Even with having been a bit disappointed with the execution of Composition 265, I still felt the traditional art media approach was sound. So I began this piece by reviewing old work and deciding what motifs I would use. By that point I had also begun new figures using a completely different approach than with the previous composition. Instead of creating them as free form drawings, I used photos as models. This resulted in better modeling and less reliance on line.
Also, instead of using my large Wacom tablet, where small movements of the hand can result in fiddly forms, I used Art Studio for iPad, where the same movements produce broader stroke forms.
Whereas the color palette for 264 came from some purple/orange color experiments from early in the year, the palette for this piece took a more work-a-day approach: neutrals, blues and muted warms.
The graphic motifs used to suggest motion and bind the composition are largly just re-renderings of those used earlier in the series. Only instead of using hard-edged line or rectangular forms, I employed scribbling, charcoal stroke or paint splatter.
As in the previous composition, I allowed the uniqueness of each figure to carry the rhythm and placed them with regularity across the horizontal.
I was tempted at first to leave the background blank or to articulate it with a subtle white on white translucent brush stroke build-up effect, but instead returned to the source photos, and through some reduction processing created imagery which suggested a city street without all the detail and tonal quality of a photo. Then the background provided the context and support missing from the previous work, in which I felt the background distracted from the figures.
When it was done this piece adhered more to the photo stylings of the early series while appearing more painterly, just as I wanted.