Scott Burdick is known for his bold brushwork and lush color in his figurative paintings. What underlies those powerful paintings is a mastery of figurative drawing and anatomy. In this new four-hour program, Scott demonstrates how to use various drawing media to create masterful drawings in red conte, traditional charcoal and wet-brush charcoal powder.
Scott Burdick is without question a master at demonstrating the art of painting a figure. His superb ability to portray color, line and design in a two hour demonstration is fantastic. He is magnificent in capturing the subtleties and the value needed to bring a figure to life. Scott shares many techniques with his audience. Art students of all levels will benefit from watching Scott develop the challenges of interpreting the human figure. Hear his view points on the subject, as you watch him paint the model from start to finish. This video is a must for every artist who desires to paint the human figure.
Over the span of two hours and 12 minutes, viewers will witness every phase of the portrait study's development. Beginning with the charcoal sketch and moving straight through paint and block-in and the development of shapes, values and color temperature, Scott shows how it's done. As he lays in paint, his running commentary reveals how an experienced portraitist judges proportions, shadows, reflections, edges and mush more.
This first video In the Studio with…Scott Burdick is the longest and offers a great substitute to a workshop with Scott, as it is as informative as the program he would offer in such a class. With limited time to satisfy his gallery and invitational exhibition commitments, Scott is not available to teach as many workshops as students would like. This is a superlative alternative to studying with Scott.
After a number of years paying her dues as a backup singer and recording for a number of indie labels with mixed success, Marilyn Scott finally brings her crisp, romantic vocal stylings to Warner Bros. on Take Me With You, a stylish potpourri of pop, soul, jazz and Brazilian influences tailor made to fit the definition of the finest in Adult Contemporary music. While Scott's powerful yet subtle and smoky voice ties all the loose threads together, the collection's strengths lie in its frolicsome diversity. Scott changes moods depending on the producer du jour. George Duke elicits cool, straightforward pop, while longtime cohorts Russell Ferrante and Jimmy Haslip forge her range from standard to hip-hop influenced jazz. Ironically, the most exciting track, a percolating Brazilian treatment of Stevie Wonder's "Bird of Beauty," is also the least commercial from a corporate marketing standpoint. Without the radio typical sheen, producer Dori Caymmi allows Scott to romp through a loping playground where even elegant Kevyn Lettau-like Portuguese is within the realm. Perhaps the reason it's taken Scott so long to break through on a higher level is the type of stunning diversity typified here. It's been worth the wait.
A top-notch adult contemporary vocalist still awaiting a well-deserved crossover commercial breakthrough, Marilyn Scott adds powerful fuel to her cause on Avenues of Love by helping herself with a well-balanced array of production and songwriting talent. George Duke surrounds her with party voices and a kneejerking Latin groove on a playful list of dance steps on "I Like to Dance," then surrounds her clear, sensuous voice with airy, billowing synth cushioning on the Bacharach-David classic "The Look of Love." Scott and bassist Jimmy Haslip reroute to Memphis on Michael Ruff's Wilson Pickett-like pick me up, "Love Is a Powerful Thing," engaging a two-piece horn section that sounds even larger. The Yellowjacket touch is in full effect on the picturesque "Avenida del Sol," which approximates an update of the gentle Astrud Gilberto sound; the tune was written by Scott and Bob Mintzer, and produced by Scott, Haslip, and Russell Ferrante. Scott's greatest gift here is her sense of modulation; she belts like crazy on the funk pieces, but recognizes the emotional power of restraint on the ballads.