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    72 views154 pages

    (Drawing) Water Color Painting PDF

    Uploaded by

    Rodica Ciuciu

    Copyright:

    © All Rights Reserved
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    of 154
    portrait 4: PAINTING IN =| : WATERCOLOR «= Charles Reid | PORTRAIT =~ PAINTING IN WATERCOLOR In this book, Charles Reid guides te reader thouah & ‘Complete, step-by stp tour ofthe wateroior mates ond ‘otha needod to create expressive, master portals Tlobogins wih tho bass, ncucng which pains Use) {aiod demonstrations hat incrporate such technnquas Wining smashes and overwashos, wetanowe, ty Erus, Ting out an using more than one value "He gcee on to show the reader how to paint the ‘bane head form; the eyes, nose, mouth, and are; ight fhairand dark halts hands in general and hands in des {ail n following these demonstrations, the reader will Team how to use simple light and dark washes to indi (cae the shadows and highlights that describe tho features: where to [00k for thee light and dark areas ‘hen the heed le in too-quarter, side, front, back, Tina rim ighting situations; and how to use seraiching, ‘eatnering, and hard and soft edges 0 creatotontures. ‘he tie he reaches the complet, ful-color por ‘rat demonstrations—showing Now to paint chiteren, ‘mon and women, and elder men and women ‘he ieeder has mastored the basic techniques of the Inadium, and [o ready to Incorporate them Into Suc essul porta painting in watercolor. 460 pages. 11 x 814. Over 150 black and white lust tions, 42 Golor Plates, Ind WATSON-GUPTILL PUBLICATIONS. PORTRAIT PAINTING IN WATERCOLOR PORTRAIT PAINTING IN WATERCOLOR Charles Reid This book is for Judy and Pesay ‘and for my father, whe wanted me to be an artis. Fret pubs 1973 ts Unt Stats ant Conn by Won Gui Pubiaton, a Congres ating Punaton Dae ona painting in watercoor. Biogen 3 "Poiwali 2 Water-ole oni Nozeon ae a1 re 2-3500 Disted nthe Unites Krgdo by Pals rss i, ‘ah raoraa Nop te pasetion ‘hay be epredoed or sed nary oo ory any meagan, ‘ete. or mechani, inudingprotcepyn, coro eping Br nformaten orge and rival syle wthut ‘tan perme oth puberare 34567 600 98 97 96 85 94 Acknowledgments ifthisbookis good, t's dueto me erronts of mye {or Lo’ Miler and the designers of the Hook, James Craig and Robert Fille "algoke to thank Don Halden fortis contin. ted help and encouragement. Contents ‘Quick Sketch. 12°12" Febviano poss Thr sa very epic ste ‘ll race no tempt wnatsoover to ‘Se1dop any dot. reed on ight ‘ection inthe hal, nese are Ferenc to carty the pictur. tt the write soe umcuehes in cota [solos ang allowed the enecow toblendtegather. This oe of eeich invory good exercise and funtodo, and finshed tin about tee frre nave worty were farting ke his wl ome ot or ol dot a put asi and stat ‘gan. Lato, tacks goo, thse vrkon he other side, (ccaseraly tank's goodtor any ast To work this way. helps ou ‘0d treasury your work ano {oging tat i's too precious. And | thinks good to avai udging a pctureright away De apaetngand uti esice. Your eye wi be much reser ter Introduction, 10 Materials, 12 The Heed 1, Hea in Three-Quarter Lighting, 16 2. Head in Side Lighting, 20, 2. Head in Front Lighting, 24 4, Head in Back Lighting, 30, 5. Head in Rim Lignting, 34 5. Basic Head For, 38 ‘The Features 7. Eyes, 44 Nose, 50 8. Mouth, 56 10. Ears, 60 The Hair 11. Light Hat, 82 12. Dark Hair, 86 ‘The Hands: 19, Basic Hands, 94 14. Hands in Detal, 08 Portraits in Black and White 16. Child, 104 16. Yeung Worn, 109 17. Young Man, 115 18 Older Man wth Beard, 121 19. Dark Complexion, 126 20. Salecting Color, 134 21, Mixing Color, 136 22. Gini with Headoand, 198 23. Qriental Chile, 141 24. Bearded Lobeterman, 144 25. Child in Sunlight, 147 28. Full Figur, 150 Bibliography, 153 Index, 155 Introduction 10. PoRTRArT PAINTING IV WATERCOLOR Forme, watercolorisa spontaneous and sugges tive medium, andfind using tan exciting adver- ve heard several “"myns” about painting with ‘watercolor, and Icsagree with them al. For ‘ample, ve heard it said that you can’t make any ‘corrections or changes ith this medium—thatyou havetoboe right” the st time, Thsjustisnt tue! ve oundtnat my corrections and changes often ‘make apainting, and hope you'l se for your- set what mean as you follow he demonstrsions in this book Another misconception about this medium is that's much hardor to paint people than to paint olher subjects with watercolor. Again, | aisagroe! ‘atercoleis cea for spontaneous, informal pr tras, and its ceriainly possible to paint highly ‘inished” portraits with watercolor. fd rather go tooilorserylctor my “orm” porvaits,buttisis avery persona preference. simpy fndithelptul ‘and interesting to switch back and ferth between watercolor ard cil ‘can’ tete2s enough he mportance of knowing how to draw betoreyoulearnhow to paint por- trails, Drawing is beyond the scope of this book, but inthe Biblography I've listed sovera tine books on drawing haads, hands, and figures. \whioh you might wantto study ityou have coubts about your drawing. For the demonstrations inthis book, Fv panted each stepon asaparate sheet of paper—tomake ‘he “lessons” as clear as possibie—s0 you'll prob- ably tind minor variations as you progress fram ‘one iustation oe nex. think hese light it ferences from one step to another should actually ‘behelatulto you. Theylsrow you that watercolor 's anything but an exact science, and that each painingis anew experionco plan my composi ‘ions carefully, and begin with accurate cravings, but Idon' use any exact system once I sartt0 pain. ke things to just happen. For me, this approach creates the excitement andadverture thatareso much apartof pening ‘th watered. nthe folowing demonstrations, | hope youll eharethis senseot adventure with me. Materials ‘About te ory unpleasant aspect of painting wth watercolor ie going outto the at store to buy the necessary materials. Good watercolor brushes, paper, and colors ave very expensive, The enly thingl can say about thisisthal good materials are an excolent investment. Try te steel yoursalt against the expanse, knowing that yOu just can't ce your best work if you use poor mateias Brushes There are two main types of brushes, oxhair and ati. ‘Oxtiar brushes con’ form the fine polnt that's necessary todo the important dtal work np inga nead tor example, On te other hand, an ox- hairbrush would be fine forthe earlydemonsta- tions i this book, while you're just becoming ‘amliar wth the general techn ques of watercolor painting Sable brushes ate the best, but they come in varying quaiies. You should buy #8 good abrush 48 you can possibly alford. The three sable ‘rushes | suggest are a1" tat, a Number 10 ‘ound, anda sail, Number Sar Number 4 round. ‘The numbering of brushes scoms to citer trom cone tranvfacturer to another. For example, tho Winsor & Newton Numer 8 approximately the ‘ame 92e asthe Grumbacher Number 10; the smaler sizes clr cortespondingly. Investigate the difeences yourslt, and choose ine brushes, you feel most comfortbie with Tra very diel © do a good painting with a brush that's Become tied an soggy, so you shouidawaystrytouse one that comestoa good point Save your ols brushes fr background areas fand use your goad brushes for precision work Peper |Mhink good watercolor paper's very important. By ‘eed, Imeana paper thats tay soitandab sorbent, Cheaper papers toni beard often = pelthepain, and sometimes seem tohave an clly tien that doesn't realy take the color weil But ‘again, youcan cetainly use a cheaper paper unt {yous Mave a good idea of how watercolor works. ‘When you use expensive paper, you may find that you re alta of t—thet you don'twantto ruin itanisthismay make for very tentative and timid cffors, Try to aco9pl Po fac hat you are going 19 ruin some very good pager anc that's just part of learning to paint! Whenever youcen,werkan both ‘51069 ofa sheet of watercolor paper (apparery ‘here sa right and a wrong side, but I've never {our out which is whieh). ‘Watercolor papar comes in various weights ang texfures, Te textures run tom very smoot, called notsxessed, 10 rougher textures, called ‘cold-preasedt (medrately rregulat) and roush (hich means retiy rough) 6 suggest thal you tee afaly smooth texture ike hot-pressed, a- ‘though later on you should experiment with Both ugh ancsmooth paperand sae which you really Ike est. Hot pressed, cole-pressed, and rough papers ccamin eights uring rem the ver light 721 tothemeaium weigh 1401p tothe very heavy 800 1b. Tha waight ofa parbcular paper means the ‘umber of pounds that a eam (500 sheets) ofthat paper weighs. Te papers normally thestandard Irpenalsize—22" x30" The 2b. paperisroaly too thin and ight for watercolor work, ures you ‘n't plan tomake anyrstakes. The heaves pa per. such as 140. of—even betier—300b takes ‘more punishment, The 3001b, paper ie especialy ‘gecxto use. You'd you can make allthe cor rections you wanton twitut fear ofits buck ling—becoming way. Paintbox and Paletle ‘Since you'l probably do most of your watercolor \Work indoors, t doesn't really matter what you carry your paints ancborushes in, However, ash lerman’s tackle box ora carpenter's tool box ‘makes very nangy oontaies fr allo yout equip mont. Both types of boxes have smal compat ‘ments that are excellent for holding paint tubes andlushes, and thelarge compartment beneath isa.good place tor your palattaand water con Isiner.'d suggest that you buy aplastic tool box becauseit uon'trust. You'll probably find a good fone at your local ciscount novse. luge an enarel butener's way when | work in my ‘sudo and 2 folding metal palete when | work ‘anay rom my studio, Tebuicher's tray makes an excelent studio palette. thas large ates for mix Ingwaanes, anditlasistorever. you buy afolsing pate be sureithasalarge enough mixing area ‘and plenty of room for your colors around the ‘edge. Don't buy a palette that has ready made ‘aks of dry color on i—buy one that's meant for ‘ube colors. And dont buy aplastic one. They on'tlatandi’s dificultio mxpigment and water en them, Easels !'venover wsotan easefr my watercolor paint ing, because ing them more toubie thanthey’e werth, An easelisjustonemore thing 1 cary and, \whentIm cating around a drawing board, paper land a paintooy, | altady have plenty fo carry. In ry tudo, luse two folding chaitsas my easel. it ‘on one, set he otter opposite me, prop my draw: ing boarcagains!theback of, anduse the seat to hole my palette, brushes and water ja. When I werk outside, | Usually prop my board against & hanay rock or simply set on the ground an noe In font of Somme arts preter to sit in a chair and place ‘heirpaper and board onthe lor in rontol them. “Te acvantage of painting in his positon—so tar from the paper—is that you can't realy “tighten up on your work: you've got fo swing your arm and youtendtobe much reer with your painting, Iryoutreworking nastusio,Tésuggestthet you ‘sean adjustable drawing tab'e—one that youcan {ix inahorzenial postion when you wantto paint standing upandagjustall he way to vertical when you went to sit and paint, Ty to find the place and the painting positon ‘most comfortable for you. As you become more in volved with watercolor painting, you'llcetainy de velop your ov meinod of placing your drawing board and paper Colors 1 go into a complete discussion of color in the chapters on Selecting Cclorand Mixing Color. For the black and white projects in this Dook, you should buy either wory biack or Payne's oray \When you buy these—and al of your colors—1 suggest that you buy tube paints, rather than ery cakes of color. Perhaps this alo fli into the realmol personal reterence—itmay be quite pos- sibo 10 de excelent paintings with cake colors— “exure 4x6", Sistl pape, took advantage ofthe hatésuiace tne Britt paper to create come soecil ‘tects nee Fr exampe,ntico te very high keyed casteradow underthe neve This was orginal moh ‘arr, tl dopped come water nto the shadow ar. asthe aeachod. be water lela ath etd elec, instead of docerinng the nose wih tho usual dak ‘elu indated de peeance ty leaving the hard [edaresaround te cast shadow. Wie neha ws sill ol, Ibitied& wth issue to eat texture. Suggested he swoutor and, aoe aoa died, | Scratched out some texture wah my tngorral ako {Goad my finger fo bot the mouth and oteate a very sfloane reture MATERIALS 19 but think yout fing it much easier to put the right ‘ammountot color on your plete when youuse sot tube color. And be sure inat you buy transparent watercolor paints, not gouache. Gouache is ‘paque watercolor, anditcan' be used fr trane- patent watercolor painting. Miseatianeous: Your crawing board should be tary steady and should proude @ 900s, solid surtace to paint on {As mentioned eal, often work with my board ‘navertca postion, although Ive hoard that his is ‘considered very unusual. Wet washes cun when thetoardsvertea and thinkyou'l seemany ot ‘these “runs inthe ilusraions inthis book. don't tind newing" bothersome, but perhaps you wil ‘ane it ight be bolle for you to work wth your ‘boar in a horizontal or diagonal postion. ‘whan goto sketon class or workin my house, cary tail smal drawing board—eitherastanc- ard, commercial pin craving board orapiece ot Masonite orpiywood-—about 16°20", Pushing don’ penetrate Mason, but you can carrya role (olimssking tape toallach your paper to theboa. | etwayshave akneaded orasor, pencils, anda razor blade in my box. An eraser should be used very caretully. Neveruseahara, tice type srasor land, ven when you use a soft eraser such as @ kneaded, becaretl not to overdo your corrections Ityouserape the sutace othe paper, illbe ‘come rough, it won't hold the pint 2s wel as it shoudl, ad the rough textue of he erased area wil show through your paint Usea28 oficepenc t's fay sot, outnotio9 soft Herd pencis tendo dig up the paper and, a ‘hough they rake very niceligh nes, think you'll find yoursel beating down as you try to develo ‘yourrauings.Verysoft pencils, such as 46 or 63, ‘endo leave very dark lines that become both ‘ersome at he painting stage. Razor blades are vary useful for scratching out light areas when apairting sd. You canaiso use ‘zor bes to seratch out when your painting is \wetbutbe caret otto dig upthe paper. I's also possible wo overuse razor blades and ruin paint ing, usta few highlights are necessary in any Painting, and too much seratching out will ereate ‘a very unpleasant, "too busy’ fect. [algo use te ip ory brush handle and my fir ‘ermal to sratch outlightines while washesare stil wet | thir you'l notice tat Ive used boin these method to geaten out strands of hain ‘com of he demonetratons For water containers, luse plastic jrs—the kind that margarine corns in. They tt nicely into my paintbox and they don't break, An Army canteen ‘anda matching cup also make avery good water cari are container. use pushoinsto attach my paper to my drawing bboard—unlessI'm using aMasonite board. In that case, keep aol of 1” masking ape handy to fa ten my paper to the board. Finaly, | abways cary a Box of facial tissues. ‘Toay'e extremely neptul in many ways, They're ‘excllent for bloting brushes and for blotting ‘areas of paintings that are too wet and are getting ‘ut f conto, | also use them to sorub out mis takes and to soten edges that ave become t00 hatd, | hink facia! Ussues are a necessity ia any watercolor ki but you may tin that paper towo's work just a well ‘Standing Girl. 4°x6", Sri! paper Asyoucance ers, i's posioTo pant a poral without rely Show the face. You can Snpty ‘apie he evens partcutr ate. Im sure youve seen saraone walking down te street fn ino who tnt person wae bore yeu could rey see any fear. Atitudeisaverympatant paltots pone, and youshouistry ‘ocacture sas wel 0 the specie teats. The Head 1 Head in Three-Quarter Lighting 16 PomTaNT Panis m WATERCOLOR Inthe ve cenonsrationsthat elon, youll be us- ing just two values—one ight and one darker—t0 representights andshadous on a highly simple tied head form. Natwaly, you won't always have such simple value problems: many of the heads youpaint wil bein fairy complicated and difused lighting stuatens Even in these ample exereises, however, remember hat the head sold, 299 shapedfor, andbe sure that allo yourshecous indicate hs. Lateron in thesinth demonstration, we'tinto ‘ouoe athvdvale,o:hatone, But n the begin ‘ing, remember that simple shadow shapes can be ‘your best friends and, whenever possible. pose your modal uncer a Sngl, fairly define ight ‘Source. A singe ight source will develop tne ‘simple shadow shapes I be taking about inthis demonstration, we't assume thatthe ight is coming rom the lt, $0 the shadow will be on the ight side ofthe face. For our purposes, the “right” side ofthe face wil always mean your ‘ight anc et” wit always mean your let. AS you ‘sketch outinesin pencil remember that the pencil lines arejusta general guide. Get used to working broadly and treey with your Brushstroke, and on try fillin the ouline caret, ‘As you prepare your washes, squeeze agener ‘oussuppyof black pant onto your palette. Don't bbestngy-—gve youre enough panto do many practice heads the paintcresbelween ses- ‘Sons, you can dampen it with water to make it ‘workable agen. Tomake your pigment ightr, dip yourbrush into the water supply and shakeitto get ‘dot the excess water. Then cipthebrush nto the ‘ofthe pie of pigment on your patete anc ‘raw some! he pantoutantothe working area olthe palette. Work ne dampened brush anathe pigmon! together fo make a "pudie” Hts distil too dak, dip your bush back nto the water supply. shake t and workitinto the pudcle again For his exercise, you't need a good sable wa tercolor brush that “points” wel; a Number 8 or 'Numbor 9 iene. You'iaiso need apalte, a ‘alr jar, a tube of wory back, an HB, 2A, oF 26 ‘enol drawing boars, ane pushpins. For paper, tse a good qually hot-pressed watercolor paper wih not too much texure, The size of the paper isn't very important. You can cut a ful sheet into ‘ight pieoes, and you can use both sides i's {atly heary-at least 140 Ibs. Remember to wait Lunt the fst attempts ary before you workon the ‘ther side Wen you ready to begin Stop |. pin your pa- ‘erto your board, place a pusnpinin each corner, ‘ands your pattie and water supply in aconven: Jentplace. You can work standing, with the board held horizontally. or you can sit, with your Boars held at an angie ‘Toree-quater Lighting: Step 1. itn your pene sotchinasimple va, ooct or 5*nigh. Don Tibor ‘veri, Nex sa6820 some biakpaiton'o yours eto ans at weedy deere, mao a aly ooh \wasntha stl notice darkarhanthe whe Bape ‘han, th alae bros, make broad strokes win taco Don' wary # come sokos go ovede he inet outing “Tare-quarter Lighting Step2 Alot fist wash to Ay Tnencyour brushite mses ge stake, {and go Back your pie of lack pigment Th tne, ‘Rake much darker gud than the value youusesin Sep tse enauahvaterto keep trom lng pure tia. Win one or wo good, dein oes. paint a fino about 1" wide down te ene igh yout Th) ‘08 the ace, “Thvae-quarter Lighting Step 3. Now or avery sre ineaton ofthe aye on he Shadow side o the face Teshodom drpyou mae nStep? shoul stil be we Laat ven the same dk vai torn ‘bout ara ot te way down Be desi, ake 8 hoteoralog cut into the face,” stopping whan Sout amet tna mise. You have now incestod the shadow unde the eyebrow ‘Taree quarter Lighting: Step 4. Next s the shadow ‘eof he nove, You probably have enough paint on yourbush, so relonting should the necessary Sta Ingwhere you tet of wih the eye nication make a downward soke that slants sighytowar the ht. ‘Thenese becomes broacer toward tho tip. and the shadow shoud icenheretorelact Ns. All noeos for utlatematetrscne aboutene-hthelength of ‘ho tace 18 PORTRAIT PAINTING IN WATERCOLOR ‘Thre-quarter Lighting: Step 5, Reload your brush sat te sare value. Grea shake fo remove excess pant beter you gotack o the paper. For the end {ot you last sroke, make a very shot jog downward {and tothe tet. Tes cates the boto plane ot the rose. Now make a agonal, downward stroke to tho rg fo connoct the botom plano wth the ran shadow stoke you made In Sap 2 ‘Tivee-quarter Lighting: Step 6. The mouth just shorothalway bebween enose anthe chin closer totmenase Staring uherethe connecting stroke you isstrrade mets tne man shadow, make a horizontal ‘Sroketothelet Thelenghofths sire depends On| ow wide youwanttomake the meuth. Atte endo! the role, pass don cn your brush to mako the sroKo co. Thon if your bush drecty of the paper. ‘Tinee-qurter Lighting: Step 7. Now cones he ‘shadow ura i. Saring back a the man raat bl themuthon Neigh rake. rae, curving stoke o rest the uncer othe Ibwecip Testo snot asiong asthe moubsindcs ‘Tree-quater Lighting: Step To wap hb un. ns catoPeseconéoyetomathashor,ulatoke onthe let sce cto fac, cpposto the irs ay shacon Naess avery sear steve otal "eset yet, He. ints lsaton, ve ada fas lomotetrehessiee compte, You canvas Ininocarenthelet sao hetace wihene sco ‘your fe it wash. As ho ening touch, you ean ‘rakeono 6 nosnadow inscaions fothe carr nant ‘arto andwote done! 2 Head in Side Lighting 20. FORTRUT PANTING IN WATERCOLOR (ue ret demonstration was concerned wih the ‘most coneron ging sivaton. Most commecia! Potratatss use vee quarter ighing. This ‘doesn't mean, bower that throoavarer = the best and most desirable lighting Station. Each Iging staton nas is own particular mers. and wel explore nese as we get deeper intone sub- ect of pang porta. Inns demonstration we't deal with aide ot ing the easiest of al thevariousighingststons to represent Se ging creates tower shadow shapes than three-quarter hghting and doasn 0 ‘ue theraher subtevaue changes that are nec: sary in fron, back, ann igring Fortis exercise you'l need the sare ates thal you vsediate hstcemanstston,inewang {ho fay smooth, good qualiy watercolor pape. Pinapiece of paper to your oad. rine previous emonetration, | suggested cuting atl sneet of paper into eght pars, so ths piece should be roughiy 6" x8") i yt fel mete eoatgent wih a penct guide, rough in an oval about 5" high beter beginning Step 1. Youright alo tind apt omar very git, ita Numbar 2 pon tne positon ot ne yes, nose tp. and mouth. Remember that your ‘pencl sketches shoud be ony the roughes! guido forthe rash. Since youate no pasting shadows ‘oneparicuarneed, i dees tnt yournaxe thenosetootong oe chi leo short. YouTcer tainly noke pencl sketches intbermore advanced verses, bu here, with very senpe ovals, they ‘tet rely nacossary, To begs prepare a ight wash tom the Wary ‘lackend war youve apie of ded pain on your pat, le the paleto tin wator for a few ‘minutes, withthe paint at east partalysub- trerged. should soten tupricely and makeit ‘wormable, tric, squeeze outa Ish pil oF pant Remember you ean judge thevalue othe ‘washon your plete nil you are quite exper tenoad, o's good de lo havea separate pioce ‘ot paper handy tote! your washes. Keop mina koa your wash il dry ighter—so don take your pute 0 bah ‘Side Lighting: Step 1. Aer misng shpat onwstee intoafanyigrt vale iad our brush oh pe Sndgne tagoodstake Erushinaneval ushgeroas (attpem you canstonceatbat ca, two Sige strokes) Lt he aah ry Side Lighting: Step 2. Now, repsrs a shadow wath grert ard abt less wale Nev, tae 4 welioadod ‘ah, gve ts good shake, and sat iockng the forenoad area on he ght wth a dowrwara, lagen lenginol the ace ant covers Soot onthe ‘ah. Tan makoavery shor oat theo dese tho geea connie ate bee were & ‘Side Lighting: Stop 3. Now comes he ose. Aelood Yourteuth aha, iene erage make aciagons foie to tia gt about one iva ho engi ofthe FanArt, mane ante very she agonal in Ineopposte drecton. To decertethe totam pie ‘Padow onthe ng side ote face ° Side Lighting Step 4, Now forthe aoa sore he ‘nou Satins tietotom plane ole oso, make Geanaletnnengh patos nae ‘iy autres neselengin You verow are moun, fa erst ogtour youre wilingcate teu Gorse of he upp Ip. Note a ve used my Sesnevaholenten nesacon der rah ‘Side LUghing: Stop 6. Th ower Hp cares nox. rightne boealenng some ight, co outback your ‘usnto mes romme undrace othe ver Hoo Teavealigtaren, Then mae ashadow under be ower Iipwita shor diagnal aoe fo your tet Fey rake a emote sce tatcuees cular he Fant frdback down areund the bug othe eh Se hing tp For your nstiog uch, orton fhe ove and he ot commer of the muh Rohe reser shadow eae are eon lore cots keno atomprone accurate wihthess ‘tapes Ar you vont al pois generation, ‘Queen eb eagle, so. 4ooKny head paper Ths stated ht varying aeatees. 3 Head in Front Lighting Front ighting i otic to represent, because it oes not create simple shadow shapes 1 clearly show he constuction of head. Instead of roving ‘on simple shadow shapes, we must deserbe the head emai shacon shapes and nalfanes, or ‘heveleswnichliebetween ightsand shadows, Hattones require mach more sub treatment ‘nan the smplestaloments of ight and shadow which you made inthe first two demonstrations, However, since we've sil dealing wih very basic head forms, well rly 2s much as possibie ‘onthe sralishadow shapes andkeep ouruse of hattones to a minimum, Late, when We're in voted wit more “tiashed” head, haltones il play amuch larger part but, or now, well stay \wthbasics and dovlop simple, solid ead with ‘smal shadow shapes, Fortis exercise, stick wi the the materials yyouvebeen using, Yul aso needabox of is sues Pina new piece of paper to your board. We'll assume that heights coming rom the rent ane ‘ight above tne head, sotherel be shadows. on boththeright and itso planas, 2s wall as under the foros. Front Lighting: Step 1. By now you should be more ‘a0eot at parang smo ova, go a pencl guide ‘Roun realy be nocosnay. Squeeze ot sat rout he ack pigment rx apo tay ght nash andmate sempeovtshape boa S*high A lomitoary. Fron Lighting: Step 2. Mix your shacion wash—ivth FrantLightig: Step. Now peat the same proce: FrontLighting: Step Now cme thebotom pone orpgment esvunterihstme-orsicckinthelel dvconerghtsigotihenead Fernow stokth sith eybrows, aoca, ard mouth. Thesa ae no a Sle pane Nice ow hecontaus one shadow tho samo shatow shapes on beth sis cf tha Read. prominorin fortighdngasthey aren overPaadigh- louthashacect refrcheas Work ready. cutkesp Lat. yaulesothal heeds panesothetaco mualy hg Oi they eet aute lie Staring one-irot ‘img te acimen! ond shapes he forehead, efomesen rar andar rary bo! ingeateswih the way down aDar edo shadow (ve Bad eh the jt, cols, and ch as you Workin toe tess. Tegan shasow shapes. In. aa arsenal sicko det across ne ace Stop ust set fe allay poi, ad make a sot eg downward Front Lighting: Step. Repeat Sleps4ard 5, staring tomtheshacowenthe aver aden ace. Ob ‘eel theeyesare muchmerecompicstestnan hs batyouve nase aqoossianinedentngtnestaeure ‘tte eydal nd sock. Front Lighting: Step 7 With one stoke, ake © ‘Spl, duke engl shape abou two thd of he waydounshocenarefteiace. Tn inacatesthe bt ‘am plane of he nose, Front Lighting: Stop 8. The uppar io hes & dates Shape ae ean trey be shown tha sie ne Lucy bot thewneio canter Font Lighting: Step 10. To ich, nakea sorsroke sha tes gon Sng me ose braadetote mn ihomiaae crt, Re yours foone 68 ‘ey, an putess ressuteon Mebeush. athe cee Tere el the mouth, preset brush doar and recty ot ne per HEAD FRONT GKTING 27 oe, 10°20" Foon paper. Tha sa esintng ‘Staverygood ond wasparseury mirgLeRy SSirsnergovenead gentry went ovecoars ‘Satlng my enadouso become Dates ana teng on ftw ig atuckaaas to carry ho petunia wasy wer ually use Caso ight area, ery ghey wartedthe gst unhos.ov, eld elect thal he sone Ivesce gis sree, ‘Standing Figure (ah) &°10", Fabiano paper. In Aheeaee, ead diners ma as muoh as the Daten tat height created when tk Ie i's Stouser elds andthe ont of he ster oa itelguteandtackground ain srecou,andyoucan (Reisihebsrest tacaton aight ter round ol ne se elor= ley expeinering wih ‘aivee Imac’ sure sthowieantasubecturil! ‘Stpetivert Uhentworkinal conse hang My ‘Me or eur tues sunnah experamaning Uterus none ane ih aloes mat ec timnyouorangesvave.jouctestoa erertevect Inaoimade me bakgrounscarer ints pang. the ‘eating woul ay cero 4 Head in Back Lighting \Whon the ight source is somewhere behind the head, the situation is called back lighting Wit the lightattnerignt side, nd ont sighty behind the head, the shadow pattem is similar 1 tha in ‘Sketch A ithelightis almost rectly behind the head but sighty of othe right, the hea looks somethinglika Sketen 8. When thelightisirecay behind thehead,nereisa simple, dark sihouata, wit lite or norm ight showing, sin Sketch C. (Well ascuss re lighting in the next exercise.) Fortnis exercise, we'l assume thatthe head is lighted as in Sketch A, withthe light onthe right sideand only sight behing the head. In this back, lighting stuation, most ofthe face remains in shadow; these shadow shapes are qute escrip- te of te nea as wel as rather simple to pat. ‘As yourmixalight wash, and then amuch darker shadow wash for his exercise, remember fo check your values on another piece of paper. This way. you won't overwork the washes on your painting by restating values, Also, remember to aip your brush in your water supply and give ta shake be fore yu toad it win anew value—in this case, your shadow value, Mako your stokes decisive and ‘broadand biockin your shadows fairy qucky, 0 that you'l be able fo soften and “grade” certain ‘areas, You'l see what | mean as we go along. ‘Again, you'l use your ivory back, a Number 8 ‘brush, a jar of clean water, your shoets of good ually, faitly smooth watercolor paper, a paete ‘ushoinsand drawing board, and aNNumber 2of- fice pen ‘Tha chadowpater aseurswhonthelightis at ‘te right side ana cnly eighty barns tha hese 1. Won he Ipht is almost dec bchind the ac Bu sight of fhe gh the shacowe leak te Hee. thoi ect behind hea ar ‘a snob, dark shove is reas, PORTRAIT PAINTING WATERCOLOR Back Lighting: Step 1. Paina aryl oval about 6” igh sung one soko for eachoa low tory Ther wt your pene, make a ine across ho face atoxtone thd way down This te line of he ‘es Drecly under draw aranguiar shape forthe ‘ese Note thatthe sso tsnangje are rade upof two caving lines, 2d tal the boom fs about o> {hrdsofthe way downthe ace Icte the mou wth 4 Ine alvay Betwaen the botom of te Wiangle anc ‘ne boric tte Rese orm, ‘Back Lighting: Step2. With dark shadow wash, sar ‘ockingin ne shadow shapes (usualy start locking about twortds ofthe way across te forehead, ontne "ht rghor. side e face yAteryoubiock inthe ‘hasowon sfrehoad, continue the eoke dono then, makingacarkshape beside thenosoto inc cate ha part ofthe eye socket on tis side i in ‘haan, The lop pane ofthe eek probably ten ing sre bgt. so rarow your stoke n foward the nose ard ieave this area untouched by shadow wash, Bread again forte bottom plane ct cheek. Then ‘atrow your Stoke andcurve i otherighitor heres ‘ove the upper ip—sound therounded st othe teeth—icn probatly ao catehing igh. Curve Yourstokeinorsand cownwaratowardinechin ina Sg, broad ne, ‘Bock Lighting: Step, Siockinthe snadowsinine et contr sector, lemrgalohtsinp about "wide along feletboundaryotthefece Work quicly angmaeain theshadows startingwihInoforehoad andtne op ot thenose Filinfelet sid of he nose, working down {owardthe ip, andmatea smal othe right wher ‘you gt there. Then. roughy dicate he contours of ‘aupeer andioweripsanatne curve ofthe chin. Don't wer these canteus aren't correct. Ths souls be Just acsime ofa fae, ‘Back Lighting! Step ¢ ow ow he snedow wash ‘ute own eit fhe ead. You should fae enough paint and water in your Brus to do hss ‘whut gang back"o the pale suppiyon yourpalete Drawn shacowrightout ote edge ofthe esc ana Indate the contour of he oa {32 PORTRAIT PAIVING IN WATERCOLOR Back Lighting: Step. Now to vagestretiocted ight win the shadow. The shadow siouo stil be wel tor {is sep. Rios your brush in you water supply and ‘Gve several good ehakes tomate yt dam. Then Stata downward aigoag stroke athe op ofthe Aight Srigen he outer tsceotheroae (See the sketch latte night en ths page ) Allow the shacow wash to fom cut ina slighty igor vaiue along this stip. THs Fahtraree soqgestsetecod ight ana givestne head ‘fving of bulk and hewecmansonal fom. You might havetoropoat is process several times andthe ares ‘treet ight wil become Her and hghter wth (echotyourstrckes, Remember at you'eusing your brush aa sponge: yous no longer puting paint on, ‘youre taking pan ot “To-euggestrotectd ight witin te shadow, place = dar brush atthe topo he agit erp a hele, and raw the bush dounmword in a2gzag soko. ‘Back Lighting, (Pgh) 8°x10", Fabriano paper. This ‘mode was engin (rant ofawidow anos lhe {ight was coming tom behind Hower, ihe ight was sostrong hatnere was great oa ofrefectedightn {he room, and showed tes wih ory ig keyed shadows Oni fhe cheekbone andthe sie of M0 oye ‘Neteatectedby theligh, bu lebeates ab andeddes {orneigttrack sectors onthe nose and above the trouhiowake te tnmareintaesting There's alse, {vor tny spot of ight on he Hower ip. hough | Inceatadthe very sue darkeningin thermouth area 15 ese ignt-stuck soctons ofthe mouth that actuty show tat i's thre 5 Head in Rim Lighting 4 POATRAT PAINTING WATERCOLOR ‘The aiferences between back iting and rim lighting are very subtle, and the effects of both lighting stuations are quite similar. When thereis ‘alleastone light behind the head anda secondary light coming trom one or bom sides ofthe head, \wesee a definite rimot ight around the border ot the dark shadow. This secondary light brings out subllevalue changes in the rontot the face, and the problem shadows becomes more compl cated. nthe sketch below, nate how much form wesee when there are two lights behindand one on either side ofthe head. Inhiscase—and whenever you're tying toce= termine the overal or "big shadow value—squint asyouleokatthe subject, When you use thistrick, ‘he complicated small forms disappear and you soe thebig, simple shape of acarksihouette with alightrim around it. ne ofthe greatest problems students have is sesing io much, rather than too Iie, Perhaps | could say that a student soes t00 ‘many of te “wrong” thingstoo many ofthe unimportant details For this oxercico, welluse the rimlightingsitu- ‘aon inthe sketch—with two lights behind, and ‘neon either sce of tre head. Don't worry about al the small formes you might seein the shadow ‘hat covers the trot othe face. Youll need the ‘same materials you've been using: ivory black, a [Number watercolor brush, pieces of ood qual- ity, faty smooth watercolor paper, water lar and ‘water, pushpins and drawing board, \nen heros etleastone ightoohing he head anda secondery ght coming rom one or Boh Sides ef rhea, we see an lghing pater Senior tots Rim Lighting: Step 1. Yousvoulebe abitopain he Ins ightvaled oa without an outine, 9 pene wore ‘ant necoaeary beore you sr painting, Mx tay Sghiwashonyourpuletteand pana simpiooral about ‘Sr high Now, make twoshor, diegonalstrokos about a ‘tirdo! ne way own tho neadteincioate the oar. A Tow ts wah ory Fim Lighting: Step 2. tic ups darkor wath on your pala usamore one black lament, the tet Tosewatr Giveyour aha goodsnake atercleanng iintbo war soppy, ana shake tagain ator nada tramtnecvter puddle Aelve steady cecuseed, most lth lace ample dark value, so,oeginrang about 5G" tom te topo height oval start locking in he shadows. Work broadly, making bold strokes, tt ‘Sonmwtardinthe conte, tenbranching oot sides. Fim Lighting: Step. Tryiowsualze ana oughiy in {ate he conection oe eye socxats an chek Donat as youblockintni area As youve ou owas theeite beunsanes ot ne shacow, rememberthat Mey 40 he bouraaves ot he rot plane cf the face ana oughly exteate thee contours Next, Blok nthe ‘adoweectone ofboth eae, leaving tof ight. You haudnowhavearimotightcompletaly surtounding the lce, HEADIN LIGHTING. 36 Fim Lighting: Step 4 hth trnt plane shadow ie sila, inseout Yourbrush, helt agood hake, and Stat soltenng some ofthe baundarics between Ihe shadow end the ight rim with ageag stoxes. Where {you soten an o4ge reaty depends on tho particular heacandtne exact postianot neigh bannd anc bs Sdet Intns demonstration ve satened athe bo tomangadeplanes buf seny an artery dee sn ren you'te pain an actual head, observe ‘where stadows on these orm seem to acter anc ‘where they appear harder Fim Lighting: Step 6. To rsh your noad, colton the lower boundary of he ein The nee stops the honk fromresching the ate, lansing tn shadow. Rene arta the areas youseftenbetwoon he shadow and Ielght shoul stualy appear ight nan he het risa, ou can make thom iter by Bot ner ‘tha issue, o” by mapping them wha clean. damp Dus Asa tral ouch, lel the sde planesalhenose ‘tha bash at's ustdam nt realy wet Mase hs Zt a ste fication we don't wart to complicate the ace! ‘Blue Head. (Rint) 12°12", Fabiano paper. This ‘szyect had very doeate and lovey skiniones. and | Sunt ost of my tine us ming up the eh ‘complexion values onmy palette ok paint the entice eadwithalight wesntre end alowed tte dry oetore ‘dod my shadows. this ce ighting situa, Fowevor coud have uses the write paper alone 10 Indcate the ightsruck ress, Mote that | hoy Slates ee. There's sta suble indication o show that's here Basic Head Form 8 PORTRAITPANTNG INWATERCOLOR Soar, you've bean painting basie hoad forms with ‘womajorvalues ight anc shadow, Bu, when you softened an edge btween ight and shadow, you crested athird, or mide, value. Because it'ssup- osedo be avalve somewhere between ight and hac, this middle value is sometimes called hatone Inthis demonstration, we're going to givemore ‘rmphasis tothe mide value o halftone. ike to stress, however, tha thetwo original values ight ‘and shacow, are stl of pee importance. you Contes your shadows by making them too light or 10 busy (wlth ots of smal value changes within ‘hese shadows) orityou cuter yaurighisup with aves that aretoo dark, you'll destroy thesimple form ofthe head. Keep this in mind, and as you \wotkon yout icdle ones, dort lettham destroy your simple ghts and darks. Natural, wen you're working with a spect ‘model, the shadowscrested willvaryin width and length, depencing on the contoursot the head, as wel son your ighting situation. You won'tainays tind the samepatiem ot hard andsot edges. Here, wel ust do avery generalized head, uttneprin- Cpls of haitone we deal wih inthis exercise should be adapted for, and applied to, any head {you choose to pai. This time, we'l assume thatthe light is coming ‘rom above an tothe right ofthe head. You'll ‘ead your Number & watercolor rush, apalete, a "be of ory back, water jr and clean water, pieces ot watercolor paper, pusnpins, anc drawing Doar. Aways Keep tissues handy, to lighten, soften, or it eut wet washes. BesleHead: Stop 1-Forthe sano vanity. ol dow Ihren quater, This rey Te eae basic best ab later onan side, abiiemore curved fninectnar Mix your vol ig wash ang ockinan ‘ta "hgh Simla shape to Te ono rato. Dae worry tao much about making an ext copy oF myer leHead: Stop2, Nowsor heneck. White is wath eilgood and sartabout 1" in tom the hn.and make rectangular shape abeut 2" wise and ices Basle Head: Step3. Mic up your shadow valueon your plete Aer geting id of excess mosture wth a Shake ct ebush, slr blackngin a dark shadow sp boul Tide slong hale sect tetace. Al what wl betheeye area, makea sight og othe gh and ton, to ndicate the eye socket. Then, wth a much toner ‘iro (boat wide), continue flow the le ensayo the oval around othe neck. Notes tat Ihsshp becomes vary narew below Ineeyeanairen viders again atthe neck ‘BasicHead: Step. Vil his shadow stp eal we, ‘ral outto make he botom lana atthe nose. Tn simple iangloshape, ansore comorotine angie ‘onde wth to sradow stip, BasleHead: Step. Now eons yourbrush Kom the shadow puddle, gve ta shake, and move on othe mouth Once again, tartalthe shadow. which shoud thle wet. andtrusnthe shadow shapos out loth lightarearaeata the upperip witha general shadow ‘shape about 14" lng. The top plane ofthe lower lip ates ight and creat a stadow under: so dont ‘ealytouchtheloner piso, butmake ashaow un ‘eriabout long Tho shadow under th tower ois ‘quteuige where irs the main chadow, but nar ‘sas proceeds out othe ign area. 40 PORTANT PNNTNGIN WATERCOLOR Basic Hood: Stop 6. Your shadow should si be wer then you doth top. Don" puta any new shadows now bit'conect the ones you havewith your ig tes, torake ahd, o mide value. For tus general ‘diagram leave abou the tp of heshadow stip hat” Fine your bru, give 8 900d, ara shake srdplace tin the shadow soovetve eye. Now, soter| tho lorehead by craming you brush oiware'and ‘igi upwar@ about 1" Ino the ight area. Prepare ‘yourbeush again and soon the ade of ne sce you Ibs rade: Repeat tus procedure uni you havo a ‘enooth gradation ftom ight shadow A seu ‘ang here obit he andthe stove tomako ight enough ard Yo get ri ol encase war. Now, uee the ‘Sime proce on he shadow of ho chook ae the {op section othe nose ‘Basle Head: Step 7. At Ine mouth, you wart to show ‘tate pcre aroun cena arch cline eth (One way do this ogtenandsovtenneedgo ot ‘helps astve nein my austen. Riseyout Brush ‘eke and aw ight up nvough the mouth na ‘tagonai stroke, Again you candi thsarea wih yout enue (YoutIave experimen Alin takes prac tee The tretou tenes you wy, you probabiy wor get tnaetet you want 50 e patent Final. soften the ‘shadow inde ne mouth, sg he same posture Youshouil nowene avery dente combination ot Nas st copes. Basic Head: Stop 8. Now fr herightay. Inthe igh aa, xe your shadow value paiman ova about Vs" lorgand 1” gh. Rinse ana snake your brush ana iahcr te mica seciono! the eyeto sow the foune ‘mot theeyeball rage ine oye tooling o bulk I cosea, this misao craly witha ieee ‘ougien i Note that ere are nara edgos on ether fico! tre ey ancisaftoagasin the mide. Now, con- tua the mado, kght rea ofthe nat eye down tnveughine ep pane ofthe chook, Ths.area about 1" wee orety under the eye, bultwdensas youap ‘roach the bottom pane el the cheek Basic Heat: Stp 9. To ond your projet reload your Dru, shave I out ana, tain a he ght corner of ‘hemoumn,rakea very sort stoke upward towara he tenook Now, nine your brush gue "8 vary goes ‘shake, andateurtne darker oo pwr, to show Ihe otter pane ofthe cheek Werk nis me vlue oun ino the ower eheok toward the uoper le and Irtotna acon below he lower ip, Then dicate the ght em very simpy, wih an ebiong shape. Note that the ear ints ustaton i quite ligt, because ve ote wih tssuete keep tftly ight erdunim- portant. Well wory move about he as tater, Seated Model. 10°10", Fabriano Paper The very simple hgting an thsteadcreateda verynicetecieg ‘tbukandtorm.Themodsl very far complain, andthe tones ware fewtremely col The shadows were rosy ceian be, excopt onthe hase wich wa gut mat. ‘etal oraggorated te cones of thechadowe inthe eyecane around ‘romout justastoragge‘atesine vat of te aon, roma the arin te head a more eresing, The Features Thetoptmosketches ofeyesareincoreet.The upper and lower id sneula never be crawn as ‘Gonteal snapes. The tes tower skotches wil {9veyou andes oo variaions nshapotouna Betaden he upper a lower Ws. “44 PORTRAI PAINTING WATERCOLOR Inthe previous demonstrations, ag you stucies the ‘overall construction a the ead, stressed the im. portance of showing that the bead has bulk and fox—a lesson that you should always keep in ‘mind. Unertunately, howover,itsmuch easier to think fonmwhen you're working ona generalized head than wen you're painting a specitic head \inen comes o painting the head ofa particular person, you'thaveastrong tendency to forget all bout verallbulk and mass and to concentrate in- steecon the particular features hat you think wll die you alkenes. However, 8 goad ikeness actually depends ‘mere on the construction of tne particular head than tdoes onthe smal shape changes found in ‘aneyeormouth, Tiss vill point, and Iwish | ‘could somehow cement it solidly into your mind: butit'savery dificulteonceptto practice. andy ‘through experience, wi its tearsand frustration, ‘wll you finaly understand ‘As you start panting particular features in tis execcoe, ty to ck with the fooling of bulk and ‘mass that you've been practicing. Athough youl bo putting in eyelids and eyebrows this time, con- tinue to ste fora generalimpression of frnand ttvee-simensional bulk. In his demonstration, you'l be working on the righteye (he eye onthe ight, rom your point ot eu), on three-quarter view of ne ead, lumi nated by asingle ight source rom sightly above ‘and tothe righ ‘AsyoU begin Step 1, notethe shape ot the eye I vecrawn, Notice tne rather angular shape of tho letside of the upper id, Remember thatthe shape ofthe eyes never ganeral. is curves aways nave 1 speatic shape, depending on the particular ‘model you'reusing andon the poston of he eye inelaionto you. Aneye viewed trom the front nat- Urally appears to havea diferent shape than does aneye intree-quartar or side view. And, most m= ‘borat, remember thatthe upper and lower lids ‘ever have identical shapes. They are never ident- ‘elalmonds.r ovals the upper id normally over- laps the ir, which usually seems to be “siting” nthelower ig, n tesktch atthe ef, Ive crawn sme" gocd” and "bad eye shapes. ‘You'lbeusing the samematerias: ory black, Number 8 watercolor rush, 6"x8" watercolor pax er, waerar and clean water, psnpins and craw Ing boar. This tame, you'lbe making some light penilindcations again, sohaveyour 2B graphite pena handy. One final point belere starting. For demonstra- tion purposes, you'l be doing features by them- sates in the folowing projects. However, when you're actualy panting a compte head, always ‘censidr tne featuresin relation to each other and tothe head as a whole—never by themselves. Eyes: Step 1. Light setchin an eye about "long fc hghatifhighes pont using the shane inmy Busreton as an exarrpe Eyer: Step 2. ix up a igh wash, pass over he se are cf your drawing, anc alow to dy. Ten, rrecup your sracow wash, yes: tep3. Stating about" abovetne upper i, pated ight ever helt boundary of he ey eres Eyes: Step 4. vie you dark stipis sit wet beginto ‘Stenne edges Allow ne wasntotow out atthe nose “net nceate a front plane between he top pane of ‘henoseanainetpplane ofthe forend Ao, slow Sire cartor woshtofon onthe eysballand under {holower i simporant tat youd wory about the acto! Boundares of the eye, tu tem, 10 ‘Stow the big planes of te eyeball and the adjacent 45 FORTRAT PARTING INWATERCOLOR Eyes: Step §.Cortinuo 0 aw yeur shadow "out"

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