Watercolour portraits

To attempt portraits in watercolour is not for the faint hearted! Watercolour is a notoriously difficult medium to work in, and is, in comparison to other media, fairly unforgiving. Whatever technique one is using, whether it be wet into wet or a more considered approach, careful planning is required if your painting is to be a success.

The above sketch was done in about one hour using a wet into wet technique. No preliminary drawing was done. Although initially it looked chaotic to the group I was demonstrating to, I was, even at the earliest stage, planning and allowing for my highlights to be preserved. If things go wrong there is still the possibility of lifting out with a sponge or tissue.

The same approach was used in this sketch. Having established the position of the features I started to build up the depth of tone. At various points I dried the painting and went in with a dry brush technique, as in the eyes.

The above was a preliminary sketch I did for a more finished portrait. Again this was completed in less than an hour.

“Mary.”     A portrait in watercolours.

This more finished portrait took considerably longer, requiring as it did layer upon layer of transparent glazes to achieve the detail I wanted.

I find watercolour the most amazing medium and one which offers a luminosity and delicacy unrivalled by others.

In a later blog I will demonstrate a watercolour portrait from start to finish and will describe the materials, techniques and colour mixes I use.

A traditional method of painting a portrait 4

The portrait is nearly complete. I have continued building up detail through a series of glazes alternating with more solid pigment.

I pay close attention to  blending, whilst at the same time increasing the depth of shadows and picking out the highlights in the flesh. With a hogs hair brush I try to capture the flow of the hair before finally using a sable rigger to add the wispy bits.  This technique is particularly useful where the hair goes into the background. This way, the contour is softened.

A few minor adjustments to the face, a bit more detail to the blouse, and the portrait will be finished.

A traditional method of painting a portrait 3

The monochromatic underpainting being completed, I now start to apply colour. Initially, this is done with a series of glazes, transparent washes of colour laid over and modifying the cool tones already established.

For this I use a mixture of Dammar varnish, stand oil and turpentine.

The colour of the shirt is quickly blocked in also.

The next stage is to build up the texture of the skin with more solid pigment and impasto.

A bold approach to portrait painting in oils 3

I now begin the second portrait sitting. As the oil paint is dry, I apply a coat of retouching varnish. This restores any colours which may have sunk and makes the surface receptive to fresh paint. “Oiling out ” is another technique which may be used. This is where  you rub the surface of the painting with a soft cloth dipped in medium,as though polishing it. Again, it will liven up any “dead” areas.

As the painting is dry, I check for any areas where I wish to apply transparent glazes of colour – e.g. the nose, chin, and parts of the forehead. I now focus on the eyes, once more checking shapes and modifying the colour and tone of both the pupils and irises, trying to capture the moisture and light within them.

Using stiff pigment, I build up the texture of the flesh under the eyes and in the forehead. I flick in some of the creases, laughter lines, but soften them with a cloth or drag paint over , so they do not appear simply stuck on like theatrical make-up.

I cool down some of the more fiery flesh tones and add a cool greenish reflected light on the left side of the face. The background also is lightened and a little more detail added to the ear.

The second sitting now draws to a close.

TIPS
Try using retouching varnish between sessions.

Also, try the “oiling out” method.

Experiment with glazing and scumbling techniques to see the different effects that can be achieved.

Painting a landscape in acrylics – part 3

I am now working at building up the detail and establishing the perspective of buildings and boats in the painting. I try to capture the play of light and cast shadows, and begin to strengthen the colours. Thin transparent glazes are overlaid in certain areas, and Flow Formula is added to the paint where more precision is required.