Advancing with Watercolor: "The Flamenco Dancer" Working with the Figure

THE PROJECT

This week will build on our understanding of texture and how we can represent or create the flow of hair and fabric. The flamenco dancer is a great subject for these qualities and so we begin...

THE DRILL

Our drill focuses on using simple shapes to create the hand and head. These small studies of simple shapes can be applied when we start to place the head hands in just about any pose. The studies of the head also give us a basic understanding of the basic shapes and simple placement of features. Once we complete these small studies in a single color we can move on to create a more spontaneous image using a variety of edges and techniques

The photo is a good place to start because it shows a good view of the face and features - in a 3/4 view - which is the view preferred by portrait artists. The pose is proffered because it avoids symmetry and shows more character in the features
The hands too are presented in a way that’s not too complicated for our painting purposes. Shown in the tradition “palmas” pose the dancer plays the rhythm as she waits to join the other dancers on the stage

THE DRAWING / DESIGN

Since the head and hands are so complex we spend more time in placement and execution. I look to express good proportion - not necessarily a likeness. I am more interested in the drama of the pose

1 As I am laying out the head I look for a tilt on the axis - neck to the top of the head - this can go along way to getting a satisfactory representation.

2- Once the shape of the head is placed I look for the center line - very close to the right side giving us the 3/4 view.

3 - Then I look for the divisions in the features - I keep the shapes simple...

THE TECHNIQUE

Our technical approach with involve using all 4 types of edges. This will influence the sequence in building up the image. I start creating a loose wet into wet through the figure and then into the background using a variety of warm colors and letting the colors grow and merge into other forms. This is a good approach because it allows us to in essence “mess up” the paper and loose the tightness common in starting a painting.

2 - We let this dry and begin to define the hands and features the costume 3 - we painting the background and the stronger darks within the features

THE CHALLENGE

Probably the biggest challenge is to paint the face and hands in a painterly fashion. This requires a lot of confidence and bravado.

I remember words of wisdom from Toby Couch

“Even if you are not sure of the stroke - convince yourself its right and you will convince others too".

THE SKILL

Important skills are built in these studies..

1 The ability to see basic shapes first and nuances

- this ability will allow you to start even the most complex scene with more confidence

2 - We will also look at how to utilize the 4 types of edges when we create our watercolor painting. Hard edges through the head and hand - soft edges in the background and broken , lost and found edges through the hair and dress

3 - The ability to see a design and confidence and manipulations the photo or scene in front of you if you are working outside