The Belly Dancer
 

Hello All,

I posted the reference photo for this painting in the composition section. It is not my goal that this end up being an exact replica of the photo so I didn't want to post the reference to compare it side by side with my painting. I am just interested in knowing what you think of this so far simply from looking at it.

Thanks,

Janel

I really like the composition with a note below. From my viewpoint I would strengthen the shadows (referrring to your great photos) and introduce some cool skin tones in the lights with that beautiful model in front of you. I would also subdue the blue skirt at the bottom and let it melt into the background somewhat. If you can have a few more soft edges in the scarf it would be helpful I think and make it seem more flowing with motion. The scarf color is overpowering the face somewhat. But I am not a pro, keep that in mind too.


I wonder what it would look like with her left hand touching the top of the frame introducing still another beautiful negative shape.

That really is a great compostion and you have a great start on it my opinion. I love compostions like that with nice lighting. I would love to hire that model . You've got a great one there. Keep it up!

Alan,

Thank you for taking the time to respond and for your suggestions. Some of the points you made were identical to the ones my husband (my toughest critic) pointed out.

The first thing he told me when seeing it was "The background kills the painting"
You can't see it in the photo, but when seeing it in person, she looks like she is sucked into the background and the background comes forward.

I hated it, but he was right.

It took me a bit to build enough courage to completely block out the background and the scarf with a neutral color so I could start over and she jumped to the front of the painting. I'm glad I did it. You (both) were right, the scarf was overpowering her face.

I'm in thinking mode right now.

Thanks again,

Janel

Hi Janel,

What a wonderful subject!
You might consider having some lost edges when you are working with the background. By very subtly introducing some of the flesh tones and garment colors in the background, the figure will harmonize better with the background.

Update
 

And here is where thinking mode took me.

I still have quite a few areas where I have to push things back or bring them forward, and several where I am not happy with the color, but I thought I would post an update because the painting is so radically different than my original post.

Sorry about the shine, it is 100% wet yet.

I'm sorry Enzie,

I thought I responded to your post earlier. Thank you for taking the time to do so. You were right about the edges and her not harmonizing with the background. It was really hard for me to do, but by lightening the background her edges look softer and she looks like she belongs in that spot. At least that is my opinion. At first, the thought of what it was going to take to make the change made me want to cry but now that I am well into it, I am liking it more.

Nice Changes in the painting. Congratulations!

Thank you Alan, I needed that.

The lighter background is working much better. It does make you wonder though how Caravaggio got away with placing his figures into those dark backgrounds, doesn't it?

Janel, post your reference so that we can help you point out some of the things that need to get fixed. Something is off with the arm that is raised. What an angle!

By the way I love the bottom part of the painting. She sort of fades into it, which I think looks great.

Hello Enzie,

Here is the reference photo. Just so you know, I didn't post the reference with this because I wasn't shooting for an exact replica of the photo. You could go nuts with pointing out the errors. There are a lot so don't put too much time into it.

My goal in this painting was to try to paint quickly and let go a little. This painting is not a commission.

Janel, it is fun to let go, but you have a nice painting going here and it is worth looking at it.

First notice what the muscles are doing and get a feel for the areas that are raised. Whatever is raised has to come forward, the rest receeds. Now to get that raised arm to look right squint at the photo reference and simplify the arm into geometrical patterns. Mentally determine the cool, warm, grayed down or high chroma values. Pick one shape and relate the other pieces in value to that one. The value shifts for the exception of the shadow should not be more than 2. For starters that should give you the shape of the arm. You can always adjust color from there.

If it makes you feel any better, I have to do the same thing on the back of "Anna" WIP section. Based on the reference photo, I am blindly groping around trying to figure out what the back is doing. So I have taken out the dust covered anatomy books and am re-familiarizing myself with the anatomy of the back. Once I know what's going on there, I will do the same thing I have recommended to you and along with a prayer, hope for the best!

Enzie,

I hope I did not come across in a negative way. You are 100 % right about the arm. I just knew if I posted the reference you could point out the arm, the head, the hair, the belly, the skirt, the veil..... I didn't want you to spend too much time on it.

But, thank you for pointing out the arm, It bothers me now too. : )

On a side note, nothing painting relaated, I think of you often when I get a whiff of the scented candles you gave me after the Vegas workshop.

You are welcome!

I am happy to hear that you are still enjoying the candles. Most workshop attendees never think about how much work is done by the organizor behind the scene to make a workshop a success. You did a lot in Vegas and this was just a small show of gratitude.