You may have
recognized the dancer as Michele. I originally wanted to do several
figure studies and paintings of a dancer, which I still plan to do.
I had also planed on painting a head and shoulders portrait of Michele at
the same time. After taking dozens of photos of her dancing. I
decided to start shooting continuously through each dance movement at 2 to 3
frames per second. I found many of the photos of her about to do the
dance movement were as graceful and powerful as the photos of her in
movement. So, I decided that I'd like to do a three-quarter portrait
of her as she was about to execute a ballet move.
Here are a
couple of the numerous photos that I used as reference.
I usually tone my
canvases. That is, most of the time I tint my canvases with paint
to a light brown color. This allows me to better judge the
darkness of lightness of the paint as I lay it down. I start
sketching in the form and then blocking in the darks.
Here's another view.
At this point none of the lighter middle tones have been added.
The light areas on her face shoulders and chest are actually the toned
canvass. Its amazing how light the canvas appears when surrounded
by dark paint.
I then started placing
lights and blocking in the background and the dress.
At this point, I've
continued to paint the background and have spent a large amount of time
on the head. Notice that the hands and arms are still just blocked
in.
The next step is to repaint
everything. The paint flows differently on the canvass and is easier
to control. Also with everything blocked in, final adjustments to the
lightness and darkness color of the paint can be fine tuned.
At this point I was almost
finished. I just had to fine tune the head and hands restate the
dress, and put in the lightest lights. Then I decided that I didn't
like her right arm, so I spent 10-15 hours repainting the arm, shoulder, and
background.
The Dancer
Oil on Linen
36"X24"
February 2005
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