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 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.

How to create a pen/ink/wash drawing 4

I have now added transparent washes of watercolour to the original drawing. These are done in successive layers with the previous one allowed to dry before the next is applied. This allows the luminosity and freshness of the watercolour to be retained. Having done this, I found that certain areas of the drawing had to be strengthened with pen/ink. e.g. the figures, the shadows under the eaves, the chimney stacks against the sky.

Pen/ink/wash is a marvellous medium for sketching en plein air. Few materials are required to be transported and one can sit quite unobtrusively drawing away without the usual crowds the sight of an easel can attract. It is ideal for rapid sketches, but its intricacy and detail can also be used to great effect in more highly finished work.

5 TOP DRAWING AND PAINTING TIPS

Vary the thickness of one’s line.

When cross hatching , change the angle of the pen stroke very gradually.

Never cross hatch at right angles.

Try to keep the watercolour washes fresh.

Use  transparent rather than opaque colours.