Last week I tried to show how exacting measurement in prep drawing for a watercolour portrait can work in your favour by giving reassurance of the drawing and confidence before applying paint.
I knew this painstaking method would be challenging and rather laborious for the group so this week I offered a shortcut alternative and took a tracing and transferred the drawing that way.
I was asked if I could paint someone everyone knew, to give added interest. I chose Tom Hardy and no-one knew him!
It’s not great to paint from someone else’s photograph for portraits but hey, it’s only an exercise.
I tried the one on the right at home to rehearse the points and to make sure I kinda knew what I was talking about when I came to do it in class.
The photo is a good example of high tonal contrast and three quarter pose.
The one on the left was the demo. These are half hour paintings, with a one inch flat brush.
More paint on; tonal additions and adjustments, eyes, some hair, eyebrows, lips, nostrils.
Everywhere got a little paint to finish.
Watercolour on paper 28″x15″
A demo for Thursday group highlighting precision measurements when transferring drawing to paper.
I am not averse to a bit of tracing when drawing on to canvas or paper but this time I got the ruler out and showed the scaling up from measurements taken from the photograph.
The composition is cinematic widescreen. I like the way the girl is peering out through the letterbox like window. This was two hours painting and I will give it some more time in the studio to finish some raw areas. Eyes, some hair bits, tonal adjustments here and there.
Today’s demonstration; same face in watercolour this time. This is 40cm x 40cm again, so quite big. On unstretched watercolour paper. Painting in watercolour feels like a battle of wills.
Following from last week’s exercise, this one is showing a layered build up.
Still using broad pools of colour and ignoring fine details.
In preparation of a watercolour demo for Wednesday group, I tried this one tonight. I painted this on a drawing board at quite a steep angle to allow the pools of colour to fall to the bottom edge of the applied colour. I also tried to use a lot of pigment to saturate the colour. I virtually never draw a portrait freehand. I use measuring tools and tracing for my oil portraits. Here, I relied on eye and fate.
It’s that woman again!
This time it is done in watercolour as a demonstration for the Thursday morning class. I had a practice at it the night before and so glad I did. It was awful. Today I had a better idea of what to do and what to avoid. I was more efficient with my layers and bolder regarding pigment intensity.