Tag Archives: portrait

Woman in the Crowd – Sketch

Woman in a Crowd – Sketch final

Woman in a Crowd – Stage 1

Portrait #30 for my 30×30 Portrait Challenge. Yay! I made it to 30 portraits on the 30th day of the month. Whew! Okay, so the last two are just sketches so far, but the challenge didn’t say anything about having to be just paintings, right? I will likely need the 31st day of January to finish the paintings.

Woman in a Crowd – Stage 2

This is a graphite sketch on 90 lb watercolor paper. I started with an outline drawing of the major shadow and light shapes (Stage 1). In stage 2, I shaded lightly to separate the light from shadow.

By stage 3, I realized I had some proportions off. I fixed the “big head” issue, but I still need to adjust for the “Monster shoulders” issues. Stay tuned.

Once the final corrections are made, I will trace up an outline drawing to my watercolor paper today. Stay tuned!

 

Yohannes

Yohannes

Portrait #28 for my 30×30 Portrait Challenge. “Yohannes” watercolor 11″x7.5″ on 140 lb Arches cold press. Click on the image for a larger view in your browser.

Yohannes was the model today for the Portrait Society of Reno weekly Wednesday sessions. What a great model! He sat like a statue and provided us with SUCH a great look.

I spent the first 20-minute-pose on the drawing. Taking care to pay attention to angles, proportions, and Interrelationships. The rest of the painting I finished in 3 more 20-minute-poses.

I worked a wet brush on dry paper.

Sitter with Painting

I really enjoyed his glasses, deep orange skin tones, and dark beard. I decided to bring the violet tones in the backdrop to the shadows in the face and clothing. It contrasted nicely with the orange skin tones, don’t you think?

I used mostly Transparent Pyrrol Orange (Daniel Smith), Cobalt Blue Violet (Daniel Smith), and Crimson Lake (Holbein). I did use a bit of Raw Sienna Light (Daniel Smith) for the highlights on the cheek, nose, and neck. I used mostly crimson for the lips but decided I needed a warmer red, so I brought in Pyrrol Red in the end. Since I used the Pyrrol Red on the lips, I had to put touches of it elsewhere around the painting; on the bridge of the nose, side of the nostril, cheekbones, and brow. I also mixed some Pyrrol, TPO, and CBV for the darks in the beard, hat, etc.

The violet, orange, and crimson combination just did not gray down enough for the clothing. I mixed the Crimson with some Cascade Green (Daniel Smith), Pyrrol and Phthalo to get a rich, rich dark. Cascade Green is a mix of Phthalo Blue and Raw Sienna, though, so it’s not like a whole ‘nuther color.. hahaha. I may want to make a few minor adjustments around the neck and glasses. Or I may just leave it alone? Call it a truly live-sitting painting? Whattaya think?

I really think I caught Yohannes’ likeness. He seems like one of those really nice men; smart, kind, and it didn’t hurt that he was so handsome <smile>. I hope I have the opportunity to paint him again someday.

Barista

Barista – Final

Barista – Draft

Portrait #24 of my 30×30 Portrait Challenge. “Barista” 11″x7.5″ watercolor on 140lb cold press. Click on images for a larger view in a new browser tab.

This time, I just did a pencil outline sketch directly on the watercolor paper.

To begin the painting, I saturated the paper front and back. While the paper soaked, I mixed up five piles of paint; Cascade Green, Rose of Ultramarine (RoU), Transparent Pyrrol Orange (TPO), Raw Sienna Light (RSL), and Manganese Blue Hue; all by Daniel Smith.

I dried the paper back to damp before painting. I kept the paint at tea strength to start, painting the eye sockets, neck, light side, and under the chin with the green and blue and glazing with RoU. I used the warm tones; RSL, TPO and RoU for the checks, forehead, mouth, and nose.

I decided the Manganese Blue just did not allow me to get dark enough for the hair, pupils of the eye, mouth, eyebrows, and eyelashes, so I added some Cobalt Blue Violet to the mix. I mixed the blue-violet with orange for a rich dark brown. I used the raw sienna light for the lighter areas of the hair, and the orange for some of the warm shadows. In order to preserve the harmony of the painting, I used green for the apron and mixed it with the two violets for a background. I had fun painting the hair tendrils with calligraphy strokes.

After “staring time,” I’m thinking I will glaze over the green tones a bit with something warm. Stay tuned.

Update 1/27: I worked on this painting more over the last two days. I glazed over the green tones with Raw Sienna Light and Rose of Ultramarine added more darks to the hair, and fiddled with the far eye a bit.

Note: If you click on the images and open them in new browser tabs, you can click between them to see the subtle differences better.

Little Veil – Painting

Little Veil

Portrait #23 of my 30×30 Portrait Challenge. “Little Veil” watercolor 7.5″x11″ on 140lb Arches cold press. Click on images for a larger view in a new browser tab.

I mixed up 5 tea strength piles of pigment: Rose of Ultramarine (RoU), Cascade Green and Raw Sienna Light (RSL) by Daniel Smith;  Cobalt Blue by QoR, and Translucent Orange by Schminke. I saturated the paper front and back, then dried it back to damp.

I wetted the shadow shapes again then “S-caressed” in the RoU, RSL, and Translucent Orange for the skin tones, using the Cascade Green for the light side and the shadows ad Cobalt in the eye sockets. I painted around the highlights in the eyes (by not wetting the paper there).

I used a combination of the Cobalt, RoU, and Translucent Orange for the hair, letting the colors mix on the paper (not in the palette!).

I wet the background and gently painted caressed in tea strength RoU and Cascade Green in the background, Letting the two colors both mix and be independent, so it was soft and blended. I let all the color bleed out a bit.

I took a break to handle a customer. Yay! Afterward, the paper had dried back just the right amount. I started to build up the value tones. Starting with the dark eyes. I brought in some Payne’s Blue Gray (or maybe Indanthrone Blue?) by Daniel Smith, mixed it with the Translucent Orange to create a dark brown for the hair and the eyes. I used RoU for the lips and nostrils. With a tiny bit of blue where the lips joined and in the corners of the mouth.

I called out the neck and back of the hair with a stronger mix of Cascade Green, then blended in some RoU to neutralize the colors.

I enjoy the painting. I REALLY captured a likeness this time. I like the softness on the edges and focus on the features with the hair falling across them.

This may be my favorite skin tone combination now? Who will I draw or paint tomorrow? Stay tuned.

With a Blue Streak Too

With a Blue Streak Too.

Portrait #22 for my 30×30 Portrait Challenge. “With a Blue Streak Too” watercolor on 140 lb Arches cold press, 7.5″x11″. I decided to paint this model again. I just did not capture a likeness the first time around. Click on images for a larger view in a new browser tab.

I painted wet-into-wet using Rose of Ultramarine, Cascade Green by Daniel Smith, Ultramarine Blue and Translucent Orange by Schminke, and Cobalt Blue by QoR. I wanted to just do an analogous color scheme from green to violet, but I just couldn’t resist bringing in the orange for the skin tone.

The green and violet mix to a nearly perfect gray tone. I used the same two colors as individual components for the background.

I really enjoy the painting now, especially the pops of blue in the hair and the green backlighting at the temples and under the jawline. The other portrait was not bad, it just did not look like the model in my opinion.

I did take video of the process for future reference. Stay tuned.

All these small portraits (7.5″x11) are for sale. $185 (plus sales tax and/or shipping, where applicable). The price also includes a white black core mat with outside dimensions of 11″x14″ (standard frame opening size), foam core backing and clear cellophane packaging.

Buy now with PayPal

 

Spiked – Painting

Spiked

Portrait #21 of my 30×30 portrait challenge. Over 2/3rds of the way there. Woot! “Spiked” watercolor on 140 lb Arches cold press, 7.5″x11″. Click on images to see a larger view in a new browser tab.

I began wet-into-wet and intended to do an ethereal and unrealized portrait. Once again, I took it to the “too much” level. Sigh. I used 5 colors this time. Rose of Ultramarine, Raw Sienna Light, Pyrrol Red by Daniel Smith, as well as Ultramarine Blue and Translucent Orange by Schminke. Oh, and some Titanium White.

I started out wet-into-wet and left the paper wetter than I normally do. I painted in value layers from the graphite value study I had done previously. I “pushed” the colors a bit more than they appear in the reference photo, wanting to have a vibrant contrast between the violets and yellows.

Spiked – Graphite 11″x7.5″

I “finished” before completing the painting. I felt dissatisfied with it until I propped it up for display at home. Now I quite like it. This experience usually has the opposite effect. ha!  Though, I still want to bring some of the yellow to the left side of the background and soften a few edges here and there… Oh, and sign it. I usually only sign a painting once I consider it done.

Stay tuned to this blog post for any updates.

Buy Now with PayPal

All these small portraits (7.5″x11) are for sale. $185 (plus taxes and or shipping, where applicable). The price also includes a white black core mat with outside dimensions of 11″x14″ (standard frame opening size), foam core backing and clear cellophane packaging.

With a Blue Streak

“With a Blue Streak”

Portrait #17 of my 30 x 30 Portrait Challenge. “With a Blue Streak” 7.5″x11″ graphite.

This is a preparatory drawing for a watercolor painting. I thought I’d post some progress photos.

Stage 1

Stage 2

First I did contour drawing of the shadow shapes. See “Stage 1′. I shaded in the shadow shapes, either on or off, white or light shadow only.

Stage 3

I then brought in smaller, darker shadow shapes. And voila… out pops the image. It never ceases to amaze me how a face shows up on a blank piece of paper.

Between Stage 3 and the final stage, I made some adjustments to the eyes and mouth.

Click on images for a larger view in a new tab. Next up painting. Stay tuned to find out about that blue streak?

All Smiles Now – Painting (SOLD)

All Smiles Now

Portrait #15 of my 30 x 30 Portrait Challenge. “All Smiles Now” watercolor 11″x7.5″ on Arches 140lb cold press watercolor paper.

Swatches

If you saw my last post, you saw my value study. During the painting process, I tried to only refer to the drawing, rather than the source photo. I played around with some different pigment options before beginning the painting. I wanted the colors to be softer than some previous portraits I have done for this challenge. I settled on the combination on the bottom (see Swatches image); Quinacridone Red and Coral, Raw Sienna Light, and Manganese Blue Hue.

I saturated the paper front and back. While the paper soaked, I mixed up my pigment piles, plus a violet mix with the rose and manganese. I dried the paper back to damp, but wet the shadow areas again, so I could drop the colors in and let them swim around together, without worrying about the colors floating in the drier paper. Damp paper will hold a soft edge. On dry paper, the edges dry too hard for my liking, especially for a little girl subject.

I put down a thin layer of blue in the eye sockets, under the nose and mouth to start, then applied rose, coral, and raw sienna next to the blue to let them mix on the paper. I then gently caressed the colors together.

I left the highlights in the eye dry, so they would stay white. Not the “whites of the eye,” though. just the highlight that crosses the iris and pupil. The “whites” are actually quite dark, sort of gray tones. I like to have a blue base for the eye socket and the teeth. When I’m painting a big smile, I avoid yellow anywhere near the teeth because it makes them look decayed.

I slowly built up the value layers, being careful to soften all the transitions while the paint was wet. I only wanted hard edges around the eyes and mouth. For the hair, I used mostly raw sienna, with purple shadows. I did have to bring in some Cobalt Blue Violet in order to create the darks in the mouth and eyes. The manganese blue is too high value to achieve the darks.

I’m not sure the painting is complete yet. As I look at it, I may make a few adjustments. But then sometimes we have to be brave enough to quit when it’s 80% done, to avoid that overworked look? I’ll sleep on it. Stay tuned. Compare to value study drawing. Does it look like the same little girl? I did use my drawing to trace up the contours for the painting. Click on images for a larger view.

This painting has SOLD.

All Smiles Now – Drawing

All Smiles Now – Watercolor, 11″x7.5″

 

Isn’t She Lovely?

Isn’t She Lovely?

Portrait #6 for my 30/30 Portrait Challenge. I meet a friend for coffee on many Sundays. This time I shanghaied her into a photo “headshot” session, so I could have some good source photos for this challenge. I wanted to paint this in watercolor, but my Monday was a more than typical crazy Monday. I guess because this particular Monday is also the first Monday back from the holiday break.

Isn’t She Lovely (first draft)

Right after my next batch of “headshot” sitters came through the studio on Monday afternoon, I started the painting sketch process. But alas a customer came in and gave me the perfect diversion. If you’re going to be diverted, it may as well be by a paying customer, right?

Then I had to rush out and pick up my Little at the bus stop. There is no being late for the bus. They come when they come and if one is not there, Littles could be left feeling abandoned. I didn’t miss her, but it was close! The Little and I had a fun time talking about her latest style change in her drawings (She’s really good! Maybe she’s let me share some of her stuff here someday). After taking the Little home, now I’m well into my evening hours.

I do have a couple of travel watercolor kits at home, but now the kitties want attention (for some reason?). So I drew on my lap… because drawing. Nothing in my rules said the portraits had to all be PAINTED.

However, I did find I had left most of my drawing utensils at the studio. I had two lead holders, one thick, one really thick. The thick lead was HB or 2H or something (too light), so I was mostly relegated to the chunky lead, which made me think of my GREAT college art professor, John Erickson. But I digress.

I drew with the drawing board flat, which skewed my perception somewhat. As a result, in my first draft, I gave her too much chin. I made a few more adjustments to the far eye, the neck and mouth (see “first draft” image with lead holders), but now I’m calling it done. Here is a sketch of my friend, “Isn’t She Lovely?” Click on images for a larger view.

Isn’t She Lovely (Final)

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