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Sharon these are stunning! I can't even imagine the size of them and how many sticks you went through.

Is this the panel you were discussing way back? Or did you use a sanded paper?

Bravo! :thumbsup:

Sharon,

These are just spectacular! Wonderful texture, beautiful skin, haunting color harmony.

I'm sure their impact is grand in person!

Wow! Absolutely stunning and beautiful! :thumbsup:

Wow
 

Hi Sharon,

These are gorgeous! I especially love the one with the flower next to her.

Linda,

Do you hire models and shoot these in a studio (I assume you're working from a photo...)? Did you provide the costumes or art direction on what they are dressed in, or are they existing outfits the girls had that inspired you? How much planning did it take to create the compositions? Thanks.

Sharon,

These are stunning, to the point of rendering me speechless (which may in itself be a worthy accomplishment).

Is it safe to assume these are one and the same girl, rendered in different poses within the same image, or are they twins?

Sharon, these are just lovely!

Whole lotta planning going on!
 

Josef, Will, Linda,

Thanks again!

Very little I do is left to chance, I am a compulsive planner and nitpicker.

I hired the model, purchased the leotards and had the skirt made. I did drawings and studies of the model from life so I could get an idea of a dancer's movement and stance. When she was not there, I made thumbnails to get an idea for a compostion.

I always plan my camera position and lighting before the model comes for final photos. I always check the model's height. I can then set up a dress form with a wigged styrofoam head and the outfit or something similar. That is very useful to check lighting, angles and focal lengths.

I use a combination of photos and live models. If the model is unavailable I put the outfit on my dress form in the same light she was photographed in. I only shoot with daylight film, no flash, strobes so I can paint the colors as they actually appear in my studio. There are astonishing surprizes in color when you do that, instead of just relying on your print.

I get large prints at least 30" x 40" and place them right next to my easel. First I do a smaller study, about 3"x5' and have a photocopy enlargement made to the size I want to work and transfer it to my panel. I then make a rapid color study. As I stand about 15' from my easel I can see a larger print more easily. The further back you are from your work, the looser and bolder your strokes become. You are not so attached to each little detail at first.

All I can say is to work on a large pastel such as this requires a lot of planning.

They are all the same girl, a wonderful, graceful model who has unfortunately moved away to Wisconson.

Beautiful, beautiful work Sharon! And a very good idea with different structure on different areas of the paintings. If I could only see them live...

Stunning, Sharon!

Can you post even closer closeups of the faces, and can you tell us where you found your model?