color according to the temperature of the light or shadow on my subjects. I was far more comfortable with the progress of my painting by the 2 hour mark -when I needed to have all the areas filled in and to begin working on the details that softened the skin and flattered Arlene. Although, I would love to take each of these into a formal portrait and continue to work on them long after the 3 hours, that isn't the goal and all of my little changes that I still want to make are not allowed. So, I force myself to stop working on the paintings at the 3 hour mark. Ooookaaay ... I admit it. I may have adjusted a couple minor things after the model leaves. But, it is dangerous to work without your model. A little is good, a lot is bad. But, in the end, I need to remember what my models have said when the 3 hours are done: Arlene loved it and said "that's what I look like!" Brooke said she "loved it". So, I am pleased with that. <br />
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<b>Other work involved: </b> As for the work involved, the "model releases" are being filled out, here. It's always so hard to get papers made out ahead of time. I do appreciate those who did fill them out and send them to me ahead. But, life is made of moments where we reinvent the plan. And, that's okay. As in the four people who I am about to reschedule. It is difficult and I apologize to those who asked me earlier to do this. I just haven't had any time during July to solve this. Now it's a must. I do however still have four people on the waiting list as an option if I just cannot find a way to fit the others in. <br />
I am also concerned that I haven't been receiving the written questionnaire that I am counting on for the book. I have had 2 out of 2 models without that filled in for me. I sure hope I get those back, they are the basis of how I plan to create the first of two books that I have planned. I want to share what I see from the inside out by having the words from the models to put next to their paintings. <br />
I do know ... I need not worry. It does always work out... it's a mystery how. (Shakespeare in Love reference.)<br />
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<b>Feeling: </b>I was exhausted yesterday after painting Brooke (probably because of the young ladies I worked so hard with last week and maybe some of the HHT) ... but today I find myself energized again. After the session with Arlene I met up with a close friend for lunch at Jack's Urban Eatery and then shopped at Trader Joe's for my healthy morning smoothy ingredients of spinach, kale, egg, protein & green powders, avocado, almond milk, pineapple juice, strawberries, blueberries, and banana. It may sound awful, but it is actually delicious! I have been drinking this for breakfast for 3 years now and without it, I feel spacey, and unfocused. A healthy lunch with Lori was grounding. I find that at this time in my life I am so blessed with the best friends I could have and feel so thankful for all of them. Some male and some female, some students, some BFF's, some from high school, some life just gave me, and some have 4 legs. I couldn't be more blessed in that area. Feeling happy. Feeling loved. <br />
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Tomorrow's model is Barbara Manwell. Can't wait ... </div>
Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-52165876379676349812015-08-01T11:12:00.000-07:002015-08-02T15:11:00.367-07:00Day 1: 31 Portraits in 31 Days...<div dir="ltr" style="text-align: left;" trbidi="on">
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July 31, (I tried to post this yesterday from my phone but had no luck) </div>
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Wow! This week has been challenging. Teaching 8 promising (but nonverbal or expressive) young ladies (14-17 yrs.) to produce lots of work for their portfolios as well as how to work from life portraits has been a task. I've been too exhausted to get anything else done. Prep time has taken every extra moment because the class has to be rearranged to fit their needs. ...</div>
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And... The 31 PORTRAITS IN 31 DAYS project starts tomorrow!</div>
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I thought I'd go into this slowly and with a l<span class="text_exposed_show" style="display: inline;">ot of free time to put towards getting myself in the zone. But jumping in feet first has always seemed to be my usual approach to life, thus again it will happen.</span></div>
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No problem. Thinking under pressure has always suited me best. And I trust that this project will go well. I'm fairly ready with supplies at least. It's just rest that I'm lacking.<br />
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August 1: Day 1!</div>
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I am really excited that the day has come to start my project. I am ready. Brooke Nicole Lynn will arrive at 2 PM today for her three hour sitting for the first of this month's challenging agenda. I look forward to having her. I kind of set myself up to have an easy day and hope it goes that way. If you have seen Brooke you will understand. She is stunningly beautiful. Capturing what makes her so beautiful will be exciting for me. I met Brooke's mom Jeannie through a friend of a friend on FaceBook and she has become a dear friend! Jeannie will be posing for me on the 17th! </div>
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I have been slowly changing my skin tone mixtures in the last 7 years to be more buttery. I wrote my book based on the way I painted skin for the previous years since I started painting portraits in 1984 and still stand by those colors. But, lately, I have wanted to expand and improve my work by using more layers and more opaque paints to create a smoother creamier skin tone. So, my goal is to use this month to really embrace this color theory and figure out how exactly I want to adjust my skin tones to get the best result in my work. My color theory worked for me then and now I am just taking it to a new level of life-likeness. The new colors that I am adding to my pallet are in the lit side of the skin. I am using Cadmium Scarlet, Cadmium Yellow medium, Quinachrodome Magenta, and Cadmium Green Pale along with the other colors in my pallet. I am omitting Permanent Rose and Indian Yellow. </div>
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WORKING TOWARDS A CAUSE: Going into this project, I have a lot of goals and just a few issues. My cousin, Susan, suggested that I use this time to also promote a non-profit, but I tend to make things too complicated and stress myself out. When I was young I thought I needed to conquer the world all at once, so to say. But, the older I get, the more I realize that keeping things as simple as my personality allows, the better I am. </div>
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And I repeat, "as my personality allows". I am not good at staying away from multitasking. Once someone suggests an idea that sounds fairly good as Susan's idea does ... my mind continually prods me to work it in. But, I really don't have the time. So, I will suggest it here and hope that it does make an impact. If I did include a non-profit, I would start with HHT (AKA Osler Weber Rendu Syndrom). If during this month you would like to donate to (or just become aware of) HHT.org, please do so in the name of my mom, my uncle, my grandfather, and myself. My mom died two years ago from HHT, at the age of 78. My grandfather died at 77 from HHT. My uncle, in his 70's, is still alive and fighting daily with bleeds. </div>
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We all have or had the unfortunate genetic malformation of our vascular system which omits any capillaries. I am the only one out of the four children that was lucky enough to inherit the genes. (Sorry, bad humor is in the genes too.) The lack of capillaries means that the small veins cannot handle the flow from the artery and create bubble like polyps or spiderweb like veins in the soft tissue that burst often due to weakness, causing artery flows. It is not fun to have, and the lack of stress in my life is pretty important because I do have this. If I have ANYTHING that thins my blood, I will find myself fighting continual nose bleeds (or worse intestinal or throat bleeding). For instance, just a couple of foods I cannot eat are oranges, cherries, cinnamon, tarragon, cayenne, ginger, salmon, etc. These are just my favorites. If my blood pressure goes up slightly, if the environment is too hot or dry, if my body reacts with pressure from eating too much, etc. I have to deal with trying to not loose too much blood. Needless to say how others react when they see you. It's pretty embarrassing and humiliating at times. In this day and age with all the issues of blood contact, I can imagine seeing me bleed makes people concerned as well. I usually only share this as needed. But, for the advancement of a need to cure this in the future generations, I expose what I keep quiet about. See HHT.org for more information. </div>
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On a good day ... I don't bleed. So, I just try to have as many good days as possible. Today is going to be a good day! I hope yours is too. I better get the studio ready for painting now. </div>
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-17144503705385621122015-06-15T16:12:00.000-07:002015-06-15T16:34:50.884-07:0031 PORTRAITS IN 31 DAYS! AUGUST 1-31, 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<b>31 PORTRAITS IN 31 DAYS</b></h2>
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<i>I am so very excited to announce the beginning of a new project. I will be painting one 3 hour portrait every day of the month in August, 2105. Wow!! Right?? Yes, 31 in 31 days. Can you believe that I am this crazy to attempt such a goal? Well, the truth is that I believe that this is a do'able experiment and that the outcome will be a huge growth in my own learning process.</i> <br />
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<b>My personal goal: </b> As a painter, I am always looking for ways to become better. As I become aware of so many other portrait artists through the centuries and present who paint these porcelain colors in the skin, I am intrigued. I have been playing with new mixtures of color and how they actually apply to my models. No one has the same coloring especially those with dark golden skin tones. And I want to see how this applies to everyone. It feels like the artists who have the best portraits tend to be artists who only chose a certain type of model with really pale skin. I want to see if I can use these new skin colors universally and have the effect that I want. I am sure that with this much intense study I will start to find how they apply in an overall approach. <br />
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I think there must be a way to achieve that buttery skin color that makes flesh look like flesh, as healthy, glowing skin. I guess so far, I have applied that California dream of having a tan and golden skin. But, I feel that I need to experience this exercise to make myself grow in my ability to capture even more lifelike coloring. I am really loving the work of Bouguereau, Sargent, Schmid, and Shanks. I want to make my skin look supple, healthy, and soft in the first layer of paint. That means I may go to using more paint and texture. So, this is my goal in this exercise. <br />
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<b>The outcome: </b> I will be compiling a book for my students from this exercise with my study and findings. I am not sure what that looks like yet, but I am very excited about what is to come. I cannot wait to begin. <br />
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<b>The process: </b>So far, I have purchased the canvases, lined up my models, and written to them with the model releases as well as a sheet to tell me a bit about them personally. I have always felt that a person's character comes through in their features. I often find myself learning about a person's life experiences and looking at their face and hands to see where that characteristic shows and if it does. Many things are very subtle and on each person they are a bit different. But, reading people is my life's passion. So, this exercise is all about creating a study of a person with what I see. I asked them to tell me a bit about themselves too so that when you look at this book you will read about them in their own words and see if you see some of what I do in their features. <br />
My next job is to paint all 40 18 x 24" canvases in a middle tone of gray. The paintings will be just head and shoulder paintings. I expect that I will handle it with the goal of creating a study that has loose edges where the paint stroke may just evaporate into the outer painting. I do not plan on adding any background. <br />
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<b>My obstacles: </b>Wow! There might be a couple... I am not sure what they are right now. And my experience is that the ones I anticipate won't be an issue but others will crop up. So, I need to be able to keep a balanced approach and be willing to just see what happens. My dear friend Cynthia tells me that I need to plan food ahead of time and have someone to help me. I think she has a foresight into these things far more than I do. I am not too worried about this. I may buy a lot of Trader Joe's healthy Passadena salads, shrimp spring rolls, and quinoa salads. (My favorite splurges when I am there!) <br />
I think the one thing I can identify as a possibly tough situation will be Wednesdays. I have two classes I teach on Wed. So, my models are scheduled at either 7AM or 6:30 PM. This will be my challenge day. But, I believe I can do this and it is only one day a week. LOL ... I am not a morning person and teaching two classes leaves me a bit tired. So, either way this is gong to be my toughest day. Overall, though, I won't be teaching three of my 5 classes per week and this will be my largest goal throughout this month with my strong focus. So, I do believe I can handle it!<br />
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<b>Fears:</b> One fear that I have might be that someone won't show up as scheduled and then the 3 backup alternative models won't be able to fill in at the last minute. In this situation I will paint myself, if I cannot find a willing person.<br />
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Susan Jeffers, Ph.D. wrote, "Ships in harbor are safe, but that is not what they are built for!" in her book <i>Feel the Fear and Do it Anyway</i>. This is one of my first favorite books and I have always gone back to it when I take on a project. She has a great way of putting our own personal feelings into perspective that resounded within me. I strive to be stronger than my original self was, daily. <br />
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Another fear is that I will have a bad day. Painters work hard on their paintings. We can't all be "On" every day of the year. I pray that I have enough strength as a painter and trained artist that I can pull each and every painting up to the standards I hold for myself. It is hard work. <br />
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My mentor and friend, Igor Babailov once said, "people say ... 'oh, you are having fun, you are just an artist' but they are wrong. This is hard work!" And he is right. To become a great artist you must work and study, continually questioning your approach and looking for a better one. There isn't a moment that your brain is quiet. The thoughts of contemplation about angle, depth, value, composition, color, contrast, anatomy structure, and more are constantly playing and over-playing in our minds as we strive to make a beautiful but true piece of art. <br />
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<b>The outcome: </b>Those who know me, know that I am a pretty spiritual person and that I believe in the power of God. I am also very accepting of everyone else's choice to believe what they want. But, this idea was one that came to me at a moment that I believe I was led to. So, I pray the outcome is larger than I expect. It is in his hands. I am only the vessel of delivery. <br />
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With that said, if you have any opportunity to further the public reach of this project, I would definitely appreciate any and all help. <br />
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Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-78448467475008802015-04-27T16:58:00.000-07:002015-04-27T16:58:00.215-07:00A page from my book... on Color Theory<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Painting is an art form like dance and music.<i></i></b> Relative to the desired effect of movement your strokes are the music and your harmony. Sense the emotion created by the bold large movement of a dancer to strong rhythmic beats. Then, as the movements become more intent and the dancer uses just their limbs, we become more aware of the subtleties and nuances of their character . And with our emotions evoked, we take the time to look into the eyes, just in time to see the final focus of passions, as told by the slight tilt of a head, the precise movement of the hands, and the placement of every finger. Your strokes also evoke such emotion from large to small. <br />
Use your colors to enchant your painting as a whole. Make this a dance of brush strokes, only to finish with the movement of tiny details, never to be over done. <br />
Think about how one color relates to another. Think about how you can use the last color in the next color and yet not loose the freshness of the color you are working with. <br />
You really want to move into a blank canvas and claim it for your own. The white of the bare canvas is as blank as the emptiness of an empty room. Your emotions are important to your painting. When you move in, let the feeling of the subject fill your space as you would fill your room with life. <br />
This may sound silly and overly romanticized, but painting is a part of life that uses emotions at their best. Paintings are meant to entertain. We are entertainers. If you don’t evoke some emotion from your viewer, you have missed out on the whole concept of painting. Only the best paintings can really capture emotions of the model, the artist, and the viewer. Use what comes naturally to make your painting far better. <br />
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Always make the decision of feeling ahead of time. What do you want to feel from this painting? What does your client want to express with this painting. If you take the time to think this out, your paintings will come alive. <br />
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This is a good time to tell you about a wonderful book for artists, The Artist’s Way and The Artist’s Way at work, by a friend of mine, Mark Bryan. (The “Morning pages” are the best tool to tap into your emotions and help you to enhance your work. I highly recommend it.</div>
Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-14311552127296130922015-04-27T16:57:00.000-07:002015-04-27T16:57:03.041-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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You can mix the right color.
<o:p></o:p></div>
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By Bobbi Baldwin<o:p></o:p></div>
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Remember how many times you have made huge piles of paint
that were the wrong color??? You ended
up with a pile of paint that you might have tried to save, so as not to waste it.
But, all along, the frustration you felt in not getting the color you wanted
just made it worse. You just knew if you
kept adding different color, you would get to the color you were looking for…
sadly never getting there. Some of you
are shrugging your shoulders and saying to yourself “This happens all the time!”
After you decided that you didn’t want
to mix a gallon of the wrong color, you began buying all the colors there are
for sale, right? Did you get any better
at mixing color from it? Not really. Why?
To coin an old phrase, you didn’t “learn to fish”, you just provided the
fish. So, I’d like to teach you to
really understand how to “fish with the right bait” and catch that perfect
color with much more precision. I am
going to help you find the color you are looking for much faster from now on. <o:p></o:p></div>
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I have been teaching for almost 30 years now and I have
painfully watched so many painters when they first arrive, struggling through
the process of mixing color to match what they see. After watching my students in pain for so long,
I came up with an answer based on how I taught myself to mix color. <o:p></o:p></div>
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It’s simple. I think
about color in primary terms. I know,
the color wheel is a basic fundamental and you probably learned it in grammar
school. Then, we learned about color in
science, understanding how we see by the light rays given off by the sun. In art we learned that red, yellow, and blue
are primary colors that are only found in pure form and we cannot mix color to
make a true primary color. We learned that
green, purple, and orange are called secondary colors, and they are a
combination of two primaries. Then, we were taught about the color wheel and
that compliments are straight across the color wheel from each other. But, no one ever explains why it is that we
should use the compliment to make the best shadows within a specific item’s
color -as in: lemons are yellow, apples are green, red, or yellow, bananas are
yellow, etc. There is no explanation
that the compliment is actually the one or two missing primaries, meaning the
colors that you haven’t used so far. My
goal is to really press that idea into my students, helping them to be more
observant of the way that they see color.
<o:p></o:p></div>
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So, what is my secret
to teaching students to mix color faster?
I have really embraced the scientific concept of color rays. Knowing this, I look at every color with the
knowledge that I can only see combinations of the primary colors and that is
all I am seeing. <o:p></o:p></div>
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To begin, let me explain that I want you to stop calling any
color by the name of brown or gray. Just omit those words from your mind. Every color is made of a variation of the
three primaries, with or without white added.
I want you to start looking for the dominant primaries in your color. Previously you learned that adding the
“compliment” will create a brown or gray. Understand this is merely adding all three
primaries together. So, from now on, let’s
just eliminate gray and brown from our vocabulary and understand that gray is a
term which identifies when there is more blue in the mixture of the three
primaries added together, whereas, brown is also made from adding all three
primaries together, just using more red and yellow. That is the only difference between brown and
gray – meaning more or less blue added
to the mixture. From now on, I want you
to identify all colors as a color that is called the name of the closest
primary or secondary color (red, orange, yellow, green, blue, or violet) that
you can think of. <o:p></o:p></div>
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After you have identified what color your target color is
closest to, you can deduct the right addition of the missing primary or
primaries in order to find the solution to your mixture.<o:p></o:p></div>
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<div class="MsoNormal">
This is the target color that I am trying to mix. <o:p></o:p></div>
<div class="MsoNormal">
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" fillcolor="#6c170e" strokecolor="#243f60 [1604]" strokeweight="2pt"/><![endif]--><!--[if !vml]--><span style="height: 35px; margin-left: 200px; margin-top: 166px; mso-ignore: vglayout; position: absolute; width: 114px; z-index: 251660288;"><img height="35" src="file:///C:/Users/BOBBIB~1/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png" v:shapes="Rectangle_x0020_2" width="114" /></span><!--[endif]-->I can deduce that all three
primaries are in this color. And then I
have to study it a bit longer until I can decide what color it is closest
to. I go through the secondary colors
first -green, orange, or purple. I think
that if I had to describe it as any one of those I would say it is closest to
purple. With this decided, I can begin
with red and blue. I also know there is
some yellow in it because it is a “muddy” color; we know that this color has
all three primaries in it. Muddy color
can describe any color that you previously identified as gray or brown. We have to do this by elimination and now we
know it is the yellow that is missing.
So, I start out with purple and add some yellow. There is also a bit of a green in this
color. So, I continue to add small amounts
of the yellow (and white) until I get close to this color. <o:p></o:p></div>
<div class="MsoNormal">
Let me show you another one:
<o:p></o:p></div>
<div class="MsoNormal">
On this one, I would immediately say it is either a red or
orange. But, again, it is not pure, so
we know there will be all three primary colors in it. We start with a very red-orange and then add the
missing primary blue and possibly some white.
<o:p></o:p></div>
<div class="MsoNormal">
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" fillcolor="#0f1d45" strokecolor="#243f60 [1604]" strokeweight="2pt"/><![endif]--><!--[if !vml]--><span style="height: 34px; margin-left: 164px; margin-top: 27px; mso-ignore: vglayout; position: absolute; width: 111px; z-index: 251661312;"><img height="34" src="file:///C:/Users/BOBBIB~1/AppData/Local/Temp/msohtmlclip1/01/clip_image003.png" v:shapes="Rectangle_x0020_3" width="111" /></span><!--[endif]-->Is this starting to make sense?<o:p></o:p></div>
<div class="MsoNormal">
Here is a third example:
<o:p></o:p></div>
<div class="MsoNormal">
We immediately know this color is mainly blue. But, is it pure blue? No. Is
it green or purple? No. But, it is a dirty color of blue. This means the other two compliments are also
in it. So, we add red and yellow or
orange (the compliment). We start with a
tiny bit of these other “missing primaries” and slowly creep up to the color
that we see here. If we get too green or
too purple, we know we have added too much of one of the other primaries. So, we slowly add the blue back in. It is
still most dominantly blue. <o:p></o:p></div>
<div class="MsoNormal">
If you use my method of common-sense mixing by thinking
about the way that we see with light rays of primary color to make all color,
you will find it far easier to paint because it will become a natural
task. If you ask yourself the simple
question, “What primary or secondary am I missing?” you will be able to figure
out how to mix that perfect combination that represents what you see. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Exercise:<o:p></o:p></b></div>
<div class="MsoNormal">
Go to a local store where they have paint swatches for
choosing wall paint. Pick up about 10 of
those swatches, choosing some pretty muddy colors. Now, match them. This type of practice will really help you to
embrace the concept and make it second nature to your painting technique. <o:p></o:p></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<hr align="center" size="2" width="100%" />
</div>
<div class="MsoNormal">
<b>Now let’s talk about
the actual tubes of paint that we buy at the store and the purity of the
primary colors. <o:p></o:p></b></div>
<div class="MsoNormal">
I learned about color from a woman who studied in France at
the <span lang="EN" style="color: #333333; font-size: 10.5pt; line-height: 115%; mso-ansi-language: EN;">École des Beaux-Arts </span><span lang="EN">in Paris. In
1996, we spent a summer just pulling paint across a white surface of pallet
paper and analyzing the pigments in every tube of paint I owned! I have never looked at color the same way
since. I found a passion about color that summer that
has never gone away. I began to
understand how to look at pigments in a tube of paint and see the texture,
purity, and consistency. I threw out
some really bad paints with muddy colors that were so impure and ugly that I
wouldn’t want them in my paintings. I
quit working with “hues” and student-grade paints, due to the impure man made
pigment. I limited my pallet to two
tubes of red, yellow, and blue, a warm and cool of each. I also have white, umber (for opacity),
green, violet, and orange. I can mix
nearly any paint color from the 11 paint tubes that I primarily use. The only time I add a color to my pallet is
when I want to get a purer form of a color that is bright, such as specialized
cloth colors. Think of hot pink,
fuchsia, really bright turquoise, and possibly chartreuse. <o:p></o:p></span></div>
<div class="MsoNormal">
<b><span lang="EN">Exercise: <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN">Pull every tube
of paint out of your box and use your pallet knife to pull this color over you
pallet. When a color is muddy, grainy,
or just impure in quality, don’t use it.
<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<hr align="center" size="2" width="100%" />
</div>
<div class="MsoNormal">
<b><span lang="EN">Purity of color:</span></b><span lang="EN"> Take all
your red paints out and put a small sample on your pallet. Do the same with your blues. Choose the two colors that you think are the
purest form of red and blue. Mix
them. Did you get a pretty purple? No. It
is nearly impossible to get a pure form of purple from the tubes we know to be
close to a pure form of a primary. Most
of the colors we assume are pure red, blue, or yellow have a bit of the other
primaries in them. This makes it
impossible to make a great secondary color if you need to get a really pure
color. Now, I want you to look at all of
your yellows as well. Try to make orange
and green. Compare these mixtures to your
tubes of green and orange. Did you come
close to the pure color that is in a tube?
You might have come a bit closer with these colors because you are
starting to understand how to identify what primaries are in your tubes. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN">Take a bit of
Alizarin Crimson and Ultramarine Blue and try to make a purple. Did it turn out? Not likely. They both look like they would be perfect
forms of just two primaries. But, if
they didn’t, that means that one of them has some yellow to it. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN">Look at Alizarin
Crimson. Do you think it is pure
red? No. Not only does it have blue in
it, but there might be a little bit of a muddy color to it. We know this because we tried to make a
purple, and it was muddy (yellow would make muddy color because the third
primary was added). Could yellow also be
in the Ultramarine Blue? It’s
possible. But, if you were to try a
Permanent Rose with Ultramarine Blue you might get a bit closer to purple. It’s still a bit muddy, not like a Dioxazine
Violet, which is the prettiest purple. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN">Now, look at
Cadmium Red Medium. Is it a pure
red? Let’s try it. If it is pure, we should be able to add it to
blue and make a purple. Did you get mud? It must have yellow in it. Add the Cadmium Red Medium to a Cadmium
Yellow Medium and try to make an orange as pretty as a Cadmium Orange. Did it work?
If not, there is blue in one of the colors. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN">Keep doing
this. Do this mixing until you clearly
see what is happening. It’s like doing
math, simple addition and subtraction. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<br />
<div class="MsoNormal">
<b><span lang="EN">Summary:</span></b><span lang="EN"> If we assume that all color is made
of red, yellow, and blue, and we understand what colors we start out with from
the tube, we can find the solution to all color mixing. <o:p></o:p></span></div>
</div>
Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0tag:blogger.com,1999:blog-8989790387892382317.post-57992662881888497502011-12-02T19:36:00.000-08:002011-12-02T19:36:33.568-08:00Painting MaterialThere is nothing more beautiful than material that is painted well. A painting can be breathtaking when an artist can translate the textural feeling of material in a way that not only pleases your sense of need to touch, but also stimulates that part of your sight that is so fond of color and effect. They might paint what they see like a light reflecting in jewel patterns on the sheen of the material, a white that reflects a rainbow of softly woven reflections of all the colors in the prism of light, a beauty of a pattern recreated by their paint brush in masterful strokes, or the curvilinear lines that describe the sensual flow of a enchanting form under a piece of material. Whatever the effect or subject, painting material is a magic form of adding intimacy to a subject. Material is just as much part of a person's character as their hair, their features, and their hands, because it is what holds to the shape or lets loose of their form in response to their personality. So, what and how you paint the clothing and materials around your subject(s) is as important as all the other features. Some painters really miss this, resulting in paintings that are stiff and unfeeling. <br />
<br />
<br />
<br />
As a special note, you cannot paint clothing until you learn to paint the human figure. So put your time in studying the human form, skeleton, muscle form, and anatomy in any and all ways you can, prior to painting clothing. <br />
<br />
<br />
<br />
When painting the folds in cloth or clothing, be sure to make your brush strokes move with the direction of the flow of the material. For example: if there is a hump or a fold in the material, the brush stroke should come from the top of the material. Remember that the material does not just end at the wrinkle, it continues on under. Use your mind and your hand to create the motion in your material by seeing around the edges, proving the shape of the rolling material in the way that the value is applied. <br />
<br />
<br />
<br />
Material is a supple object. It will therefore take on any shape that it lays against. Thus, you must understand what it is laying against and show the form or shape of the object with purpose. If you can do this, you will carry out a moving piece of art. You may get tired of hearing me say this, but you must think like a sculptor. Think three-dimensionally. When at all possible, have a model or some form of a modeled human anatomy around to remind you of the shapes of muscle and bone structure. <br />
<br />
The material has a character of it's own that you also need to take into consideration.Bobbi Baldwinhttp://www.blogger.com/profile/18189624359131613065noreply@blogger.com0