I was in the middle of a crash during my run-up and preparation, which was crap timing. I still got everything I wanted done, though: full thumb set, four thumbs picked, enlarged, and cleaned up, one picked and sketched out tighter, and some color studies put together.
Having been to the IMC three times, Rebecca knows who I am and who I want to be as an artist. It was really interesting to watch her process of getting to know the students who were new to her - the project that she'd assigned to them was brilliant for the purpose, and gave a lot of insight into the individuals - but I was really gratified when she was able to just jump into working on my piece.
Essentially, the thumb I'd picked was undoable without having my actual model sit on an actual horse. It was disappointing - I'd really fallen in love with the gesture - but I need to be more aware of the actual contraints I have in the way I work. We went with number 4 as the alternate, and she pointed out things that I should know, like, pick one character to halo, and, the shape of things is incredibly important when using silhouettes.
Here's the paintover.
This is a not-very-good writeup of a class that actually went for about 3 and a half hours, I know. Partially at fault is how long it took me to get around to writing things down; partially, the lessons from this week were things about care and deliberateness that are hard to talk about at length because it really is all about getting a feel for visual rhythm, and putting in the time to make it speak.
Mostly, though, I find it hard to be enthusiastic at the moment because I'm frustrated that I have to stay at sketch- and study-phase until I can align my schedule with my models' and get a real shoot together. I waaaaant to paaaaint, but that's probably two weeks off at the earliest ):
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