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.

Sketching in gouache

Gouache is a marvellous medium for doing quick sketches. I often use it when working on portrait commissions and wish to present a series of ideas . In a previous blog, I showed a portrait of Tony Langford, Managing Director of John Smedley Ltd. (2003-9)

This was only arrived at after various other alternatives had been considered.

Whilst it was great fun to paint , this was not really a portrait suitable for the Company Boardroom.

Tony is also a passionate sailor, so I was taken on board his motor launch and given a trip along the Orwell. Fortunately, it was a calm day as I am no seafarer! This voyage resulted in the following sketch.

One of the previous Chairmen, however, also had a nautical theme as background, so this alternative was rejected.

Finally, we decided on a Cambridge setting as Tony grew up there,went to University there and now lives there. Hence the idea of having his old College, Clare, as the backdrop. A couple of alternatives were considered.

Also

This second version was chosen as the design for the finished portrait. Whilst indicating the Cambridge connection  the pose was also intentionally relaxed and casual. As such it was a good foil to previous portraits now hanging in the John Smedley Boardroom.

The finished portrait .

“Tony Langford, Chairman, John Smedley Ltd. ( 2003-9)

oils  38″x 30″

The advantages of gouache as a sketching medium.

It is water based and dries instantly but remains soluble if you wish to work back into it. You can paint with a thick impasto or using a wash technique. It is opaque so you can paint light over dark . As such it is a very forgiving medium. It is much underrated and is well worth experimenting with if you’ve never tried it before.

How to create a pen/ink/wash drawing 1

Materials used will be drawing pens (Edding) of various sizes, from 0.1 to 0.4, a brush pen, tissues, and a sponge as well as watercolour paper, and watercolours. Initially, I quickly sketch in the composition with a 2B pencil.

This will be  a drawing of Lavenham in Suffolk, with its beautiful old medieval buildings. At this first stage, I am simply getting the basic proportions and checking perspective. (It has to be said, however, that  some of these buildings seem to defy the normal rules!) When I am fairly happy with this , it is time to move on to working in ink.
Read more