Portrait Artist Forum - View Single Post - Watercolor portrait step-by-step

Sonja Craen · 01-20-2003, 12:54 PM

Don't stop too long on details as yet, it would only seduce you to make a filled-in drawing instead of a spontaneous watercolor.

To illustrate: a print of the horizontal and vertical reference points.

Align: The set-up

Once my set-up is finished and I feel happy about it, I remain conscious of the fact that these are only helping lines which do not stop me from continuing to work outside these lines when I want to correct by painting.

Before I start to paint, I squint my eyes and try to find where I can catch the light, thus simplifying the different shadow values into one whole plane. At this stage, I am not considering the details of shadows just yet.

Choose a point that especially attracts you to start off with, anywhere. From there on, you work around the WHOLE watercolor painting. Try as much as possible to reach the depth of your final result from the start. Any value put down correctly from the start diminishes the risk of failing by having to put another layer over your painting. If the girl has blushing cheeks, make them blush from the start. Then continue from her cheeks, over the nose, softening the contours to the point where the light flesh occurs. Pull the color over to the forehead, again saving the light where you can see it. Then return as quick as possible to the other side of the nose, and connect the forehead with the cheeks; save the lighted part underneath the nose, not forgetting to soften the contours against the light when needed.

Then continue under the nose, taking the lower parts of the lips to the beginning of the throat, and always remember to save the light. Small color variations, some red, a little bit of blue for the shadow and, maybe here and there, some carmine or burnt sienna. Always control the amount of water, all the time. Continue again and pull the color down to the neck, saving light and adding shadow parts at the same time.

In the same manner, add the first layer to the hair, taking into account the shadow, but leaving the light-caught parts untouched. After the hair, switch as soon as possible to the color of the background. Always try with two colors that comply with each other, and let them somewhat bleed together. Or you can liven them up with an extra touch.

Whilst still in the initial stage, don't be afraid to let things happen; touches of paint you've put on can do a work of their own. Work rapidly - don't stay too long in one place, correct only when you're sure that it will be for the better; otherwise, you wait until you've worked all over.

Sometimes, however, you can soften some parts by lifting out and then leaving your work alone for some time. You have to take into account that watercolors become lighter whilst they dry.

01-20-2003, 12:54 PM	#3
Sonja Craen Juried Member Joined: Dec 2002 Location: Belgium, Wommelgem Posts: 7	The set-up Don't stop too long on details as yet, it would only seduce you to make a filled-in drawing instead of a spontaneous watercolor. To illustrate: a print of the horizontal and vertical reference points. Align: The set-up Once my set-up is finished and I feel happy about it, I remain conscious of the fact that these are only helping lines which do not stop me from continuing to work outside these lines when I want to correct by painting. Before I start to paint, I squint my eyes and try to find where I can catch the light, thus simplifying the different shadow values into one whole plane. At this stage, I am not considering the details of shadows just yet. Choose a point that especially attracts you to start off with, anywhere. From there on, you work around the WHOLE watercolor painting. Try as much as possible to reach the depth of your final result from the start. Any value put down correctly from the start diminishes the risk of failing by having to put another layer over your painting. If the girl has blushing cheeks, make them blush from the start. Then continue from her cheeks, over the nose, softening the contours to the point where the light flesh occurs. Pull the color over to the forehead, again saving the light where you can see it. Then return as quick as possible to the other side of the nose, and connect the forehead with the cheeks; save the lighted part underneath the nose, not forgetting to soften the contours against the light when needed. Then continue under the nose, taking the lower parts of the lips to the beginning of the throat, and always remember to save the light. Small color variations, some red, a little bit of blue for the shadow and, maybe here and there, some carmine or burnt sienna. Always control the amount of water, all the time. Continue again and pull the color down to the neck, saving light and adding shadow parts at the same time. In the same manner, add the first layer to the hair, taking into account the shadow, but leaving the light-caught parts untouched. After the hair, switch as soon as possible to the color of the background. Always try with two colors that comply with each other, and let them somewhat bleed together. Or you can liven them up with an extra touch. Whilst still in the initial stage, don't be afraid to let things happen; touches of paint you've put on can do a work of their own. Work rapidly - don't stay too long in one place, correct only when you're sure that it will be for the better; otherwise, you wait until you've worked all over. Sometimes, however, you can soften some parts by lifting out and then leaving your work alone for some time. You have to take into account that watercolors become lighter whilst they dry. Attached Images __________________ http://users.pandora.be/sonjacraen [email protected]