Yolanda in watercolor
 

Watercolor, 13" x 10" on Arches cold-press.

Yolanda was lit by a warm artificial light on our left, while cooler natural light lit the side of her face on our right. My most vivid memory of this painting was frantically trying to use the hair dryer at times that coincided with the model's break.

The session was about 3 hours; I spent the entire first 20-minute session drawing and placing landmarks. I had hoped to begin color during the second 20 minutes, but the drawing needed correction first...so I took as much time as I needed to get it right.

So beautiful Chris!

Beautiful, Chris!

There are two things that always awe me in your work: mastery of color and of drawing, which is where I lump together value, line and composition.

When you're first laying in your drawing, are you using pencil or straight watercolor?

Very nice Chris! I had just finished a Don Andrews video where he encourages bold use of color and value in figure and portrait paintings and your painting does what he preaches and would like to see more of in my own work.

Man, gotta love this Chris! Her eyes are so soft and the colors, WOW, bold and dynamic. You people who do watercolor so well are a mystery to me - my hat is off to you because I don't seem to have the proficiency for it.

Thank you, all, for such nice words.

When I was flying through my brief acquaintance with watercolor, I always drew lightly with pencil. Just before I was ready to employ color, I'd drag a kneaded eraser across the surface so all that was left was a little ghost to serve as a guide.

Michael, I laugh, because I am not one of those watercolor people, who actually amaze me, too. I find watercolor to be stressful, frustrating, not fun, and a medium to which my temperament is completely unsuited.

Chris,

Your brief acquaintance looks much better than my brief acquaintance.

HAHA! Mine too!

This is powerful painting!

After an intense week of watercolor study with Charlie Reed, most of us needed therapy. I understand and share your sentiments.

Your respect for this medium is evident. Splashing/losing the hair on the cool side might add some spontaneity. Mr. Reed said that what ultimately sells his paintings is the "amusement factor." In addition to good draftsmanship, composition and planning, he always let the paint surprise us with a dribble, splatter, or run somewhere within the form, along edges, and into the background. People are fascinated by what the paint can do.

If I may comment further, her left eye seems slightly turned away. The line down the bridge of her nose is sharp for some distance.

Your colors are divine!

My watercolors come with me when I travel. Otherwise, I'm an oil girl.

Thank you for posting this!

Respectfully,
Jeanine

Chris,

I think we all worry too much about those pencil lines in a watercolor but have found often that they end up making a contribution to the end product. I like the fact that they reveal something about the artist procedure. My watercolor drawings are usually loose and find that I often have to erase the odd line remaining in the wrong place. The thing that continues to surprise me is the ease with which I am able to erase pencil lines (2H) without removing paint.