Wednesday, April 2,1980

TTie Herald and The Lantern

Ferry Adds Extra Trips

N. CAPE MAY - The Cape May-Lewes Ferry will add extra trips for the Easter Weekend.' During the 4-7 April period, the schedule will be: From N. Cape May, ferries will depart 7:30 a.m., 9:30 4 11 a.m.; 13, 4 6:30p.m. From Lewes, departures will be 9:30 4 11:30 a.m.; 1, 3, Sand 8:30 p.m. After Monday, April 7, ferries will revert to the winter schedule until May 23.

PAINTING' from, tlie groumcl dtayt t'/futf

Pagf 7

Since the beginningof the yeaf, several artists from the area have been meeting one night a week to draw from a model. Th£ structure of the sessions has usually been set by figure studies ranging from a half-minute to a halfhour, but this past keek, for a change of ,pace, the set-up .was a threejhour portrait. Each painting experience has its own set of conditions set by the nature of the subject and the ar-

tist. My own approach seems to be based on the constant of aiming beyond my reach and dealing with

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each problem as it crops up. Charged with this attitude, I selected my materials and working surface for thq evening: oils and the largest canvas I could get my hands on, a 22”x28". KNOWING THE swiftness of three hours passing. I anticipated as many problems as I could, setting up the environment in which the model would pose and the artist paint. The model’s stand, a bookcase face down, would elevate the setup towards eye level and separate it from the rest of the room. A piano bench, with its simple lines and full length would provide an adequate seat, and a piece of pale green wallboard as background would provide contrast to the coloring of the model. The easel was placed and brushes, rags, paint, etc. were put within arm’s reach. The palette was set up as far as could be predetermined and included the earth colors; ochre, raw umber, and burnt sienna, with viridian green extending the range. A mound of flake white was put out and a dab of Venetian red. This palette was extended after the model anWed and was set and illuminated to include Cobalt blue, Windsor red, and black. « A POSE was assumed which could be appreciated from all angles of eyes around the room with the lighting above - front, casting a mood across the subject. Ready, set, and the painting begins. • Working within a time limit puts pressure on an artist to work without pausing for doubts. Within the span of one.session, enough information must be gleaned and marked down so that a complete statement can be made, or one that is strong enough to build on. The first decision to be made was the scale of the figure to the canvas. I hoped to include the hands in this portrait and there was a challenge in the fact that they were extended as far from the face as possible, holding onto the seat. This meant that three-quarters of the figure would have to fit in a comfortable space within the confines of the picture plane. THE SIZE of the figure was thus established and simply drawn with umber thinned with turps. Once the basic shapes were indicated, this drawing with line was abandoned and description by laying on color was taken up. In order to •Implify the approach, I tried to aee colon within an area in

* three values, and apply them as broadly as. possible. The middle tone is placed first and represents the local Color. The other two tones act as highlights andshadows. The middle tone of the flesh was found by mixing ochre, Venetian red and white. For highlights, more white was added and a touch of either color determined by whether the highlight should have a pink or yellow cast. Cobalt blue mixed with these tones created the effect of cool shadow areas. For the hair, these same combinations were used, except that burnt sienna replaced the red. SINCE THE model wore black, the color of the clothing would have to work within a subtle range Red mixed with black gives a good, bright middle tone. Ochre added will provide highlights, while cobalt blue will produce a transparent shadow color. The viridian green for the background was first neutralized with a touch of burnt sienna and lightened with ochre and white for the light areas and darkened with cobalt blue and raw umber in the shadows. As a balance was sought for these various hues, the strokes were applied carrying as much descriptive information as possible. For example, if a certain applied color was to represent the cheek, thfen the stroke must follow the contoiT of the face. At the end of three hours, enough of the painting was established for the artist to deal with for the rest of the week.

.HANGING IN THERE l» what thin sign did mmt of the winter. Perhaps the traffic whining by canned itn downfall. Whatever. It polntn up the fact that Rl. S, here south of Court Route. In known an New Jernev'n "Antique Alley." '

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