In Session four of Watercolor Portraits we began by looking at techniques to manage hard and soft edges from our brush strokes. Using a flat brush to apply a flat wash wet on dry, we can control the type of edge on each brush stroke. Below you can see a couple of variations of edges from hard to diffused where we apply a semi wet brush to the edge in order to extend the edge of the water and allow the pigment to disperse. Timing is crucial and the moisture level of the paper is key.
Once we have our drawing - the next step is to map out light and shadow. This is a Notan image of our reference photo that shows the fundamental light and shadow shapes we must seek out and refine.
As we begin our watercolor painting, we plan the layers ahead by selecting the family of cool and warm colors we will work with. The fist was a cobalt blue layer very low in value. then, a second layer of the same pigment enhancing the darker accents. With the first warm color application - we are looking for the neutralizing effect of the complementing colors. From here we are pushing and pulling based on light and shadow. We push with cool colors very close to the original layer - and we pull with warmer colors of the same warm family. Keep your washes light in value because you will always have chances to deepen and develop as you add finishing layers. Do not get caught up in details - You should be looking for value shapes all the way thru.
