first stages of reid protrait

placement of figure on paper and first washes

i transferred the drawing to the watercolor paper (16"X20", cp, fabriano artistico extra white) and thought that the width of his head was a little large compared to the length so i narrowed it about a finger-breadth.  because charles reid, every time i have seen him do a painting like this started with the nose and this after all is a portrait of him, i started with the nose as well.  the mantra for this type of approach in my head is "connect, connect, connect." one can always separate later. the colors were applied with a #8 round and the were cadmium red light and raw sienna and cerulean blue mixed a bit on the palette but mostly on the paper.

close up of first washes

okay, getting back to the basics.  i painted the dark shadow on the under side of the nose and over the tip.  after rinsing the brush and giving it a good shake (be careful not to have it too wet) i drew out the color with the damp brush over the nasal ala and side of the nose. i tried to leave a highlight just above the nostril on the side and all along the front/top of the nose. next i put  a dab of cerulean blue under the nose and drew it up into the previous wash for a tie in and to make the shadow on the upper lip. the medial edge of the near eye socket was started with cerulean blue and extended into the eye proper under the upper lid. the standard flesh colors were used for the lateral portion of the upper lid and side plane of the socket.  the eye brow was put in wet-in-wet with burnt umber. after drawing some of this color over the bridge of the nose i did the eye on the far side more of less the same way.  i am pretty sure the sockets are going to need darkening after all this dries but it is important not to fuss with this now.  it will only make a mess.  the forehead shadow under the cap bill was applied with a darker mixture of the same colors and extended across to the side burn area.  to define the top of the shoulder and give the face a bit of a tie in with the background i splashed a dilute mixture of cerulean, raw sienna, and perm.alizarin red onto the background and lightly manipulated it where i wanted it trying not to over fuss.  the under shadow of the cap bill was done last in this step by using a dark mixture of cobalt blue and burnt umber and  a little bled into the background which is okay.  so far i am pleased that i have resisted over manipulating the paint. i will post this and get out to play.  more tomorrow.  be well.