Tag: painting

WIP Shots of Repainted Ballerina in Spotlight #10

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It was late at night and I was tired. I was certain I finished the head as you can see I already signed the painting in the corner. Luckily, I always have a critic around to tell me it was definitely too huge. After hours of looking at a painting, your eyes get tired and everything starts looking good. Next morning after I woke up, it was very clear the head was too large. The hair was obnoxious and the expression was snobby.

C’était tard de nuit, j’étais fatiguée. J’ai été certain d’avoir fini la tête, comme vous pouvez voir j’avais déjà signé la peinture. Heureusement, il y a toujours un critic près de moi à m’a dit que la tête était trop grande. Après avoir regardé un tableau pendant quelques heures, vos yeux sont très fatigués et tout semblait parfait. Le prochain matin après je me suis réveillée, c’était plus clair encore. Les cheveux étaient odieux et l’expression était snobby.

 

WIP Shots of Repainted Ballerina in Spotlight #6

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I finished the top (I think), and I am developing the tutu further. I am trying to leave most of the hidden leg visible so that it doesn’t appear deformed in the position it is in. Strangely with 2D still images, it is very important to convey anatomy believable more than 100% accurately – sometimes things just look “wrong” frozen in time.

J’ai fini le haut, je pense. Maintenant, je développe le tutu davantage. J’essayais laisser la plupart de la jambe cachée visible afin qu’elle n’apparaisse pas malformée dans cette position. Étrangement avec les images fixés, c’est plus important que les images transmettent un sens de l’anatomie croyable plus que précis.

WIP Shots of Repainted Ballerina in Spotlight #5

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Here, I spent most of my attention on illustrating the subtle muscles in legs. This was difficult from a straight-on angle, where everything appears flattened out. Also, painted in the slippers and started the top.

Ici, j’ai mis mon attention à illustrer les muscles subtils des jambes. C’était difficile avec l’angle étroit où tous apparaissait aplatis. J’ai aussi peinturé les escarpins et j’ai commencé le haut.

 

WIP Shots of Repainted Ballerina in Spotlight #4

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Painting in some of the first values. I almost always paint over everything anyway, so
this is more to get down the shapes. Clearly, the skin tone is off. You can see the heavy
texture in the tutu.

Je suis en train de peindre des premières couches des valeurs. Je presque toujours peins
sur tous, alors c’est plus pour dessiner les formes. Évidemment, la teinte de peau n’est
pas correcte. Vous pouvez voir la texture épais sur le tutu.

WIP Shots of Repainted Ballerina in Spotlight #3

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I have to admit what I started doing here is a bit weird. I was trying to build texture with some left over paint on my palette, considering I will cover it anyway. Now, this came out too thick and globby, and I ended up cutting it off with an exacto knife. My boyfriend made sure to let me know how bad of an idea this was the whole time. I wanted
to have texture in the tutu, but it was far too heavy and out of place.

Je dois avouer quoi que j’ai commencé ici est un peu bizarre.J’ai essayé à bâtir de la texture avec le reste du jaune sur ma palette, étant donné que je vais la couvrir plus tard. J’ai essayé à bâtir de la texture avec le reste du jaune sur ma palette, étant donné que je vais la couvrir plus tard. Vu que c’était tellement épais, j’avais dû
l’enlever avec un couteau. Mon chum assurait de m’en faire savoir que c’était une idée stupide. J’aurais voulu de la texture dans le tutu, mais c’était tellement épais et pas comme il fallait.

Close up:

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WIP Shots of Repainted Ballerina in Spotlight #2

If you’re looking at a thumbnail, this probably looks exactly the same, but it’s the line sketch I put down to mark the figure.

Si vous le regardez comme un thumbnail, ça pourrait ressembler le dernier image, mais c’est les lignes de la figure que j’ai dessiné pour la marquer.

0122Something seemed off, so I rotated the painting and considered it from a different angle, then realized that the legs are too small for the body. I fixed them.

Quelque chose n’était pas correcte, alors j’avais tourné le tableau et j’ai réalisé que les jambes des corps étaient trop courtes. J’ai les corrigées.

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WIP Shots of Repainted Ballerina in Spotlight #1

So, it’s time to post some shots of the painting process for this ballerina painting that I finished this winter and that I have been circulating online and even in exhibitions.

The inspiration behind this painting: The very first painting I did on a canvas* was actually a ballerina for a friend, who kindly paid me $50 to do it despite my complete lack of acrylic painting experience or experience working with clients at the time. I remember finishing the painting within 5 or 6 frantic hours, where I stressed about trying to make it “good”. Before that, I was nervous and did several prep. sketches. This actually hasn’t changed much over 10 years… I still shit my pants every time I have to paint something for someone else, because I really care that they like it and don’t want the final piece rejected.

*Apparently, I put watercolour paper on my website. My memory is kind of faded of this, but I really feel like it was on canvas. I don’t know. Eitherway, first acrylic commission.

Here’s one of those sketches, for anyone interested. I’d be happy to sell this, as I still have it. 8″x11″, frame or no frame.

Here’s the painting I painted for her. THIS IS NOT FOR SALE. DON’T ASK. Oh my god, someone ALWAYS asks. Why is this painting so popular? I will HAPPILY paint you your own ballerina, but this one is GONE. Unlike my other work, I can’t make prints of it either because this is before I knew what I was doing, so all I have is a potato quality JPEG.

So after 10 years of practicing and learning about art and not having painted in acrylics in a long time, I decided to revisit this subject. There’s lots of things I didn’t like about the original painting: mainly, the stiff, inaccurate anatomy and the muddy, dull colours. There’s just the feeling I felt while painting it that I didn’t like: it doesn’t feel good finishing something and thinking “this is okay, I wish I could do better”. Interestingly, I’m learning that kind of discomfort is important. If you’re too comfortable, it probably means you are not being critical enough of your work and not improving. There’s always the inverse – something I have problems with now: I am too critical and mostly of the wrong things, so I end up with a painting that is overworked and lost its vibrancy and life. I’ll talk about what I learned from this painting more later on.

The first step, aside from research sketches and collecting reference photos, was to lay in the background of the stage.

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