Finally got round to completing
this one just before Xmas. Had a few suggestions for titles from
friends, but loved Kevin Fowler's suggestion best of all, thanks Kev...
In answer to some of the questions I've been asked about how I
paint portraits. I finally remembered to take a few photos along the
way when I started this one a few weeks ago, so i'll try to explain as I
go.....
I painted this as I fancied a change from painting
children and couldn't resist this photo of Steve Evans, with so much
thanks to him for sharing this. The pure joy on this woman's face kept
me smiling all the way through it.
I usually
start with a very rough sketch to get the feel of the person, sometimes
little sketches of the features, then another, hopefully more accurate
drawing on the watercolour paper. I can never emphasize enough the
importance of drawing as a way of getting to know your subject,
especially so in portrait work. It also helps with getting features
placed properly. It doesn't matter if a petal is a bit out of place on a
flower, but it does matter if an eye is.
On this
occasion though I went with the initial drawing. I knew where I needed
to change bits, but being able to do this when painting becomes easier
with practice. I don't worry too much on the likeness as this isn't a
commission, and
i'm always more interested in capturing their soul...
The
iris on the right eye as we look at it is a little larger than it
should be, and slightly off shape, but that doesn't matter, I can bring
that back in when painting. You can change this before if you feel more
comfortable doing that, but I don't like to erase on the paper too much if I can
help it. This is also where the practice of drawing features comes in,
your knowledge of them allows you to not have to do that. I'm
still far from an expert at drawing portraits, but a couple of years ago I
couldn't have done it to this level, well not so quickly anyway, and a couple of years before that it
wouldn't even have look human, so practice, practice, practice...The
drawing is done in a very soft pencil and I do erase some guide lines
and soften any heavy ones.
Next I painted some areas with water, then put in the first wash of colours. If you want to see how I do this, pop over to YouTube and watch my video. As the first was was drying I started in some areas with the nextwash. I don't tend to paint in any sort of order, just what takes my interest at the time. Often I just from one place to another, maybe because one is dry enough or even still wet enough to work on, other times purely as I see something I want to capture, a colour I want to get down. Because I paint this in this way of what inspires me I also don't tend to go with painting in tones, light mid then darks, I really do jump about. I believe if you go with heart when painting it takes on a whole new level.
I carry on in this way painting areas of colour as I see them. No rigid technique, softening edges here and there as I feel it needs them. I tend to get to a stage where I'm unsure if it needs more, this is the time to stop. Youwill see it so differently once you've walked away and left it for a few hours. You've been painting different parts, concentrating in areas so you don't see the painting as a whole. And as we know watercolour dries lighter, this can give us a whole different look sometimes. There
are some things you cannot be taught, it's purely a love for what you
do which comes from the heart and good old fashioned practice. I think to paint in this way you really have to let go, be prepared for some things not too work, it's the only way you will learn what does.
I may need to do this painting again as there
seems to be something on the paper. Top right it has gone bobbly for
some reason.. Not sure why as the paint was laid straight on, no
scrubbing, lifting etc, so I'm putting this down to a fault in the
paper. I may just try and wet it, then lay some kitchen towel on it to
see if I can soak up the bits. If not it's back to the easel for this
one and fingers crossed I can capture some of the things I really liked
in this one.
This is one of those paintings that makes you smile when you look at it, you can't help it, it was also a pleasure to paint.
Steve Evans captures so much in his photos and I hope I do the same when I paint them.
GETTING THERE Tube Gants Hill Underground Station (Central Line). 5 minutes walk. Rail Ilford National Rail, direct line from Liverpool Street Station. Bus Take bus routes 396, 128, 179, 123, 296, 167 from Gants Hill Underground Station and 128, 296, 150, 396, 167 from Ilford National Rail to stop ‘Valentines Mansion and Park’. Cycle Cycle to the mansion through Valentines Park. Cycle racks are provided at the mansion. Road Easily accessible from the A406 (junction for A12) and the M25 (junction 27 for M11, and follow on to the A406 East). Car parking is available at the mansion. Car parking charges (With effect from 1st October 2011)
