I did the underpainting for Unlikely Dance: Entry Hall almost a month ago, while waiting for the block-in of Golden Clouds to dry and working on the smaller, unrelated Puppet Parade. But both of those pieces had deadlines closing in, so they took precedence for a while after this underpainting was finished. In the meantime, I bought a couple of inspiring instructional videos, and both — Alla Prima Portraiture with Rose Frantzen and Painting the Portrait in Oil with Brian Keeler — have affected the way I’m working on this piece. Not that I’m painting the faces in any way like these two fine artists do their portraits; I’m feeling their influences more in the way I’m handling the paint and the values, holding my brushes, and self-critiquing as I go.
It’s quite interesting to me how the pieces in this Unlikely Dance series are developing so differently from one another, despite the common threads of size, medium, and theme — I’m learning a lot as I work through this self-imposed assignment.
The dancers in Entry Hall are referenced from my photo shoot of a Scottish country dance group, though of course I’ve changed the visible faces (“borrowing” my niece’s face for the central figure) and placed them in a setting other than the school gym where they dance. To offset the very dark and brown decor of the local museum hallway I’ve set the dancers in, I’m leaning the colors more towards purples and yellows — which do combine to make brown — for some color snap. Pretty happy with it so far!
Here’s the process, up to this point:
The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York
To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.