Left Hand

This is my latest Indian portrait, a Comanche Indian with the name of Left Hand. I haven't been able to find anything else about him. The guide photo is from the Edward Curtis collection, freely accessible on the web. The First People site is a good place to start.

Left Hand 16" x 12 " Waterford High White 140lb (300gsm) not

I feel I've been slipping away recently so went back to basics, studying Charles Reid but also one or two other portrait artists like Aime Devine. This is the result. The original photo is black and white or more correctly more sepia-like. Colours therefore are guesswork even the facial ones. 

Colours featured included Transparent Brown (Schminke PBr41), Cerulean, Ultramarine Blue, Burnt Umber Raw Sienna and Cadmium Red Light. I think that's it. Usual brushes, Isabey 6228 and 6201 sizes 4 to 8.

Espon Unzo Owa

Despite my `anonymous' critic I continue to paint Amerindian portraits. Last week I was in Bath and called in  at `Good Buy Books' a shop that sells remainders - in other words new books at greatly reduced prices. I have bought many books at the shop but this was an unusual one. I spotted a book called `Edward S Curtis' by someone called  Hans Christian Adam. This was published by Taschen who, I am told by a keen photographer friend, specialize in high quality photographic books. It was £8.99p and although it did not show the original price I believe this was a fraction of it.

Edward Curtis created the largest known body of photographs of the North American Indian.devoting 30 years of his life to the subject. He has actually gained more fame in the years since his death. His most famous work is entitled `The North American Indian' which is a 20 volume series beautifully produced in a limited edition with an original price of $1000. I can't imagine what copies cost today.

When I bought the book it was encased in cellophane but when this was removed I wasn't disappointed. It has a superb collection of his photographs, a few of which I already knew but many I'd not seen before. No doubt more paintings will follow.

Espon Unzo Owa - Mohave Tribe 1903 16" x 12" Arches Hot Press

This is one of several paintings I've done on hot press, not all indians, and it certainly creates a different effect to other watercolour surfaces. Unfortunately not being an expert photographer it seems to me my paintings often lose something between photographing the original and transferring it here. Looking at the actual painting I think it better than the image above. Maybe this is just me making an excuse for my deficiencies as an artist. I keep trying.

The main problem in tackling this and other similar subjects is that the guide photos are sepia coloured and tend to be on the dark side with excessive contrast. Colours include a lot of guesswork on my part. I don't strive for a super realistic result but try to capture the subject with an impressionistic approach - the Charles Reid way. Sometimes it works sometimes it doesn't. I did this at the last AVA session and some of my fellow painters remarked I'd captured his likeness.

I used my small Craig Young Sketch box with Cadmium Red Light, Raw Sienna and either Ultramarine Blue or Cerulean, in various proportions, for the skin colours. Brushes were Isabey, Escoda and Rosemary travel brushes from size 4 to 10. The hair was a mixture of Ultramarine Blue and Burnt Umber with a little Raw Umber.

Another Amerindian

This is my latest study. I'm not absolutely certain but believe this to be an Inuit man, possibly one of the Alaskan tribes. The original photograph dates from the 1900s. I think it shows the influence of the recent portrait course I've attended at the College of Bath.

16" x 12" Centenaire (from Great Art) 140lb (300gsm) not

Colours were quite restricted, mainly to blues and browns plus Raw Umber and Cadmium Red Light. Completed in about one and a half hours. I used Pebeo masking fluid for the fine lines in his facial hair and a few other places.

Brushes were my usual Isabey and Escoda travel brushes, it was painted at the last AVA session. I'm quite pleased with it.

Bath College Portrait Course - Week 7

I have attended two more sessions at the above with mixed results. This week we had a fabulous black model Linda, a very tall statuesque lady, who towered above me. This isn't obvious from the photo but believe me she is tall!  Linda has a company called Kipenzi that sells Afrikan oriented products she designs www.kipenzi.co.uk

Linda 

Linda - Schut Noblesse 40cm x 50cm not

As you can see the sheet of Noblesse, much larger than my normal 16" x 12", is dwarfed by the size of the boards. Most students used sheets of cartridge or similar paper supplied by the college that were board-sized or close to it. I was the only one who painted in watercolour, with charcoal and pastel predominant.

It was suggested by our tutor Jackie that we might like to include her hands, although this wasn't mandatory. She also discussed the use of colour and suggested we emphasize it. As we have Linda for two more weeks I may do a fuller length study. I did a preliminary sketch including the hands but felt I needed a larger sheet of paper. I probably will use a cut down full sheet next week. I'll need to think about it.

After the preliminary drawing, not the easiest as I would have liked to have been closer to the model, which isn't practical given it might block others vision. I then began to paint starting as usual with the eyes, then the nose and mouth.. Colours used  were a mixture of Ultramarine Blue (PB29), Burnt Umber (Pbr7) and Schminke Translucent Brown (Pbr41). I like the Schminke but a bright Burnt Sienna would do equally as well. The hatband includes Cobalt Teal Blue (Daniel Smith PG50). My guru Charles Reid has done many studies of black models, both male and female, and I've gone back to his books, mainly 'Watercolour Solutions', to refresh my knowledge of what colours he uses and how he approaches the subjects. With two more sessions there is room for experimentation. 

I mentioned the previous week. I was still feeling out of sorts and the resulting portrait with the same model as my first two weeks, painted on Schut, was a poor representation. The eyes in particular are incorrect and it is inferior to the one I did on cartridge paper, which is a good resemblance. 

Schut Noblesse 40cm x 50cm not

This was a great session with a fantastic model and lovely lady. She did vary her position a little but this is something that is inevitable with her sitting for the best part of two hours, with only a major half hour break in between. Charles Reid always gives his models a break every twenty minutes. I was pleased with my resulting painting - I'm aware as always that it isn't anywhere near perfect - and look forward to next week.

Latest Portrait

This is the completed portrait of the actor Emily Blunt. I've heard of her but she is one of the younger generation while I'm one of the older ............  The inspiration was a cover photograph in the Observer weekend magazine.

Emily Blunt - 16" x 12" Centenaire 140 lb (300gsm) not

Emily Blunt - modified version with hairline softened in places. Which is better?

I'm reasonably happy with this but getting my excuses in first fall back on Charles Reids exhortation `to be cruder', and also his view that `mistakes' are part of it! I can always see where things could be better but what the heck! IF I can capture the `essence' of the subject then I'm reasonably content. I think this has been achieved although you may disagree. 

I first made a pencil drawing as accurately as I'm  capable of  without too much detail using a Pentel mechanical pencil 07 2B. I then painted in two stages, the first session at the AVA and completion yesterday. Brushes were my usual Isabey Kolinskys ranging from the retractable No 6 to the 6228 No 8. As I've emphasized before the retractable is a very slim brush quite unlike a `normal' 6 - much smaller. In any event Isabeys tend to be slimmer and smaller than some other makes. I do like them though.

My primary concern is getting the features right starting with the eyes. I don't aim for a perfect representation but at least hope the subject is identifiable. I'm trying not to be too complicated with the rest, especially the hair. I've still not satisfied with this aspect.

Colours used were Cadmium Red LIght, the main colour, with small amounts of Raw Sienna and Cerulean to darken the mixture. I also used some Ivory Black for the eyelids. The hair is mainly Ultramarine Blue, Translucent Brown (Schminke) and a little Raw Umber. The yellow is Hansa Yellow Medium (Daniel Smith).

Latest Paintings

We had a very small attendance at the latest AVA meeting last Thursday, possibly due to the weather - it was raining `cats and dogs'. The subject was trees, an easy one you might think. I again had difficulty in focussing on the subject but eventually came up with the following based on a photo I `googled' on the ipad.

16" x 12" Centenaire 140lb not.

This is part of a large tree where a large branch was cut off and someone has then carved the face. I've no idea what or whether it symbolizes something in particular. I used several colours, arbitrary in Charles Reid's words - colours that aren't actually there. I found it difficult, especially as there is a lot of texture in this particular tree and I'm not much pleased with the painting.

As I finished early - I usually do - I started work on a portrait that I'd drawn  earlier in the week. This is based on a photograph of  the actor Emily Blunt in one of the weekend colour magazines. They are a good source of portrait material.

This is the work I did at the AVA session and I completed the painting at home this afternoon. I'll post the final painting in the next two days.

Venerable Gentleman

This is my latest portrait after quite a lapse. I was attracted to a photograph that my fellow AVA artist Yvonne Harry produced and asked if I could borrow it.  The attraction to me was the character of the face - goodness knows what it has seen in the course of a long life.

The original drawing made with a mechanical Pentel 07 2B pencil. I took no measurements but started with a basic fairly faint outline, then worked out where the features, eyes, nose and mouth went constantly checking them in relation to one another and erasing and redrawing where necessary. Quite often actually. The mouth was more or less hidden. I then used Pebeo masking fluid, mostly thin or very thin lines, possibly overdone in places but with the hair a combination of gray and white preferred the white paper to show through rather than add acrylic white or gouache later.

This is my `studio' with the work in progress. The TV isn't in working order though.

Another view.

Still another, rather dark unfortunately which means I have to use a powerful daylight bulb.

`Venerable Gentleman' - 16" x 12" Centenaire 140lb (300gsm) not

The skin colour is various combinations of Cadmium Red Light, Ultramarine Blue, Cerulean, Burnt Umber, and Translucent Brown (Schminke) The beard had light washes of greys made from Cerulean, Burnt Umber, Burnt Sienna etc. The darker areas were put in when the original washes were dry. One of my many faults is not to wait long enough for the washes to dry.

Brushes used were the Isabey 6 retractable and Isabey series 6228 Kolinsky sables in sizes 4, 6 and 8.

Sofia Helin

Sofia Helin is the star of the Nordic drama/thriller `The Bridge'. The two series have been a dramatic hit on TV's BBC4 and a third one is planned. It is one of the several Foreign subtitled dramas shown in recent years on BBC4, including Wallander, Inspector Montalbano, The Killing, Borgen and two rather dark French series Spiral and Branque. Not sure if I've got the last named correct. I've enjoyed them all and they make a welcome change from the way special effects, especially in films,  have overwhelmed dialogue and storylines in many English speaking productions. 

The amazing thing is that she looks completely different from her damaged character Saga Noren; which illustrates what a brilliant actress she is. I was inspired to do this from  a cover photo on the Guardian Weekend magazine for which thanks.

Sofia Helin - 16" x 12" Waterford High White 140lb (300gsm) not

I first made a careful drawing - as careful as I'm able - using my favourite Pentel mechanical pencil 07 2B. I began by painting the eyes followed by the nose and mouth. Colours were Cadmium Red Pale (Rowney), Cadmium Yellow Pale (Lukas I think) with a very little Cerulean. Her complexion is extremely light and the photograph doesn't lend itself to pronounced shading. Another problem was the hair, which is almost white-blond in places. I was taken by the overall colours, particularly the red cap but her eyes - to me - are the key feature so I concentrated on those. 

Colours for the hair were Raw Sienna, Raw Umber and Quinacridone Gold (Daniel Smith PO49). There is a little Burnt Umber in places. The hat is Quinacridone Coral (Daniel Smith PR209) a fabulous colour.The blue in her top is Ultramarine.

Brushes were all Isabey, travel brushes 4 & 6 and Kolinsky sables 4, 6, and 8.

I'm quite pleased with this one. The likeness, while not perfect, is pretty close.

A Hostile Apache.

This Amerindian image is from the Edward Curtis series  and represents a hostile Apache brave circa 1880. I have done this one before but I think this is better. The likeness is not 100%, round about 70% I would say. 

I'm not sure what the paper is, possibly Indian hand-made,  bought from Foyles in Cabot Circus, Bristol. Foyles are a famous London bookshop - now a small chain - not an art supplier but they were selling a small range of watercolour paper. 

I used a scale divider to help me get the dimensions and spacing right scaling the guide photo up one and a half times, using a mechanical Pentel 07 2B pencil.

Stage 2 - approximately.

Stage 3

A Hostile Apache - 16" x 12" Not 

Face colours were essentially various mixes of Cadmium Red Pale, Cadmium Yellow Light, Cerulean and Cobalt Blue. The major colour is  Cadmium Red, very little yellow and small amounts of the blues to darken the mix.

The hair is basically Ultramarine Blue, Burnt Sienna, Burnt Umber and Raw Umber in various mixes. His headband is Quinacridone Rose, Quin  Coral ad Perylene Maroon with some Cobalt Blue..

After seeing Charles Reid  paint portraits using the small Craig Young Sketchers box I decided to do the same. I haven't been using this in recent months and decided to start with fresh paint.  Charles checks the paint mixes consistency by holding the palette vertically and if it runs has too much water. The colours are, from left to right and top to bottom as follows: 

:

Ist Row; Hansa Yellow Medium (Daniel Smith PY97), Cadmium Yellow Light (Lukas), Cadmium Red Pale (Rowney) and Permanent Carmine (Winsor & Newton)

2nd Row: Ultramarine Blue (Rowney), Cerulean (Graham), Cobalt Blue Deep (Rowney), Turquoise (Lukas),

3rd Row: Ultramarine Violet (Graham), Quinacridone Gold (Daniel Smith), Viridian (Rowney), Raw Sienna (Rowney).

4th row: Translucent Brown (Schminke), Raw Umber (Rowney), Burnt Umber (Rowney), Translucent Orange (Schminke)

You may note (some with horror?) that six different makes are involved. I have added three colours that have taken my fancy in recent months, the Schminke Translucent Orange and Brown. The orange replaces Cadmium Orange and the brown Burnt Sienna. The Schminke orange is redder than Cadmium Orange, and more transparent. The brown is a brighter Burnt Sienna. As for Turquoise (PB16) I just love that colour! I still have supplies of these other colours so no doubt they will appear again. They won't necessarily feature in portraits.

A few words about Graham paints. I do like Graham but they do tend to be over moist and remain so on the palette. When I squeezed out the Cerulean  there was separation with liquid and pigment. Some tubes I have of Graham have leaked, apparently from pinholes. This is happening in a not particularly hot climate so I can understand the problems that occur in places like California. One colour, Mineral Violet, turned a muddy brown and three tubes later it still  did the same thing, despite my being told the third tube was from a different pigment supplier. Will I buy more? Not sure but I do like some of their colours especially Quinacridone Rust.

Sitting Bull

I have painted this famous Indian previously, at least twice, and this version in some respects is not quite such a good likeness but I feel better in other ways.

Sitting Bull . Waterford 16" x 12" 140lb Not

Sitting Bull  (1831 - 1890) was a leader and medicine man of the Hunkpapa Lakota Sioux, a division of the most numerous and deadly of the plains Indians, although others like the Comanches, Kiowas and Cheyenne were almost equally feared. After the defeat of Custer in 1876 the Sioux could not compete with the huge numbers of troops deployed against them. In 1877 due to this enormous pressure Sitting Bull and his followers fled into Canada, where they were allowed to remain as long as they promised to be peaceful. Eventually in 1881 he and the bulk of his supporters feeling very homesick- although smaller numbers remained in Canada -  were persuaded to return across the border and live on a reservation. 

Sitting Bull never accepted reservation life in a land where the huge influx of white people was changing things forever. He took part in a touring Circus with Buffalo Bill Cody but remained recalcitrant,and when the  despair of the Indians resulted in the Ghost Dance religious movement was considered a dangerous influence. The decision was taken to arrest and imprison him. In December 1890 reservation Indian police were sent to arrest him but he and his followers resisted, resulting  in several  deaths, including Sitting Bull and some of the police. To this day some Sioux believe he was deliberately murdered. The best book I know on Sitting Bull is `The Lance and The Shield' subtitled `The Life and Times of Sitting Bull' by Robert M. Utley, Ballantine Books, New York 1994. 

My initial approach was to make a careful drawing using a Pentel 07 mechanical pencil with a 2B lead. I took careful measurements from the guide photograph  to get the proportions correct and everything, eyes, nose, mouth, in the right places. If the old masters could use all sorts of aids to ensure accuracy why not I? I don't see any reason to wear a hair shirt.

I then painted the face and features starting with the eyes, nose and mouth. I used a mix of Cadmium Red Light, a little Raw Sienna plus Cobalt Blue to darken and also Schminke Translucent Brown (PBr41) to try and get the right skin colour. I played around with these colours and mostly mixed on the paper. Prior to painting I put on small amounts of masking fluid for the highlights around the eyes. Make sure you allow the fluid to dry before attempting to paint. When painting the face I incorporated the underside of the hat brim with similar colours darkened, using various mixtures of Ultramarine and Burnt Sienna. I then painted the hair using the same Ultramarine/Burnt Sienna mix and carried this down into the neck area and top of his clothing. I then painted the hat using diluted Raw Umber, Ultramarine Violet and possibly  some Raw Sienna.I can't remember exactly (!). I'm never able to complete things in the `first try for a finish' mode so did further work on the right facing side of the face and finished off the features. The background has heavily diluted Sap Green, Cerulean and Ultramarine Violet. I think that's it. My usual brushes, all Isabey except the Da Vinci Artissimo 44.

Red Whip

This is my latest attempt at an Amerindian based on old black and white photographs from Edward Curtis. I have adopted a different approach, specifically with regard to colour.

The Atsina, otherwise known as Gros Ventres or less flattering as `Snakes', were a branch of the algonquin-speaking tribes located in North Central Montana. At the turn of the 19th century numbers were reduced to a few hundred but have since increased substantially. Wikpedia has comprehensive information.

Atsina Brave Red Whip 1908. www.firstpeople.us/

Red Whip 16" x 12" Centenaire 140lb (300gm) not

Interpretation of the photograph was again difficult. Is his hair grey or what? It certainly looks peculiar. I decided not to get into a tangle over this and went for an impression rather than a very realistic approach. 

Colours used for the face were Cadmium Red Pale, Yellow Ochre, Cerulean. and Ultramarine Violet (Rowney PV15) for the shaded areas. There are touches of Cerulean and Raw Sienna in the hair with Perylene Maroon (Graham PR179) for the red top piece. Raw Sienna and Perylene Maroon for the shirt. Some Cadmium Orange (Maimeri PO20) and Viridian (Rowney PG18)  in the background. I tried to match complements, also alternating warm and cool..There are small amounts of white gouache in places.

Brushes used were the Da Vinci Artissimo 44 Size 2 Kolinsky and Isabey 6228's, 4, 6 and 8.

Latest Attempt at Evie

Even prior to the wonderful portrait of Evie painted by Gerard Hendriks, I had started another due to some fair criticism and my own dissatisfaction with my previous study. I had basically only completed the drawing and when I saw Gerards version, it gave considerable food for thought, although I never contemplated attempting to rigidly copy his approach. For one thing I couldn't and another that the Charles Reid way has been my template for developing portraiture. Even here Charles says you shouldn't just try and copy the way he paints. I've learned a lot from Charles and there is a lot to be learned from Gerard . A little bird has told me that there is a possibility Gerard may come to the UK for a workshop(s) in either 2013 or 2014 but this is still at a very early stage. I've expressed an interest and been promised I'll be kept informed. At my age I hope this isn't too long delayed!

 The initial drawing.

I did make some changes as I went along, especially on the left facing side. Often I look at the drawing (and painting) after a few hours and realise some things are not quite right so try and correct.

 Evie - 15" x 11" Fabriano Artistico 90lb Not

I'm not unhappy with this. I realise the `rose' is a little too large compared to the actual photograph. I can see another possible criticism but I'm not going to labour it. Overall I like it. As Charles says faults are part of it.

The features and skin colours were combinations of Cadmium Red Pale, Raw Sienna and Cerulean. Some Cobalt or Ultramarine added to get the darker areas around the eyes.The hair mainly various mixes of Ultramarine and Burnt Sienna with some Cyan Blue (Maimeri PB15:3). 

My usual brushes, the Isabeys and Da Vinci's.

White Calf - Piegan

White Calf is another in the long list of Native Americans photographed by Edward Curtis, a somewhat controversial figure so I am told by an American friend, in the second half of the 19th Century and the early part of the 20th. Interestingly there was a TV programme about him recently, which I have recorded but not yet viewed. Apparently his huge photographic archive was in danger of destruction but was rescued. This happened sometime in the 1930's.

White Calf - www.firstpeople.us/

I am intrigued by these old photographs and it is a challenge to convert them from  more or less quite stark sepia images to colour. This is my latest of what is becoming quite a long line, although most of the early ones have been discarded. The Piegans or bloods, better known as the `Blackfeet', were a numerous and warlike tribe that straddled large areas of Canada and the adjacent United States. I don't know anything else about this individual, although I guess the photo was taken around 1900 and he appears quite old.

White Calf - Saunders Waterford (I think) 15" x 11" not.

Corrected Version - added 23/08/12

Added 23/08/12: In view of the critical comments I received over the original painting I have made some corrections that address the main criticism that the jawline gave him a simian appearance. It isn't perfect but does improve the overall effect, although I am conscious, as always, it could be better. I don't object to criticism, although I try not to attract too much! One thing I think the artist must be conscious of and that is not to get into thinking you are better than you actually are.  In the same way that adverse criticism shouldn't depress you too much, equally don't be misled in the opposite direction.

I first made a careful but not over detailed pencil drawing. This was done earlier in the week. I first masked off many of the light areas shown in the photograph using an old brush with Pebeo Drawing Gum. After it was thoroughly dry I commenced painting. I am currently reasessing how I paint and making some changes. Here I wet the background with clear water, some of which leaked into the head. I put some diluted Sap Green (DS PO49/PG7)) and Quinacridone Coral (DS PR209) into the wet areas and let it mix and run down, with, as usual, my board at a fairly steep angle. I painted in the dark areas of the face and left hand facing side, and under the chin with various mixtures of Cadmium Red Pale, Raw Sienna, Cobalt Blue and Quinacridone Rust (Graham PO48). To get the darker colours I increased the amount of blue. I tried to avoid lines of `demarcation' since many would be painted over later. The hair was mainly various mixes of Ultramarine and Burnt Sienna. Some magenta also got mixed in. When thoroughly dry I removed the masking fluid and carefully painted over the features, accentuating the shadow shapes. After returning home I later used Galeria Acrylic Titanium White on small highlight areas using a No.2 pointed brush then, rather more vigorously a small bristle brush on the hair. I assumed from the photograph that being quite old he certainly had greying hair.

Brushes used for the main painting were the Escoda Tajmir retractables sizes 10 and 12  plus a Rosemary retractable size 6. The Isabey retractables sizes 4 and 6 were used for the eyes.

Evie

I have made several attempts to produce good paintings of my grandchildren with so far mixed results. Several good artists say children are the most difficult to paint and they certainly aren't easy. I have already produced two paintings of Evie and she proudly displays them in her bedroom, but the deafening silence from both parents and grandmother makes me think they aren't that impressed. In mitigation I am trying to paint a `Charles Reid' type of interpretation where absolute realism is not the aim but this is what most people like to see. Another problem with painting children, at least to me, is making them look older than they actually are.

This was my guide photograph

Evie 16" x 12" Centenaire 140lb (300gm) not

I don't put this up as a definitive effort by any means. I think slow improvement is visible compared to the others. She thinks it great by the way but then she would! I followed CR's advice in stressing one eye over the other. I have messed around with the left side and could have done it better initially. 

I first made a careful pencil drawing using an 07 mechanical Pentel. For the skin tones I used Cadmium Red with a little Yellow Ochre. Where I wished to darken I added Cerulean or Cobalt Blue Deep. I concentrated on the eyes then the nose and mouth using slightly darker colour, where necessary stressing the inner eye. There is some Hookers Green (Graham) in the corners. When completely dry I added more colour - for instance on the right facing cheek. I also did this with the lips. I tried to do the eyes very carefully in order to maintain a good resemblance. Evie recognized herself immediately. 

 The colours in the eyes included very diluted Raw Umber. The hair is essentially Ultramarine Blue and some Burnt Sienna, stressing the blue. Evie has very dark - almost black - hair. I used Cadmium Orange for the clothing to compliment the blue.

Brushes used were the Rosemary series 33 Size 12 and also the Rosemary (ABS) Kolinsky mop Size1. The Isabey size 6 also featured.  

Another Try at Sarah

Readers will gather than I often make several attempts at the same subject until I get a satisfactory result. I have followed this with Sarah, the model at my Bath College Portrait course, and this is positively the last attempt until we resume in a weeks time. 

 First Stage - Drawing then features. The drawing was further altered when I realised the hair shape was incorrect.

Face and Hair completed.

Sarah - Fabriano Artistico 20" x 14" Extra White Not

I am reasonably happy with this while accepting it is still not perfect. The big problem all along has been getting the eyes right and I've only partially succeeded. However I think it much better than the previous attempts. Colours for the skin were Cadmium Red Light with either Raw Sienna or Cadmium Yellow Light. Cerulean was used to darken the skin colour, all mixed on the paper. Touches of slighter darker Ultramarine around the eyes with some Ivory Black added. The hair is a mixture of Gold Ochre (W & N), Raw Umber (Maimeri) and a little Burnt Umber (Rowney). A spot of red in the corner of the eyes plus just a touch of Hookers Green (Graham). The scarf is Cerulean Blue (Winsor & Newton) and Viridian (Rowney). The pink of the jumper is Quinacridone Rose(Graham PV19).

Brushes, my usual array with the Isabey 6201 Size 6 travel brush for the features and the Isabey 6228 Size 8 Kolinsky and Da Vinci Maestro 10 Kolinsky Size 6 for the rest. I think that is all. Comments welcome as always.

Model Portrait

Last weekend the Guardian colour mag had a lovely cover photo of a beautiful model with fantastic hair. I was so taken with it I decided to try and paint her. Unfortunately due to copyright restrictions I can't show the original photograph so you'll have to use your imagination!

Stage 1 & 2. The drawing and first try at the features.

Hair (!), face and lower area.

THE MODEL! Waterford 16" x 12" Not



She has quite dark skin and striking eyes. As for the hair. Wow! The hair was painted mainly with a combination of Burnt Sienna and Ultramarine Blue mixed partly on the paper. There is a little Burnt Umber, Cerulean Blue and Ultramarine Violet (Rowney PV15) plus some Viridian (Rowney), but the main colours are various mixes of the Burnt Sienna/Ulramarine Blue combination.  The face colour is a mixture of Cadmium Red Light, Yellow Ochre, Quinacridone Gold (PO49) and Quinacridone Rust (Graham PO48). with Ultramarine and Cerulean to darken. The colours in the dress are Ultramarine Violet and Cerulean, heavily diluted. Also small touches of Burnt Umber and Burnt Sienna. I used mainly two brushes. The Isabey Size 6 retractable for the features and Rosemary Size9 Series 33 Kolinsky for most of the rest. I also used a long-handled No 4 W & N Cirrus. Comments welcome.