Creating Movement - Ballerina on Toes

Ballerina on Toes
Acrylic on canvas l/d on mount board
7 by 9 inches (18.2 by 23 cm)
exluding .5 inch (1.3 cm)white border











Although the dancer was on her toes and leaning forward, I found the painting static. I painted her head in a frontal view. This is not the direction of her body and therefore movement is created. On the left side of the figure I added curving lines of light blue which continue on the right side. Again this provides movement for your eyes. There are strokes of pink at the left of the dancer’s legs. The repeated strokes of blue and pink add movement. The similar color pink of her tights also creates movement as the color of the tights and the strokes are similar. The lines of color moving into the painting at the left upper and lower sections create movement and lead the viewer to the dancer. The barre also leads the viewer to the dancer as it moves from thick to thin. The blue white behind the dancer pushes her forward in space. Therefore, despite a static pose, the techniques used contribute to a sense of movement.

Shape and Light-A Downed Tree, Elora Gorge

A Downed Tree, Elora Gorge
Acrylic on canvas laid down on mat board
12 by 8 inches (30.6 by 20.4 cm)











This painting was due to my walk along a narrow path that ran through the woods in this Ontario area. The tree appeared to have been hit by lightening and a large limb had fallen into a small clearing. I loved the shape of the tree and the way it angled into the small area of light. I increased the brightness of the tree’s color. The real color was a dull grey. I feel I captured the sunlight on this summer day but was also able to push the woods into the background. The paint on the background is applied thinly and the canvas weave can be seen in some areas. The canvas’ texture contributes to the overall impact of the image. The canvas weave can also be seen in a postcard I made from this work.

Prepaing the Support - One Season Following Another

One Season Following Another
Acrylic on mount board
7 by 9 inches excluding .5 inch border
(17.9 by 23 cm excluding 1.3 cm border)












In One Season Following Another, I emphasized the sun setting behind the 2 trees. I used white acid free mount board as my painting’s support. You can increase the life of absorbent supports by coating them on both sides with matte medium. The medium is absorbed into the board and seals it. I could then paint on the board but I like a non absorbent surface. When the matte medium is dry, I put down a coat of gloss medium on the side on which I will paint. This makes the board non absorbent. I like to mix the gloss medium with white acrylic paint. Once the medium is dry, I put drafting tape along each border. I then begin painting. When my painting is completed and dry, I remove the tape. This leaves a .5 inch (1.3 cm) white border around the painting.

Contrasts, Complements & Focal areas- Woods in Winter

Woods in Winter-Postcard
Postcard on Matte
8.5 by 5.5 (21.7 by 14 cm)
Reproduction of my painting,
Woods in Winter











This work is a reproduction I made of my painting, Woods in Winter.

In Woods in Winter, I wanted to convey the beauty of winter & snow but also isolation if we cannot go outside. I used the color blue, the coldest color on the color wheel & heightened its color by using its dulled complement, orange, in this case orange brown. The reflection of the sky is seen on the snow. The warm light strikes the tree & shines on the snow. The greatest contrast is the dark person & the light on the tree. This was my focal area. The partial tree in the foreground & the snow on its branches are soft & blurred. It was not my area of emphasis but it draws the viewer into the painting & provides a sense of depth.

Triangular Compositions - After the Dance

After the Dance
Acrylic on canvas and stretcher bars
10 by 10 inches (25.5 by 25.5 cm)

Sold.














In my painting, After the Dance, I wanted to emphasize the dancer’s fatigue after her hard work. The structural composition I used is triangular. The triangle starts at the top of the dancer’s head and moves down and along each leg. When a triangle is resting on its base in the vertical position, it gives a painting more stability. The location at the top of a triangle attracts the viewers’ eyes. The dancer’s head resting on her arms is at the top of the triangle; this gives the head and arms more dominance in the painting. Although the dancer is resting her head and arms on the chair, her feet are in a pointed position. Her lower legs are vertically positioned. The positioning of her lower legs and feet, are more powerful. This contrasts with the resting head and arms and therefore, the differences between these areas would be heightened. A triangular structure that is not in a vertical position is less stable and more active.