A tortuous artistic path reaching to a watercolor.
Follow me through all the steps that lead to a sheet of paper and brushes.
Prepatory work on digital tablet
Then again it comes to movements.
I really like the painting Nude walking down a staircase of Marcel Duchamp.
Following the same idea, but a century later, I propose to break down a movement as a subject to a watercolor.
I asked for and obtained the valuable collaboration of Loriane.
On a song chosen together, she danced about ten minutes, sequence that I recorded on my camera.
I then chose a set of poses that I recomposed on my digital tablet.
Preparatory work on digital tablet
On the tablet I try several arrangements.
Shall I keep the lines or completely melt them on silhouettes?
Should the background be light or dark?
When the drawings are split into layers, playing with different interpretations gets easy.
To keep with one movement decomposed into perfectly sharp images, I used a 3D creation software.
I recreated an avatar of Loriane, composed the 3 poses from the filmed images.
The 3D software makes it possible to precisely position the lights and the camera.
On one of the intermediate images, I resumed the pose and redrawn on computer.
Then I used images recalculated by the software as a model to make the drawings on tablet.
In the next step, I tried to twist the movement a little more by breaking down a back somersault, which presents the body from different angles.
The overall movement describes a spiral that sinks into the field of vision.
I still have to reinterpret all this.
I (digitally) erase, I scratch and colorize.
The movement becomes more confused, but reveals the colors.
Most of the work is done by superimposing layers from the 3D images I generated.
After these months of study, I can finally go to watercolor ... It's like going on a diet and raiding a pastry!
I make a first test on a rather small format, 7x12.5 in.
I first lay a background with a dominant cobalt violet. It's a transparent color, and with a little bit of sienna and cobalt blue, it will allow me to bring out the whites.
I then paint each character, then the color staints. The dominant ones are violet cobalt and emerald green.
Based on the small format test, I prepare my Arches paper in large format, 18x24 in.
I use Winsor & Newton pigments replacing the emerald green with a softer olive green, .
The wash is completed with Naple yellow, a very soft color, a little creamy and quite opaque.
The entire watercolor represents about 4 hours of work. As everything is prepared in advance, I can push the colors in their intensity.
I use white ceramic pallets to have the exact coloring. I received as a present from my BRD colleagues a whole set, which I put in function.