I’ve been working on monochromatic watercolor portraits from photographic references. It is painful. I much prefer to work from life than to work from a photograph. However, I am focusing on creating solid head form and I need to go back to square one. Photos are the most efficient way to begin again.
Monochromatic watercolor studies
I began working from a pile of magazine clippings I found when cleaning out my files. I have moved on to family albums.
I had to work into this one with a bit of white gouache to bring back some of the form I lost on the shadow side of the face.
This is my favorite. I like the simplicity of line and value shapes.
1952. My father pointing out to us where our house would be built.
I’m the little one in the snowsuit, staring at the ground. There was a big back hoe behind my dad in the photograph. As much as I love land moving equipment, it would have complicated the shapes if I included it.
Self-portrait as a baby
After two days of monochromatic painting using ivory black, I had to dip into color. I look a bit cross-eyed in this painting. I was feeling a bit cross-eyed as I painted it.
The inspiration for my focus on improving skills at portraiture came from the trouble I have painting female musicians during the blues jams. Regardless of age, female faces are generally softer, the transitions of planes and forms are more subtle than than male faces. Originally, I didn’t care that much about creating a likeness when I paint in the dark at pubs, I was more concerned about capturing a sense of the musicians movements and energy. When I did capture a likeness, I felt a great sense of satisfaction. I want more of that feeling. So ….. it’s back to the drawing board to refresh and improve my portraiture skills.