I got inspired from photos of roses that I had taken long back, added some elements from imagination and designed a composition with pleasing negative spaces and + shapes. Did some notan studies beforehand to look for the silhoutte. Drew the sketch directly on Arches paper, can’t wait to paint on good paper after having gone so long on sketchbook paper:
I have pretty much used the same colors as I did on the last one, the mixes leaning more towards raw umber than towards raw sienna for the hair specially is cooler. I used ultramarine violet too which I forgot to mention for my previous study, very useful for neutralising the yellows effectively. Ultramarine blue is a mistake I guess, it sediments too much giving a texture on the face, but I don’t know what else I can use, its a nice warm blue that neutralises yellows (leaning towards green), cobalt blue does also sediment a bit. I think the tones on this portrait looks more cohesive than my previous attempt, I applied an overall first wash for the face cooler on the forehead, warmer and more saturated in the middle region of cheeks and nose and more neutral in the bottom third of the face. Then added glazes to go darker and add color temp variations instead of looking for variations right from the beginning:
Prepared another sketch, this one too is after a portrait study by Morgan Weistling, its in low light of a beautiful ,young girl with light coloring and light blond hair:
I am going to start on it tomorrow with daylight to paint maybe after changing the sketch or redrawing it ..the portrait looks to be of a younger girl than what I have drawn here, the facial features are clustered more towards the lower half of the face in children.
Painting this was a lot of fun, love his color sense, though I brought out the colors a bit more than his more neutral ones. Looking for warm cool color relationships and stating light dark patterns effectively. Here are the first washes, used very few colors, raw sienna, raw umber, burnt sienna, walnut brown, mangan violet, quin magenta and ultramarine blue.
I have given up on it, it’s too frustrating, working in a new medium and the first time I am painting a portrait. On the plus side I have learnt a lot of things,like, starting from the darks first, colour in shadows, accurate values without glazing, judging color temperatures, noticing color transitions; and … painting a portrait (hee!)
Just prepared a sketch for doing a portrait study of Sargent’s Lady Agnew. I found a cool demo in oils on utube, I just have to translate it in Gouche! I have been meaning to learn the medium properly:
On the right side of this spread below is a color study of a painting by Richard Schmid that I have started doing, yet to complete it though. The other pages are ones from some time ago. I had wanted to add a gold arabesque to the background of the prayer written by the Mother, Mirra Alfassa, have yet to do it. The one in the middle is of a bright sun cloudscape study.
Just finished these color studies today. Each have a range of values in the same color family and I tried to shift the highlights and shadows to the adjacent or to the complementary color family. I feel I should have pushed them a bit more: