A Strategy for Painting Densely Leaved Backgrounds.
My use of what I call the ‘dancing stroke’ began its evolution when I moved to Costa Rica seven+ years ago. Everywhere I looked there were strokes of shapes – leaves – layers and layers of them. Coming from New Mexico, surrounded by light and air – I was suddenly in a quandary. How do I deal with the often cluttered and layered landscape backgrounds I now wanted to paint?
Eventually I came up with a plan. I found a way to create some order even if I was not seeing it. This photo of some leaves I particularly love became my self teaching tutorial. I called them the blue leaves and they are found all along the coast road next to the Pacific, just about 25 miles from my home.
I began to treat the foreground subject separately from the background jumble by with all the ‘negative spaces’ that were found tucked in between and just beyond the subject. I then began to create some order there using what I called the dancing stroke. As with most things, one learns by doing. And I did them over and over and over….
I painted them high key, low key, darkly, with mystery and light and in all different color schemes. Any way I could imagine – even with a favorite creature added – and always with the ‘dancing stroke’ in the background to simulate the jungle.
Please see my Demo – Grief Leaves Demo http://janhart.com/grief-leaf-demo/
I use the Dancing Stroke
as a background strategy that mimics the multilayered and ubiquitous backgrounds we see in the tropics. It can also be used in the dense woodlands of North America.
The painting process goes like this.
Step 1. Foreground Subject Here in this painting, the subject is the leaves shaded and shadowed and backlighted in the foreground. I like painting the leaves one by one so I can enjoy the pleasure in the process of wet into wet, soft edges vs hard edges, changes in colors and intensity, etc. There are still a few more leaves to paint before I get into the background and dancing strokes.
Step 2. Dancing Strokes in Background. Using the dancing stroke technique, I fill in the negative spaces, using the same paints I’ve already selected for the color scheme. At this point, the background looks something like confetti – but the best is yet to come.
It is the glazing that begins to push the background back a bit and allow the subtle structural cues (branches, some leaves, etc.) of the areas to emerge into view.
For a more detailed Demo of the Dancing Stroke, click here